The creative practice of Department of Visual Arts students and alumni are in the spotlight in a series of street-level artistic initiatives around Victoria right now — a number of which are sponsored by the City of Victoria itself. Hop on your bike or plan a walking tour to catch some of this inspiringly creative work in action.
Integrate Arts Festival
Looking to expand your local artistic boundaries? Don’t miss the 12th annual Integrate Arts Festival, running August 24-26 at various venues around the city—all for free! Visit their site to download the venue map, and be sure to check out the timed events happening over the weekend.
Last year, the Integrate Arts Festival (formerly known as “Off the Grid Arts Festival”) saw over 2,000 people attend art spaces across the city. This year it kicks off with and Opening Reception on Aug 24, where you can catch the first glimpse of the work by their featured artists. Download the Integrate Arts Festival map, which will guide you to a variety of exhibitions and events at 24 different participating galleries, publicly accessible studios, and various sites throughout the city. You can also access the map using the Integrate brochure (found at participating locations), and participants are encouraged to walk or bike to each site.
As always, plenty of Fine Arts students and alumni are involved in the fest, including the likes of Visual Arts students Christian McGinty, Lana Nyuli, Shae Anthony and Mona Hedayati; alumni Taryn Walker, Sadie Nielson, Evan Locke, Eriq Wong and the folks at Theatre SKAM; plus instructor Peter Sandmark at the FLUX media gallery.
Also involved behind the scenes on Integrate’s board to make this all happen are a mix of Visual Arts and Art History & Visual Studies alumni Brin O’Hare, Stephanie Eisenbraun, Libby Oliver, Selina Pieczonka, Olivia Prior, Regan Shrumm, Anna Shkuratoff, and current student Amy Smith. And UVic’s own Legacy Gallery is once again a venue for this event.
One of the participating events this weekend is the City of Victoria’s Concrete Canvas project, which features 16 local, national and international artists painting the same number of murals on the walls of 13 sites around Victoria’s Rock Bay neighbourhood—including Visual Arts MFA grad Kerri Flannigan. Watch as a neighbourhood is transformed into an outdoor gallery for street art and creative expression; work will be continuing through August 27.
Concrete Canvas provides a platform for Victoria’s vibrant art scene to contribute to the city’s cultural legacy for years to come. The City of Victoria is collaborating with community members to build social capital, develop a sense of community pride of space, represent diversity, and empower people to make change in their city—and putting their money where their vision is: each participating artist will be paid a fee ranging from $1,250 to $4,000, with an overall budget of $150,000, funded by the City’s Public Art Reserve Fund.
Don’t miss the Concrete Canvas launch party, running 2-11:30pm Saturday, August 25. Hosted by the Victoria Beer Week Society, the free event will include a mural workshop, live music curated by Holy Smokes Music, a food and beverage area for all ages, and walking tours of completed and in-progress murals (3-6pm), an artist panel talk (5pm), and a six different bands (from 6pm), all happening in the Hoyne and Driftwood Breweries parking lot, 450 Hillside Avenue.
“The Commons” by Libby Oliver
And while you’re traveling around the city, keep your eyes open for the Commute: Bus Shelter Art Exhibition, which features work by five different emerging artists — including Visual Arts alumni Libby Oliver and Kerri Flannigan. Oliver’s work “The Commons” can be seen at Yates & Ormond streets, while Flannigan’s “Feeling Measurements – Fathom 09 (Megan)” is on Yates between Camosun & Fernwood Road.
Watch for more work by Visual Arts students and alumni coming up in future rounds of the Commute project, including current student Austin Willis—who was recently selected as the sixth artist to install work in the city’s Commercial Alley Art Gallery, found in the alley between the 500-block of Yates and Bastion Square. His four-panel pieces use bright colours, bold lines, and shapes to create fun, yet intense energy, and will be on display for a year.
“As an emerging artist I have a great interest in public art and creating work that beautifies spaces,” says Willis. Stay tuned for details about an artist’s talk, coming up in September.
As the final notes vibrated through the concert hall, the first violinist stood to address the audience again. “Any other ideas for where we should sit?” he asked.
Hands of audience members shot up, and a young student offered, “How about cello and viola at the front, violins at the back?”
The four musicians nodded, then bustled into a new formation, before playing the same piece for a third time. The audience listened carefully for the change in sound, appreciating, perhaps for the first time, the influence of such decisions.
