Art

Indigenous artist uses quills to showcase art, neurodiversity – NewmarketToday.ca

Published

2 years ago

August 6, 2022

For some people, a porcupine quill might be something to back away from, but for Indigenous artist Vanessa Dion Fletcher, they are integral pieces to her creative – and learning – process.

A Lenape and Potawatomi neurodiverse artist, Dion Fletcher’s remarkable art is at the heart of Backwards & Forwards: Reflections in Porcupine Quills, an exhibition now on at the Aurora Cultural Centre.

Curated by Aram Han Sifuentes, Backwards & Forwards is at the centre’s temporary gallery space at Town Hall through Sept. 17.

“These works range from intimate pieces on paper to large mural installations,” says the Aurora Cultural Centre. “At the core is a negotiation between the artist’s hands and porcupine quills. She pulls them from the body of a porcupine, stains them using natural and synthetic dyes, handpicks each quill based on its colour, shape, and size, and bends them onto paper with thread. The building up of the quills form abstract shapes and lines that are elemental and can be interpreted in multiple ways, where a circle in quillwork can represent time, a colour wheel, and a portal all at once.

“Slowness is an important political aspect of Dion Fletcher’s practice. The making is inherently slow, and the intended experience for the viewers is also slow, where one slowly follows the lines and details of the quillwork and gradations of colour. Slowness is also a reflection on neurodiversity, where ‘being slow’ is a derogatory term used for those who are neurodiverse. In emphasizing slowness through porcupine quills, Vanessa Dion Fletcher claims indigeneity in process and craft but also approaches and understandings of neurodiversity and disability.”

Bringing the show together was not a fast process for Han Sifuentes.

A Korean-American, Han Sifuentes says when Dion Fletcher asked her to curate her unique exhibition, it was a “learning curve” to gain knowledge on quillwork, but was very excited to take on the task.

“Why Vanessa asked me to be the curator is one of the conversations that I had been having within the fields of craft, being able to embrace diversity within the fields of craft and really looking at this hemisphere in northern America being able to really embrace and really do our work to honour Indigenous craft, artists and artisans,” said Han Sifuentes. “I wanted to talk about the stories and talk about the metaphor that she uses in her practice. Her work just seems really simple when you look like it in terms of the quill work but what she’s doing in the context and conversation round craft, around neurodiversity is also very strong and very powerful, so I wanted to be able to talk about all the things she is doing in her practice.

“Being neurodiverse as well and really thinking about deconstructing the western approach to neurodiversity and really thinking about learning itself and embracing that there are many different ways to learn – that is something she really wanted to do in this work as well. She was telling me about the quill work that she was making and how a lot of it reminded her about how she was learning [the Lenape language]. For her, how she was learning it was she would have to learn the syllables forwards, then backwards, then forward again. Thinking about a lot of these spirals and circles and wheels that she’s making, I was asking her, how does one read it? I think a lot of us would read it from going around the circle clockwise but she was actually talking about the circles being really important because you can learn it backwards and forwards. That is how she was thinking how people read and approach her quillwork. You can go kind of in multiple directions. She was thinking along these lines in quillwork as storytelling and reading and how you can go in multiple directions.”

Quills as an art medium might be deceptively simple, but how they are transformed is unique, and the results intricate and spectacular.

The artist harvests the quills herself, including from porcupines that didn’t quite make it across the road, makes natural dyes from plants and other materials wherever possible, and the process to get from quill to finished artwork is both methodical and powerful.

For more information on Backwards & Forwards: Reflections in Porcupine Quills, including video Art Bytes with the artist, visit auroraculturalcentre.ca/backwards-and-forwards.

Brock Weir is a federally funded Local Journalism Initiative reporter at The Auroran

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

17 hours ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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