Art

Art-Making and Chronic Illness – Psychology Today

Published

2 years ago

November 15, 2022

Source: Katie Willard Virant

Four years ago, at the beginning of my watercolor journey, I wrote about how making art can be helpful to people living with chronic illness. In my own experience, these benefits have deepened and broadened over time, and I wondered if researchers had investigated whether and how a sustained art practice affects people living with chronic illness. Indeed, they have. It turns out that art-making affects identity and experience in ways that buffer the losses inherent in chronic illness. Broadly, art-making builds self-awareness and self-esteem, which often are eroded by illness. I highlight the specifics below.

Art-making expresses the ineffable.

The illness experience is multi-faceted, ever-changing, and profound. Words often do not do it justice. Visual art “offer[s] a bridge between the conscious and unconscious, and [is] therefore helpful for working through complex, deep seated emotions (Reynolds & Prior, 2003).” Don’t know how to say what you feel? Grab a paintbrush or clay or a piece of fabric or a camera. Don’t think too hard — just do what you are called to do. You may be very surprised by the results.

Art-making occurs in the space between agency and acceptance.

Art-making is full of choices. Color, line, shape — there are no rules except the ones you make for yourself. Simultaneously, materials have their own character and will not yield completely to the artist’s will. Watercolor, for example, is a dialogue between materials and artist, each responding to the other’s influence.

Similarly, we make choices in our lives, even as these choices are circumscribed by the ways illness affects us. We live in a space between healthy respect for those limits and an awareness that the choices we make influence those limits. We are not all-powerful, but neither are we powerless.

Art-making increases mindfulness.

One of the most pleasurable facets of art-making is that it creates a flow state, in which we are utterly engrossed in the present moment — the way releasing a bit of pressure changes a brush stroke, the way two colors meet and blend on the paper, the way we play with what is known and unknown. We notice the smallest details, we are surprised by the tiniest pleasures. We’re fully in the present moment, and our fears and worries about illness recede. We are lighter, more joyful, at peace.

Art-making contributes to a positive self-image.

Chronic illness closes and forecloses aspects of self. A social butterfly finds himself too tired to socialize. A runner no longer runs. A would-be scholar’s academic career is never allowed to begin, as her education continually is interrupted by illness. So to create art in a sustained way — to be an artist — can be a gratifying addition to a sense of self that has felt constrained by chronic illness. “What do you do? Who are you? What is important to you? How do you spend your time?” “I am somebody who makes art.”

Art-making creates community.

As we get more comfortable with making art, we want to feed the creativity we’re nurturing. Perhaps we take a class, join a Facebook group, start following other artists on social media. We go to exhibits, we talk shop with other creative people. Before we know it, we’re connected to other people who share this interest. These connections matter, especially when chronic illness has caused isolation and limited social interactions.

Art-making emphasizes process over perfection.

We keep making art because there’s always more to learn, more to express, more to accomplish. The recognition that we will never do it perfectly can be frustrating, but it’s also freeing. Instead of striving for perfection, we aim to be a little better than we were yesterday. We go through creative slumps, but we hold faith that we’ll eventually move forward by showing up and doing the work.

Similarly, living with chronic illness is process-oriented. There are periods of time when disease is relatively quiet; there are periods of time when it’s not. We learn to respect ourselves for showing up even when it’s not easy. We keep the faith even when it seems that we’re stuck in a rut.

Art-making changes you.

To be a maker of art changes how you see the world. You notice details; you’re more curious; you are engaged with both your inner world and the world around you. This artist’s mindset stays with you even when you’re not actively creating. You look at commonplace objects and think, “How might I use these items to make art?” You see leaves fall and wonder, “How can I portray motion on paper?” You admire other artwork and instantly try to decipher its artistic language: “How did the artist do that? What works for me about this piece? What am I responding to?”

In short, art making reminds us that we are active participants in life. It can feel as if chronic illness acts upon us — limiting our choices, muting our vibrancy. Art-making pushes back on these constraints, helping us reclaim agency and joy.

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

Published

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

Published

1 month 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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