Art

Maple Syrup Art: Nature as Inspiration – Capilano Courier

Published

4 years ago

October 5, 2020

Jason Arkell-Boles // Columnist

In the age of climate change, feeling terrified for the future is the new norm. Forests burning down, cities flooding, even the sudden mothpocalypse in Vancouver—hopelessness seems to be the trend of the year. However, unreported by social media and the news, new technologies are being produced faster than ever, technologies that can totally redesign the world. Instead of cities living beside nature, cities could become a part of nature. A few weeks ago I watched an episode of the docuseries Abstract: The Art of Design that featured Neri Oxman, a bio-architect and professor at the MIT Media Lab. This lab is a glimpse into the most exciting future none of us thought would exist. A future that’s one with nature. A future that’s plastic-less, pollution-less and maybe even harmless.

The MIT Media Lab represents the perfect intersection of science, engineering, design, art, and nature. With a diverse team of artists and scientists, the lab is venturing into the unexplored field of bio-design: the design of objects inspired by nature. One example, Mushtari, is a 3D-Printed article of clothing filled with synthetic microorganisms that transforms sunlight into consumable sucrose. Another is Aguahoja, an art project that proposes a new, growable, biodegradable material that could someday be a replacement for plastic.

It blew my mind that neuroscience and biology are at the point where humans can grow structures. As Neri Oxman explains in the docuseries, humans are moving from nature-inspired design to design-inspired nature. I couldn’t believe people weren’t talking about this more. Immediately after watching the episode, I began research into bio-design firms within Canada. To both my surprise and disappointment, there isn’t a lot of bio-design present outside of the MIT Media Lab.

Throughout Canadian art history, nature has been the muse of several great artists such as Emily Carr and the Group of Seven. While nature has always played a vital role in inspiring the works of Canadian painters, the desire to save and preserve the environment has become a new inspiration for artists. Take musician Grimes’ latest album Anthropocene, Margaret Atwood’s novel MaddAddam, or Brett Story’s documentary The Hottest August. Each project with its own perspective delves into issues of climate change, either based in reality, fiction, or avant-garde fantasy.

In my own films, themes of climate change make it into every script. Even so, an issue for myself and many up-and coming-artists is feeling like we’re unable to incite real, physical change with the art we make. With clouds of wildfire smoke filling the skies, it’s hard for anyone to feel optimistic. In a world so uncontrollable and volatile, artists attempt protests, political works, films—but a true and radical change in society never occurs, leaving many hopeless.

If nature has historically been so important to the artists of Canada, why hasn’t bio-design—a beautiful collaboration of nature and art—been explored here? If humans, in theory, have the means to build inexpensive, organic—essentially utopian—structures and buildings, why haven’t we? I think the answer is a lack of communication between scientists, artists, designers, engineers, and in fact, all academic fields within Canada.

So if artists aren’t able to journey into bio-architecture, then what has the science department been doing in this regard? The answer: actually a lot. With programs like the Bachelors of Environmental Design and the BioProducts institute popping up at UBC, innovations are happening left and right. This past summer, using locally sourced wood fibers as the core material, the BioProducts Institute recently developed potentially the world’s first biodegradable N95 mask in the heat of a pandemic. But this is an art column, so, where can artists fit into this equation? The answer, I believe, is that artists should be a part of the equation, from start to finish.

My roommate Naomi is one of many design thinkers in the graphics-based IDEA program at Capilano University. In their final year, IDEA has all of its students submit a ‘capstone project,’ which is an opportunity for each student to find a social, political, or environmental issue and solve it through design. This can come in the form of books, apps, ad campaigns, and websites. Naomi is trying to solve the issue of nursing shortages, by inspiring more men to pursue nursing careers.

What these students do is impressive, but it’s hard not to think about what all these artists and designers could do if they were to collaborate with scientists, engineers, architects, and even neuro-surgeons. What if artists in all disciplines didn’t limit themselves to traditional art forms, what if they could begin to create art inspired by nature, by growing art pieces? And on the other end of the spectrum, what if scientists and engineers didn’t have to limit themselves to strictly practical applications of their studies?

The freedom to explore artistic modes of thought can create beautiful objects that communicate artistically with the human body, similar to Mushtari. Through a collaboration of science, engineering, designers, and artists, the potential for projects using just local wood fibers is huge. If artists embrace the nature around them and start hanging out with scientists, engineers and architects, maybe they could truly change the world now, when we need it most.

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

Published

4 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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