– Words by Kathy Michaels Photographs by Phil McLachlan
“My life has been simple — run fast, turn left,” Dr. Andrew Dargie said over coffee one day in late fall, offering up one last thought on his work in the Okanagan and the path he took to get here.
It was an endearing understatement from someone who is clearly more comfortable with taking on big tasks than boasting about how he completed them. As a former All-American sprinter who earned a full-ride scholarship at Stanford University, speed is certainly one of the defining points of Andrew’s life. He competed for Team Canada numerous times, turning left over and over again as he rounded a track with some of the fastest people on the planet.
“Simple,” however, is where the sports metaphor falls apart.
For all his athletic abilities, academics were a priority for Andrew, who, after Stanford, obtained his medical doctor designation from the University of Calgary. In a newspaper article about him from that time in his life, a third dimension of his personality became clear. He is a compassionate individual. During medical school he found time to take on a meaningful volunteer commitment with the school’s aboriginal health program. For this work he was awarded the Canadian Student Athlete Community Service Award.
His next step was entering vascular surgery residency in Manitoba.
Ultimately, he said, “I realized that I loved acute care medicine, but I didn’t love the operating room. So I transferred residency programs and obtained my CCFP designation and moved to the Okanagan.”
Since arriving, he’s worked as an emergency room physician at Penticton Regional Hospital as well as South Okanagan General Hospital. At the latter location, he is the department head of Emergency Medicine.
While in the Okanagan, Andrew took on another passion and is bringing to it the same focus and dedication he has for everything else. This passion is medical aesthetics. In addition to his ER work, he now practises advanced medical aesthetics in both Kelowna and Vernon.
“I decided I love performing procedures and found something to help balance working in emergency,” he said. “It’s personally satisfying. I’m able to offer procedures that are a blend of art and science and people are appreciative and happy.”
It’s an interesting time in a rapidly expanding industry. Not so long ago, cosmetic surgery was the clear-cut facial rejuvenation strategy.
This can be a definitive solution to reduce the signs of aging, albeit an invasive, sometimes painful experience typically reserved for the socially elite and requiring significant down time for recovery.
Now, more people are seeking anti-aging services that are less invasive, have less down time and are more affordable. Just a few facial rejuvenation techniques that Andrew offers are botox, dysport, fillers and platelet-rich plasma injections. The clinics he works at offer lasers, CoolSculpting, microdermabrasions and chemical peels, amongst numerous other procedures and skin-care treatments.
While minimally invasive rejuvenation procedures are in high demand, the relative newness of the industry has created some issues and it is not as closely regulated as it perhaps should be. This was made plain in recent months as a non-medical civilian in the Vancouver area passed herself off as a doctor and injected dermal fillers into countless unwitting clients at a spa. She used an altered photocopy of a College Certificate of Licensure to convince medical suppliers that she had a medical licence and was certified to practise in British Columbia. In any other field of medicine it would sound ludicrous, but that it happened at all lays bare the fact that checks and balances are lacking.
That’s something Andrew worries about. And this is why he founded Aesthetics Training Canada, which offers “the botox course” and “the filler course.”
“Ensuring medical professionals are properly trained is of the utmost importance. There are people injecting without any formal training in facial anatomy or rejuvenation. I said, how can I change this and provide a safe and standardized way for medical professionals to expand their scope of practice to include medical aesthetics?” That was the impetus for offering these new comprehensive courses.
There are also clear gaps in proper medical care.
“We have patients come in who have been getting procedures elsewhere for years, and when I go to take them through the consent process, they say, ‘Wait, there are risks with these procedures? I was told there were zero risks,’” Andrew said. “This shocks me. That’s not proper medicine and it really bothers me. Some people think about patients in terms of syringes or units. Or some prioritize how fast they can get a patient in and out of the door. This type of practice doesn’t warn patients that there are, in fact, risks to consider.”
To start creating the change he wants to see in the industry, each of Andrew’s treatment rooms has anatomy cards so he can take patients through what he’s doing, what the risks are and how they can be mitigated.
“There are all sorts of things we can do to optimize patient care,” he said. “If I’m in emergency, whether it’s something as simple as cutting out a mole, or something more complicated like a cardioversion, we always take people through the risks and benefits, and it should be no different in medical aesthetics. Patients must consent and they must be educated that these are not completely harmless procedures and should be performed by experienced medical professionals only.”
Adverse events can occur and these can be devastating, Andrew said. The results of shoddy, haphazardly conducted work can be disfiguring or worse — even blinding — and he wants to prevent this.
He also wants to bring back a more natural look.
