Art
Immersive, virtual art presented at Kwanlin Dün Cultural Centre – Yukon News
Spring officially starts on March 20 and some Yukoners might tell you that the winter weather is not over yet. If you are looking to escape the cold to a new destination, you only need to go as far as the Kwanlin Dün Cultural Centre in Whitehorse.
There you can try slipping into virtual reality (VR) and visiting the world of Coast Salish and Okanagan artist Lawrence Paul Yuxweluptun through his piece “Unceded Territories.”
The VR experience was created by Paisley Smith, a filmmaker and virtual reality creator from British Columbia. Smith was inspired to make a digital landscape out of Yuxweluptun’s paintings when she learned that he had dabbled in VR back in 1992, making “Inherent Rights, Vision Rights” — a work that transports viewers into a traditional longhouse to experience a ceremony complete with music, fire and spirits. Smith considers it a pioneering piece of the VR genre of art.
Yuxweluptun’s art is inspired by Coast Salish traditional works and influenced by the western world.
“Unceded Territories” places participants in a forest full of trees and bears, throwing wet globs of an unknown substance with virtual hands.
“Why are you throwing that oil?” booms the great spirit bear, voiced by Yuxweluptun. “Can’t you see you are hurting Mother Earth?”
The world then bursts into flames and turns black.
“Now everything is dead. No more birds to sing,” the spirit bear chimes.
The whole experience is set to the sounds of Ontario’s Indigenous electronic music duo formerly known as A Tribe Called Red, now called The Halluci Nation.
Curator Kailen Gingell holds his arm up after destroying the virtual world and turning it black. (Dylan MacNeil/Yukon News)
Ovoidism is the star of the show
As participants approach the VR headset behind black curtains in the Kwanlin Dün Cultural Centre, they are able to stop and take in a short film about the project called “Beyond Unceded Territories.”
The movie explains that the piece of work “pits a ‘Super Predator’ against the environment. But the star of the show is the colourful ‘Ovoidism,’ that evokes Indigenous culture, world view, and relationship with the natural word.”
An ovoid is “one of the basic shapes of traditional Northwest Coast art,” according to the Simon Fraser University Museum of Archaeology and Ethnology in British Columbia.
The shape’s defining characteristics are its concave base, convex top, and rounded corners.
“The Manifesto of Ovoidism” penned by Yuxweluptun and published in 2003, lays out the rules of the art form stating the focus of the Ovoidism style is to “maintain some part of, or all of, the shape of the ovoid.”
The manifesto also says that ovoid painting can be used to make political and joyous statements.
‘The ways of life are taught through the paintings’
Kailen Gingell is a Kwanlin Dün First Nation beneficiary of Tlingit descent and the curator that brought “Unceded Territories” to the cultural centre.
Ginigell says he first learned about Yuxweluptun when he was in art school in B.C. When he started working as the cultural program coordinator at the Kwanlin Dün Cultural Centre he found a book in their collection that features the Coast Salish artist’s work on the cover, inspiring him to seek out Yuxweluptun’s latest project. After reaching out to Smith and messaging back and forth, the exhibit was sent to Whitehorse. That was the first time Gingell ever put on a VR headset.
“It was very surreal checking out something like that,” Gingell.
Gingell says he thinks the artwork is something that a lot of people here at home can appreciate.
“A lot of Kwanlin Dün citizens have that Inland Tlingit descent and ties to the sea and coast. Trading would happen up and down the coast between our people. I thought that the parallels between the more southern coastal style and our styles up here was really interesting,” Gingell explains.
“In our artwork we have a lot of blacks and reds. Down [south] they have more access to colours and then Yuxweluptun takes that another step further with his surrealism,” adds Gingell.
Gingell also says that he thinks the art’s message of interconnectedness is something that is similarly expressed in Yukon First Nations art.
“You can’t have eagle without having the whale,” Gingell said.
“The ways of life are taught through the paintings.”
Curator Kailen Gingell says “Unceded Territories” was the first time he experienced virtual reality. (Dylan MacNeil/Yukon News)
As for how Gingell interprets the meaning behind the VR piece, “I see it as colonialism and how it really has an effect on the landscape. I know one single person might not have the effect that is really detrimental but once you have a million people acting in a consumerist way, and companies built off of exploiting the landscape, and stuff like that, I think you start to see that the effects are detrimental to Mother Earth.”
Yuxweluptun was not available for comment on the piece. Sources say he is difficult to get ahold of these days, as he may be spending a lot of time on the land and away from technology.
You can check out the VR experience for yourself at the Kwanlin Dün Cultural Centre gallery weekdays from 11 a.m. to 3 p.m. until March 31.
Dylan MacNeil is a CHON-FM reporter and writer based in Whitehorse.
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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