Art
After the floods, the future looks bright: truck art in Pakistan – a photo essay
Pakistan artist Ali Salman Anchan has received commissions from across the world. His “truck art” – known as Phool Patti in Urdu – appears in buildings in Europe, North America, the Middle East and Asia. Most recently, his vibrant designs have brightened up the Pakistan embassy in Beijing.
But it was a commission to paint a van used to transport medical supplies after last year’s devastating floods in his home country that has been the most fulfilling, he says, adding: “It was an honour to be part of this project.”
Truck art dates back to the 1920s, when Bedford trucks imported from the UK were embellished with colourful floral patterns and landscapes, animals and birds. Over the years, the indigenous art form has become a method of storytelling, used to share messages or celebrate moments and milestones. The designs, often painted by hand and largely by self-taught artists, can be seen on vehicles across the country, including tuk-tuks and buses.
In January, Anchan was asked by the Disasters Emergency Committee (DEC), an umbrella group of UK charities that coordinates funding appeals, to tell the stories of some of the survivors of Pakistan’s worst floods on the sides of a vehicle that was used as a mobile clinic.
Between June and August last year, monsoon rains killed at least 1,700 people, damaged 2m homes, and destroyed crops and livelihoods. Sindh and Balochistan provinces were worst affected.
Anchan, founder of the Phool Patti, a social enterprise project to promote Pakistani truck art around the world, was sent photographs of potential subjects to paint, and in May he and his team of artists travelled to Sindh to meet them. Anchan says hearing their stories was “eye-opening”.
Maula Dinno*, a farmer in Sindh, says he thought he was “witnessing judgment day” when the floods arrived. “So much water entered our homes. We could not even sit on our charpoys [woven beds] as the water rose above them.
“Everything was destroyed in the water. The cotton crops we had sown, the animals … we lost it all. I saw people falling so ill. We were compelled to seek shelter in tents on the nearby main roads. My family – my mother, my wife, Nusrat, and our children – spent two months living on the road.
“My land was inundated, and by the time the water dried, the land was barren and unusable. We did not have the funds to plough the land or purchase the seed. The situation was so dire that I gave up. I felt as if I would never be able to use the land again.”
Dinno received saplings, seeds and fertiliser from the NGO Concern Worldwide, and one year on, crops are beginning to grow back. “Yesterday, I carried mountains of troubles and trials, but now I am relieved [of them] and I am in a happy phase,” he says.
Arslan, 11, remembers flood waters reaching as high as his neck. “I had never seen so much rain in my life,” he says. “I felt really scared. I didn’t know what would happen.”
He says there was little food. “We could not get food like vegetables or rice or oil. I love to eat bhindi [okra] but nothing like that was available. The water had some dead fish in it but we were scared we would get sick if we ate that. Even flour was so expensive. Our school was damaged and we were really worried that we would not be able to continue our education.”
Arslan, whose family are still living in a tent after their home was destroyed in the floods, is studying in a temporary school set up by Save the Children.
“I remember my first day at the tent school. I was so happy, I felt as if my dream of becoming a police officer was still possible. When it felt like we would not receive an education, I thought I would lose that and I would have to do manual labour to earn a living like most of the people in the village.”
When Lakshmi, 35, returned to her village six months after the floods, she found it in ruins – homes had been destroyed, crops gone and livestock killed. But she says the tragedy formed new bonds between people.
“Everyone was so devastated by loss that the distinctions were erased,” says Lakshmi, who lives with her husband and seven children. “Whether you were Hindu or Muslim, it didn’t matter. We forgot all the things that separated us or made us different and we had to come together as a community to take care of ourselves. We had all lost everything – that was the common factor.”
Sultana says her house was “inundated with water” that stayed for about four months. “The water was as high as my knees and it was everywhere. We were afraid to go out on to the roads to seek shelter because there was so much water surrounding us,” she says.
She worries how much damage could occur during this year’s rainy season, which has already killed more than 50 people.
Sultana’s daughter, Arya Fatima, 10, had to be taken to a clinic after she contracted malaria from the mosquitoes that bred in the stagnant water surrounding their home. She also became malnourished. “I vividly remember carrying her in my arms into the clinic. She was not conscious, and I feared for her life,” says Sultana.
Arya Fatima recovered and Anchan says he remembers the excitement and joy on her face when she saw her portrait on the van.
“She was excited, but also the whole village was excited. She was a celebrity on that day because everyone, all the other girls, were congratulating her,” he says. “She was still recovering from malaria, but after everyone saw her, she felt better.”
Painting the van was a “brilliant idea”, says Anchan, “because the villagers in the affected areas are suffering a lot of things. But when we parked the truck up, the villagers celebrated and were all so excited.
“Everyone came to see the truck to see if they could recognise who has been painted, if they knew someone.”
Anchan says the project has changed his life. “I’ve decided I want to do more social projects after this. Sometimes projects change your thinking. I saw this devastation my own people suffered and I decided I can do more, not just through painting and art, but through any type of voluntary work.”
* All interviewees are referred to by their first names only to protect identities
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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