Art

Painting through the pandemic: How art helped me through grief and loss – CBC.ca

Published

4 years ago

February 11, 2021

When COVID-19 began to shut down the world in February 2020, I was startling awake every night in a panic about my future as my parents’ only remaining child.

My sister Tej had died the previous year, when she was 52, and I was 50 years old. She was the person I loved most in the world.

Though we rarely lived in the same city as adults, we spoke most days, she calling me from her home in The Hague, where she lived with her daughter, or I calling her from my home in Toronto, where I live with my Canadian partner.

Her death was not my family’s first experience of grief.

Childhood photo of Manjushree Thapa, middle, with her brother Bhaskar and sister Tej in their Ottawa home in the 1970s. (Rita Thapa)

Six years previously, my brother Bhaskar had died of a heart attack, leaving behind his wife and their two sons in California. He was 49 years old — the eldest of our parents’ three children.

At that time, I had channelled my energies into ensuring that our parents, who had retired in our home country, Nepal, would survive the loss.

This time around, I knew I was in trouble. I might not survive my sister’s loss.

I concentrated on holding my broken self together so that I might eventually mend.– Manjushree Thapa

It is customary in Nepal to take a year off to mourn for our loved ones. I let myself put aside my novel-in-progress and turn down new professional commitments.

In between organizing my sister’s memorial and settling her estate, I concentrated on holding my broken self together so that I might eventually mend.

Seeking solace

I sought help through therapy, Buddhist meditation, yoga, journaling — but mainly, I spent time with family in the Netherlands, Nepal, the United States, and of course Canada.

En route, I splurged on trips to Lisbon, Naples, and London in search of relief. My partner and I camped often, and trekked through the foothills of Mount Everest.

Thapa says she dabbled in a few ‘pandemic projects’ to steady her nerves, before settling on one she’d put off for decades: reacquiring her lost art skills. (Daniel Lak)

Along the way, I resumed writing in fits and starts, and had tentatively completed a draft of my novel. My partner and I were in the United Kingdom then, housesitting for friends in Oxford in order to spend time with my niece, who had started her first year of college shortly after losing her mother.

We returned to Toronto and settled into our new reality of quarantine, isolation, and heightened anxiety about ourselves and our scattered family.

I dabbled in a few “pandemic projects” to steady my nerves, listening to classical music, cooking tofu, trying out mocktail recipes, and reading Proust, before settling on one I’d put off for decades: to reacquire my lost art skills.

Returning to art

I had attended the Rhode Island School of Design in my youth, but had switched to writing afterwards, finding this discursive form of expression more suited to social and political subjects.

I’d always wanted to return to art — for love, not money — and had been stockpiling art supplies for years. But it took the pandemic for me to pick up a paintbrush.

I began by sketching simple household objects. The results were mixed, so I abandoned all hope of making “good” art and focused, instead, on keeping a visual journal of whatever was in front of me, or on my mind.

Thapa kept a visual journal of whatever was in front of her — or on her mind. (Manjushree Thapa)

I played around with pencils and acrylics and gouache watercolour through our springtime isolation, painting the mundane: our last precious container of disinfectant; a houseplant; my shaggy, overgrown hair. I regained my grasp of colour theory over safe, socially-distanced summertime outings, painting on camping trips and a road trip to Lake of the Woods, where my partner gave me a crash course in sailing.

I could sit with my emotions, dark and light, as I painted.– Manjushree Thapa

Something powerful happened when I painted: my discursive mind — the overactive thinking mind — gave way to image, sensation, free-association, and feeling. I could sit with my emotions, dark and light, as I painted.

And I could reconnect with my younger self: the person I had been before my brother drifted away, in adulthood, into science and engineering, and my sister into philosophy and law.

I could appreciate how I — the impressionable youngest — had been formed by my siblings. I could feel their presence in my life.

I also experienced serenity while painting, and something else besides: joy.

“I love painting. I’m not sure why I ever stopped,” I wrote under a sketch of a dragonfly.

Thapa’s sketch of a dragonfly accompanied by a note: ‘I love painting. I’m not sure why I ever stopped.’ (Manjushree Thapa)

When I said as much to my mother, she replied, “Even as a child, you’d stop crying as soon as I handed you crayons.”

Painting through the pandemic has reminded me, mid-life, who I’ve always been. It has brought joy back into my days.

And that joy is mending me now. I would even venture to say I’m happy. I miss my siblings keenly, of course, but I’m grateful that I ever had their love.

Manjushree Thapa is a Canadian essayist, fiction writer (All Of Us in Our Own Lives), translator and editor of Nepali descent. She lives in Toronto.

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Art

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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