Made up of Ilya Gotchev, Carlos Quijano, Felix Alanis and Manuel Cruz, Cuarteto Chroma are the first quartet to take part in this one-of-a-kind program in Canada, which is modelled on prestigious programs at universities in the United States. It provides a unique and hands-on learning opportunity for a quartet to earn a collaborative performance degree with guidance from members of a well-established and successful quartet — the LSQ.
LSQ violinist Ann Elliot-Goldschmid explains that this type of training is vital to the success of a quartet. “You hone your skills to be the best you can possibly be on your instrument, then bring those skills into the ensemble, matching the timing, harmony, vibrato, bow speeds and articulation of the others. It’s a magical process but it takes an enormous amount of work.”
The Watsons’ passion for music
Chroma’s interactive session at 2018’s IdeaFest
Cuarteto Chroma’s fellowships are funded by a bequest from the late Claire Watson Fisher, through the Victoria Foundation. Claire grew up in a music-loving family in Montreal. Her mother, Cecile, belonged to several musical organizations and her father, William Watson, was one of the founders of the Montreal Symphony Orchestra.
During World War I, Claire worked for the Canadian Red Cross in England and France, where she received several awards for her service. Her career in Fine Arts began after the war, when she worked for her father’s art gallery, then the Art Gallery of Ontario, and finally, the National Museums Department in Ottawa. After retiring, she and her husband moved to Victoria.
“Her love of music was a passion, and it inspired her to give back to the art form that had given her so much pleasure and joy”, says Louise (Watson) Slemin, Claire’s sister. “I only wish Claire had known the extent of her bequest.”
That extent of the gift is still being discovered by the university as it unlocks the potential of this new program.
“This funding brings a very high-level, prize-winning quartet to UVic, which elevates the learning and research in the whole music department” says Ann. “It’s inspiring for other students to be around this level of professionalism, in practice rooms, or alongside them in the orchestra.”
Cuarteto Chroma in action
Cuarteto Chroma brings benefits to the greater community, through playing at local schools, at benefit concerts, or at public events such as Ideafest. When they travel for concerts, festivals and competitions, they raise awareness of the calibre of UVic Music around the world. After witnessing the quartet’s significant improvement, Ann thinks they could have an even greater impact—at UVic and beyond—during their second year.
The opportunity to coach the four musicians has been a highlight in LSQ’s long residency here at UVic. “It’s a real joy. Like all teachers, our wish is to have our students eventually surpass us. We longed for UVic to develop something like this for many years and Claire Watson’s bequest gave us the opportunity. We’re hopeful we can continue to fund graduate quartets after the gift from this donor has been spent,” says Elliot-Goldschmid.
What are the interconnections between climate change, sea rituals and traditional ecological knowledge and practices, and how those be explored through applied theatre practices? That’s the focus of the research currently being conducted by Theatre PhD candidate and Vanier ScholarDennis Gupa.
Gupa is currently wrapping up a year of research on the ground—and on the seas—in his native Philippines, which is partially supported through a 2017 CAPI Student Research Fellowship.
Dennis Gupa in the Phillippines
“I have been here in the Philippines for my field work since September 2017. My site is located in Samar-Leyte Region and I am working with local elders in the island community of Guiuan, where the deadliest typhoon of 2013—Haiyan Typhoon—entered,” he writes.
“One of the most relevant activities I organized during this field research was the intentional congress festival, Paddling Visions [which saw] scholars and artists from the Philippines and Canada gather in a four-day congress festival of performances and academic dialogue and issues about climate change, human, ecological and gender violations, and indigenous knowledges.”
Held in May 2018, Gupa’s Paddling Visions sought to expand dialogue on climate justice in the Philippines. “This event is one of the activities that executes and explores my methodologies—participatory/community action research and applied theatre as research,” he writes.
Hear more about Gupa’s work in this short video:
“My heart overflows with gratitude for the participation extended by the communities in engaging them in grounding stories on the impact of climate change,” he says, noting the widespread participation in his research from all walks of life—including elders, women, children, fishermen, government officials, teachers, artists, scholars and others.
Following a series of on-campus solo exhibitions in the Audain Gallery this spring, this year’s graduating MFA artists have taken their work downtown for their final public exhibit.
Titled In Toto, the annual Visual Arts MFA graduation exhibition runs May 4 to May 14 at 821 Fort Street, between Quadra and Blanshard, with a special opening reception at 7pm on Friday, May 4.