“People that come to see me get full transparency, and a natural look,” he said.
The day before the interview, Andrew said he had turned away four patients who had come in seeking lip filler treatment.
He’d told them, “I think your lips are already full enough and we want you to look natural.”
“They may go down the street and get that duck lip. But our patients aren’t getting that. They’re going to get an honest and fair assessment and can expect a refreshed, natural look.”
Interestingly, the four who were turned away were receptive to feedback and appreciated hearing his honest and clear communication.
Andrew has accomplished a lot in his life and is bound to take on more. What makes him different than others, however, is that he makes things look easy. He has a light and pleasant demeanour that puts people speaking to him at ease. If you didn’t know better, it would be possible to believe that he did have a simple life, remarkable only by his ability to go fast and turn left.
More info at www.drdargie.com
Story courtesy of Boulevard Magazine, a Black Press Media publication
Art heist at Kelowna gallery takes four minutes – Vancouver Sun
The stolen sculptures included bronze, stone, and glass pieces. Altogether, the pieces weighed more than 300 pounds.
KELOWNA — Art thieves were in and out of a Kelowna gallery in four minutes early Saturday morning, stealing 11 sculptures worth almost $70,000.
Two masked men broke into Gallery 421 in the South Pandosy business district, triggering an alarm at 1:58 a.m. They fled at 2:02 a.m., according to a surveillance camera.
“It was most definitely targeted. They knew exactly what pieces they wanted to steal,” gallery co-owner Kelly Hanna said Monday. “They were fast, but their movements were deliberate. It wasn’t helter-skelter.”
The stolen sculptures included bronze, stone, and glass pieces. Altogether, the pieces weighed more than 135 kilograms.
“We’re going to put the word out to other galleries, pawnshops, and art houses about what was stolen,” Hanna said. It’s most likely the thieves will try to sell the pieces outside of Kelowna, either in Vancouver or the U.S., she said.
One thief was 5-foot-10, medium build, and wore a grey hoodie. The other was 5-foot-6, also of medium build, and was wearing blue pants with white runners.
The stolen pieces included works by artists Vilem Zach, Michael Hermesh, Vance Theoreet, and Jeff Holmwood.
Hanna and co-owner Ken Moen are offering a $1,000 reward to anyone providing information with police that leads to an arrest.
Hanna and Moen bought the gallery, which opened in 2001, two years ago. Hanna said there have been smash-and-grabs of items such as computer equipment before, but never thefts of works of art.
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Can New Technology Bring Authentic And Transparent Trust To The Art World? Like VIN Numbers For Art-Works. – Forbes
In 1987, I was lucky enough to attend the auction of Vincent Van Gogh’s Vase With Fifteen Sunflowers at Christie’s in London. At the time, the sale price of $39.7 million was staggering. Inflation- adjusted, that’s $127 million today. Two years later, in 1989, the Dallas Cowboys were sold for $140 million. In November 2017, Leonardo Da Vinci’s, Salvator Mundi, was sold for over $450 million. The prestige associated with rare assets (Forbes estimates that the Dallas Cowboys are now valued at over $5.7 billion) has a lot to do with the market value of uncommonly traded assets. Still, authenticating the origin and history of a sports team is easy. But to do the same thing for expensive artworks has always been incredibly difficult.
The art market has seen extraordinary growth in its size and the value of its assets over the past 25 years and longer. Living artists are now able to sell their artworks at significant values at market entry – what are called primary market sales – during their lifetime and to see significant rises in the value of their art including in the secondary market. This is a relatively new experience for the market. History’s old masters and more modern artists never got to experience these trends during their lifetimes. Art market auction sales tipped $50 billion in 2021, and the unofficial private sector of the market is probably another $50 billion. Think about a $100 billion annual sales industry, that is based on trillions of dollars of assets, that all need to be authenticated, secured and monitored for many different purposes ranging from insurance to sales values and other market opportunities.
Our guest for today’s podcast is Lawrence Shindell, he is the Chairman, President and CEO of LMI Group International, Inc., headquartered in New York. LMI Group is a strategic investment bank-like firm that represents artwork owners and investors in the authentication underwriting and market release of major orphaned artworks – artworks that the data strongly indicate are by blue-chip artists and have expected market values between $15,000,000 and $200,000,000. A trial lawyer by background, Mr. Shindell holds licenses in a number of U.S. jurisdictions including admission to the Bar of the Supreme Court of the United States. Before founding LMI Group in early 2018, Mr. Shindell served as the Chief Executive Officer of a regulated U.S. title insurance company catering to the international art industry.
