Art
Geoff McFetridge’s art is everywhere. It’s in movies, trains stations and even on your wrist
Q32:34Geoff McFetridge: Beastie Boys, skateboarding in Calgary, and designing for brands like Apple and Nike
Geoff McFetridge has been called “the most famous Canadian artist you’ve probably never heard of.” As a graphic artist and painter, he’s collaborated with directors such as Spike Jonze and Sofia Coppola, designed for brands like Apple and Pepsi, and created a huge mural for Ottawa’s transit system.
McFetridge is also the subject of a recent feature documentary, titled Geoff McFetridge: Drawing a Life, which traces his story from his suburban upbringing in Calgary to becoming one of the most prolific artists of his time.
In a wide-ranging interview with Q‘s Tom Power, McFetridge discusses how the DIY culture of skateboarding influenced him to get into art, how he landed a job doing art direction for Beastie Boys’ Grand Royal magazine and why he keeps one foot in the world of art galleries and one foot in the world of corporate design.
Listen to the full conversation on our podcast and follow along using this visual companion guide.
Beastie Boys’ magazine
One of McFetridge’s first jobs out of art school was working with Beastie Boys at the height of their popularity. In 1995, he landed a job as the art director for the hip-hop trio’s short-lived magazine, Grand Royal, which was edited by filmmaker Spike Jonze among others.
“They were the biggest band in the world,” says McFetridge. “I moved into their office and there was a lot going on. They recorded the album like one door over, you know. There’s all this Beastie Boys stuff going on. What I did was I moved out. I moved across the street and got my own studio … I didn’t want to be dealing with that, like the heaviness of that. I didn’t have the capacity. I wasn’t like, ‘I want to go on tour with the Beasties!’ I was like, ‘I just want to make stuff and contribute.’
“I’m a distance guy. Like, I want to learn from the Beastie Boys. And I felt like learning from the Beastie Boys was easier across the street, because within the confines of it, it was overwhelming.”
Painting
Eventually, McFetridge started his own studio and developed his own style. There’s a simplicity to the way he draws; his work says a lot with just a few shapes and colours.
“I’ve always felt like I had an ability,” he says. “I could draw really well … I think that there’s an aspect of, like, I’m making simpler and simpler images, but I’m growing the thing that I love, which is the thinking and the feeling — the concepts around it.”
McFetridge’s latest solo exhibit, Nature Mart, is on display now until Jan. 20 at Toronto’s Cooper Cole Gallery. Check out more photos from the exhibit here.
Brand collaborations
McFetridge’s clear visual language seems to work well commercially as he’s collaborated with numerous brands, such as Nike, Uniqlo and Hermès (you can find a list of his corporate design work here).
“I believe I can draw a simple image and it’ll hold my thoughts and my intentions,” the artist says. “We’re the most visually literate people that have ever been. Since birth, we’ve seen things that are like this highly-evolved visual culture that’s usually asking things of us. It’s usually asking us to decode it, to sell us something … whatever it’s doing, it’s spelling it out for us.
“So I think that when I make this work, I’m within that culture and I’m speaking this language of our world, but in a weird way — with poetry … So I’m very careful about what I make my work about, because I believe in it, like I believe it’ll say something.”
Movies
McFetridge has worked on films like The Virgin Suicides and Being John Malkovich, but his biggest film job was Spike Jonze’s 2013 sci-fi romance Her. It’s about a man who falls in love with his virtual assistant, and McFetridge was responsible for designing the look and feel of every OS interface seen on screen.
“I went into that project being like, ‘I have no place doing this,'” he says. “But, at the same time, believing in my process, believing my ability to take on … this sort of impossible thing: imagining what interfaces will look like in the near-future … There are people who dedicate their entire careers to developing these things. But as a believer, I know I can fake it … because there was a concept behind it, which for Spike was ‘the near future is nice.'”
Ottawa’s Lyon Station
Of all the projects he’s done, the one that really gets McFetridge emotional is a giant mural he created for one of Ottawa’s downtown transit stations. The mural, titled This Image Relies on Positive Thinking, represents a vision of contemporary life and vibrancy in a city.
“That’s something that people in my country are going to see every day,” says McFetridge. “Part of doing public art, which people might know, is that you sign a contract with your client, which was the transit system in Ottawa, that they will maintain and keep it for the life of the building. They have to take care of it. It has to be there forever.
“I was thinking about, like, how do you make things that last? Every day you think about how do I make this good? But then there are other factors that if it’s good or not, it’ll disappear. And I think everything disappears. But it is nice to build into the process something that says this will not disappear.”
The full interview with Geoff McFetridge is available on our podcast, Q with Tom Power. Listen and subscribe wherever you get your podcasts.
Interview with Geoff McFetridge produced by Vanessa Greco.
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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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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