Update: the MFA show will now return for one day only, 11am-2pm Sunday, May 27, as part of the City of Victoria’s Fort Street Celebrations. The MFA show will be used as the venue for a public drop-in session discussing the use of vacant store fronts as art spaces. Live music & refreshments will also be on hand to celebrate the opening of the bike lanes,
Featuring the work of David Michael Peters, Marina DiMaio, Leah McInnis, Connor Charlesworth and Evelyn Sorochan-Ruland, In Toto offers 10 different pieces, ranging from painting and sculpture to installation and media works.
Interestingly, the same storefront was home to the HeARTspace exhibit in the fall 2017, a pop-up art gallery featuring the work of people who have died from overdoses, as well as tributes to them; that exhibit was organized by UVic interdisciplinary PhD candidate Marion Selfridge.
The free exhibit is open noon to 4pm daily.
In addition to this exhibit, MFA candidate Marina DiMaio has also organized the second in the MFA Connect exhibit series. Running May 13-19 in the Audain Gallery in the Visual Arts building, this second iteration reconsiders the long-standing tradition of Mail Art through an entirely digital correspondence. This conception of MFA Connect integrates the work of six MFA students from Newcastle University in England and six UVic MFA students in a group show that will then travel to the Ex Libris Gallery in northeast England.
“MFA Connect is like a conference for visual arts,” says DiMaio in this article about the inaugural MFA Connect exhibit in November 2017. “Other departments make these kind of ‘connections’ all the time, but when we get together we share a visual language. This is about challenging each other’s research, getting our research out into the world, creating our own opportunities, establishing communities, and continuing the larger conversation of the place of the visual arts in an academic institution.”
In addition to Marina DiMaio, MFA Connect also features work by UVic’s Connor Charlesworth, Leah McInnis, David Michael Peters, and Evelyn Sorochan-Ruland, plus Xristia Trutiak. Participating artists from Newcastle U include Shaney Barton, Elizabeth Green, Peter Hanmer, Paul Jex, Hania Klepacka and Gill Shreeve.
Could this be the beginning of ongoing creative alliances between Newcastle University and UVic? Only time—and inspiration—will tell.
The Faculty of Fine Arts and Ocean Networks Canada at the University of Victoria in British Columbia, are sponsoring an Artist in Residence program. The concept strengthens connections between Art and Science to broaden and cross-fertilize perspectives and critical discourse on today’s major issues such as the environment, technology, oceans, cultural and biodiversity and healthy communities. This program is open to local, national and international applicants.
The Artist in Residence will interact with Fine Arts faculty members and scientists at Ocean Networks Canada as well as with other individuals using the world-leading ocean facilities to ignite cross-disciplinary exchanges. Open to artists working in any visual, written, musical or performance discipline, this residency is suitable for an early- or mid-career artist.
The Artist will learn from and engage with the current research, connecting it to the Artist’s own practice, and to wider societal and cultural aspects, creating a body of work to be presented at the end of the residency. The selected Artist will actively engage with researchers on a variety of ocean science themes, that may include:
The ONC Artist in Residence program is established to:
explore arts or alternative cultural practices’ potential in the area of the visions, challenges, philosophical, aesthetic, and ethical aspects of the ocean and the impacts humans have on it;
add a complementary artistic and creative perspective to ocean science, the societal ramifications of its exploitation, and its cultural aspects; and
help envision the potential long-term impact of ocean changes on humanity.
The residency period can start any time between May and December 2018 and last for up to eight months. A cost-of-living stipend of up to CAD $2000/month will be paid to the selected Artist. Following the residency, a public exhibit of the resulting art will be displayed, performed and promoted by ONC and the Faculty of Fine Arts.
Please note: the application period closes on 27 April 2018.
If interested, please send your application to firstname.lastname@example.org at Ocean Networks Canada with the subject line “Artist in Residence Ocean Program.” The application should include your CV, a concise portfolio of previous relevant artistic work, and a letter of motivation outlining your project proposal for the residency. Applications will be reviewed by representatives of Fine Arts and Ocean Networks Canada, and artists may be contacted for an interview or to supply further information.
About Ocean Networks Canada: Established in 2007 as a major initiative of the University of Victoria, Ocean Networks Canada operates world-leading ocean observatories for the advancement of science and the benefit of Canada. The observatories collect data on physical, chemical, biological, and geological aspects of the ocean over long time periods, supporting research on complex Earth processes in ways not previously possible. The observatories provide unique scientific and technical capabilities that permit researchers to operate instruments remotely and receive data at their home laboratories anywhere on the globe in real time. These facilities extend and complement other research platforms and programs, whether currently operating or planned for future deployment.
