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‘Close to my Heart (Near & Dear)’ art show debuts

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Francisco Corbett is pairing up with friend and housemate Alan Harman for an art show that infuses chaotic good with irony at Hoopla Press & Gallery on Oct. 26. Their close friend Maggie Whitmore is managing curation and space layout.

Corbett’s legacy as a Kingston artist has grown immensely in the last two years. His blossoming friendship with Harman—a musician and graphic designer—has opened new avenues from him to explore paint as an artistic outlet.

Harman is relatively new to Kingston compared to his gallery partner, who has lived in the Limestone City his whole life.

“I had a very large life change happen where I had to move out of my hometown, so I moved [to Kingston] with 19 cents in my bank account, two and a half hours from home, and didn’t know anybody,” Harman said in an interview with The Journal. 

Harman reminisced about how easily he connected with Corbett once they met.

“I was only up here for a week when I met Francisco. A really close friend of mine had gone to ForeWorld Summer Camp last year and I was aware that he was the art guy around here.”

Corbett describes Harman’s work as ironic and silly but said it matures as you look at it and understand it beneath the surface level.

“The process of [the paintings is] what gives it its flair—the intricate design layout and colour blocking—it’s really good but I almost don’t want it to be good because it’s [for example] a green block and a Marlboro pack.”

Harman describes Corbett as a performer at heart: “watching him paint is very much like an act, it’s like ballet for someone who can’t do ballet.”

When the two artists decided to do the show, Corbett went from being stagnant in his artistic work to a nine-day period in which he created a painting every day.

“What’s important when physically doing a painting is I don’t think about how this is going to look in the show, I just do it,” he said in an interview with The Journal.

Once his paintings are created, Corbett then takes a step back to think about whether they could have a place in a show.

“That’s the case with a lot of my work because of COVID,” he explained.

“I didn’t have the chance to show any of the hundreds of paintings I have in the studio, so in this case it’s nice to choose eight or nine paintings that have been made through the joy of creation and now will be shown.”

Harman first picked up a paintbrush just two weeks prior to the interview. Though he usually expresses himself artistically through graphic design and music, Corbett says he’s a natural.

“It’s really funny because [he] talks more in depth about a painting and actual paint and technique than I ever have,” Corbett said. “It’s like [he’s] been painting forever even though [he’s] a noob.”

Harman’s process of translating his design work to canvas was both exciting and new for him—he spent time taking notes and studying before ever taking brush to blank space.

“When it comes to art, my favourite works are very contemporary and kind of goofy but at the same time there’s heart in it,” Harman said.

“I was drawing a vase every single day thinking that I was going to have these vases as a subject and then realized I’m sick and tired of drawing vases.”

Harman moved on to what he enjoys most and does best: irony.

His music often explores the seriousness of life, but he said he finds himself being able to joke and experiment when it comes to painting.

The poster for the show—bright yellow with a circus tent as the central drawing—along with the title —Close to My Heart (Near & Dear)—is meant to symbolize the natural comedic timing of life and the comedic energy of Harman’s and Corbett’s work.

Corbett is looking forward to having Maggie Whitmore do curation.

“We’re really excited to see how [Whitmore] will use the space as a positive addition to our work,” he said. “We want people focusing on the painting but also how the space was made and how that itself is also art.”

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

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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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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

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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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