His insights about the art market and its needs and trends over the next decade – ranging from technologies to solve the challenges of art object identification and authenticity to NFTs – provide a glimpse into a very complex industry sector. It is often said that the world’s art serves as the tree rings of society. Advances in technologies can bring efficiency to this market sector just as technology has brought efficiency to other markets, and can give us a sense of comfort about the integrity of these high value assets as we visit art museums, collect art, invest in art, or engage in and around art in many other ways.
Artwork, both old and new, and both digital and physical, make up a huge market that offers cultural engagement as well as incredible economic upsides for investors who invest in art. Improvements in four areas can change the level of comfort for investors.
- Anti-money laundering – legislation that is increasingly offering transparency but also putting pressure on market actors to verify source of funds, and seller and purchaser legal status and identity, whether for purchasing or selling art or using art as collateral for loans, for example.
- The advent of the blockchain and more recently NFTs are revolutionizing the ways in which we link irrefutable identifying references to physical and digital art, as these assets journey through the market via purchases, gifts, sales, exhibitions and events of condition-conservation among other events, and in the case of NFTs, especially as a medium in which to create art in the first instance, as a means to create verifiable fractional and complete ownership interests.
- Different technologies will separately allow us to imprint identifications on existing, secondary market physical works that can distinguish these objects from copies and also enable a conclusive linking of the information around the object captured via the blockchain to the exact physical object.
- Advances in artificial intelligence and machine learning science and technologies that can aide traditional measures to appraise and verify art in complement with these other technologies.
The idea of reliable object identification is nothing new. We use VIN numbers for automobiles and CUSIP numbers for the securities industry. And we use DNA markers to authenticate the origin and history of, for example, cloning material.
Hollywood has been using tales of the historical art world for decades, the most known example is perhaps the 1999 version of The Thomas Crown Affair, starring Pierce Brosnan and Rene Russo in the lead roles. While interests and tastes in the art world have evolved from old masters to modernists to an expansive contemporary art market today, the art market as a whole shows no signs of slowing down.
We can expect to see continued rapid growth including with the introduction of NFTs and factional ownership options. Each of the issues just highlighted are central to LMI Group and its specialization in authenticating to conclusive factual standards culturally and historically important works of art that have been lost to history but can reliably be reintroduced to the cultural sector, and in applying its expertise to cultural heritage initiatives that involve complex authentication of historical objects and information.
LMI Group is at the forefront of advances that are designed to enable objective, data-based analyses and decision-making in the art and cultural heritage sector.
Artists Invited To Enter Artwork In Florida Strawberry Festival Fine Art Show – Osprey Observer
A call to artists has been issued by the East Hillsborough Art Guild (EHAG) for the 2022 Florida Strawberry Festival Fine Art Show, which runs from Thursday, March 3 through Sunday, March 13 at the Festival Grounds in Plant City. The show will be held in the Milton E. Hull Building.
Adults are divided into professional groups (entry fee is $15) and amateur groups (entry fee is $12). Adults can enter oils, acrylics, watercolors, graphic/mixed media and sculptures. The entry fee for miniature art (2D media) and sculptures (3D art) is $12.
The youth divisions are by ages. Youth can enter oils, acrylics, watercolors, graphic/mixed media and sculptures. The entry fee is $5.
Adults can enter up to four entries, but no more than two in the same division. Youth can enter up to two entries.
Entries are eligible for substantial monetary awards. This includes $100 for the Strawberry Theme Award (an entry must include strawberries or reflect the current festival theme of ‘#1 for FUN!’). There is also $300 for Best of Show.
There are prizes for first ($150) and second ($100) place in all adult and youth divisions. Adult amateurs, miniature and sculpture entries receive $100 for first place and $75 for second. Adults who receive third and fourth place receive rosette ribbons.
For youth, first place receives $25 and second place receives $15. Entries who win third and fourth place receive a rosette ribbon. All youth participants receive participation ribbons.
Artists who do not win one of the above prizes are eligible for a Business Leaders Choice Award. Area residents can also become sponsors for the In Honor Award and select a winning artist who will receive a ribbon and $50.
Space is limited and entries are accepted on a first-come, first-serve basis. Early entries are accepted until Friday, February 11. Artists can mail their entry form and fee to East Hillsborough Art Guild, P.O. Box 3055, Plant City, FL 33564. Artwork must be brought to the Festival Grounds on Saturday, February 19 from 12 Noon-6 p.m.
Chairperson Karen Crumley said, “Our entry day was moved to Saturday to allow easier access to more working people or parents with school age children.”
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