About the Faculty of Fine Arts: With experiential learning at its core, Fine Arts provides the finest training and learning environment for artists, professionals, and students. Through our departments of Art History and Visual Studies, Theatre, Visual Arts, Writing and School of Music, we aspire to lead in arts-based research and creative activity and education in local, national, and global contexts. We integrate and advance creation and scholarship in the arts in a dynamic learning environment. As British Columbia’s only Faculty exclusively dedicated to the arts, Fine Arts is an extraordinary setting that supports new discoveries, interdisciplinary and diverse contributions to creativity, and the cultural experiences of the students and communities we serve.
Interested in contemporary Indigenous art practices? Excited by some of the dynamic and engaging work being created and exhibited both locally and nationally? Wondering how contemporary artists respond to important issues like Truth & Reconciliation, and Murdered & Missing Indigenous Women & Girls? Join the Visual Arts department for a special illustrated lunchtime lecture series featuring three prominent local Indigenous artists.
Tlehpik Hjalmer Wenstob: Friday, March 9 • room 103 of the Fine Arts building
Lindsay Delaronde: Monday, March 12 • room A146 of the Visual Arts building
Carey Newman: Friday, March 16 • room 103 of the Fine Arts building
All talks run noon to 1pm, and all are free.
About the artists:
From Tlehpik Hjalmer Wenstob’s “Transfigurations”
Visual Arts BFA/MFA alumnus Tlehpik Hjalmer Wenstob is a multidisciplinary artist from the Tla-o-qui-aht First Nation, on the West Coast of Vancouver Island. Coming from a background of carving, Wenstob’s work has transformed and reformed many times over the years, working in many different mediums, with a focus on sculpture. He has three dialects of art practices, all from the same visual language: traditional work, community/engagement, and contemporary art. While heavily involved in youth engagement and politics, as the Assembly of First Nation’s youth representative for BC and Canada, Wenstob’s work has taken on a balance of history, education, humour, question, and politics.
Coming from a background of carving masks, totem poles and working predominantly in red cedar, Wenstob’s work has transformed through materials and subject matter. With an interest in public installation, curation, mentorship, and sculpture, Wenstob has had work displayed and installed nationally across Canada. His most recent installation—created while mentoring youth—was four Bighouses on the front lawn of the BC Legislature building, which then led to a show currently on view at the Art Gallery of Greater Victoria.
Lindsay Delaronde running a corn doll workshop at Legacy Gallery in 2016 (photo: Corina Fischer)
Visual Arts MFA alumna Lindsay Delaronde is currently the City of Victoria’s Indigenous Artist in Residence and a strong advocate for Indigenous voices, stories, culture and history. Born and raised on the Kahnawake reservation, Delaronde has been living on the West Coast for the past 10 years. In addition to her Visual Arts MFA, she holds a BFA from the Emily Carr Institute of Art and Design, and a Master’s degree in Indigenous Communities Counselling Psychology, also from UVic.
A professional multi-disciplinary visual artist who works in contemporary Indigenous performance and facilitator of traditional workshops, Delaronde has been consistently active and made significant commitments at the local and national level. Her areas of research are stemmed in Contemporary and Traditional First Nations art, expressive arts therapy and working with Indigenous and non-Indigenous peoples within the arts and counseling. Her research focuses on land- based, collaborative practice, cultural resurgence and social/political activism through the arts.
Carey Newman or Hayalthkin’geme is a multi-disciplinary artist and master carver. Through his father he is Kwagiulth from the Kukwekum, Giiksam and WaWalaby’ie clans of Fort Rupert, and Sto:Lo from Cheam along the upper Fraser Valley; through his mother he is English, Irish, and Scottish. Through his work he strives to highlight either Indigenous, social, or environmental issues. He is also interested in engaging with community and incorporating socially innovative practice into his artistic process. Newman’s most recent major work — the Witness Blanket, made of items collected from residential schools, government buildings and churches across the Canada — deals with the subject of reconciliation. (Another prominent local public piece is the ornately carved ceiling of Pacific Opera Victoria’s Baumann Centre on Balmoral Road.)
In 2008, Newman was selected as the master carver of the Cowichan 2008 Spirit Pole, a journey that saw him travel BC sharing the experience of carving a 20-foot totem with over 11,000 people. In 2009, he was selected from a national call to artists by VANOC and won the right to create a large installation: his piece “Dancing Wind” was featured during the 2010 Olympic Games, and consisted of 4 large panels, made from stainless steel, cedar and glass. He has done work for corporations, government agencies and museums around the world and is continually thankful for the opportunity to try new ideas.