Art
More than a lockdown-era craze, the fever for fibre art persists
If you’re familiar with the term #rugtok, it’s been three years — maybe four — since you first saw an explosion of textile art on your favourite app’s “explore” page. In the time that’s passed since then, heaps of yarn, embroidery floss and the occasional $300 tufting gun have been relegated to the donation bin of history. Hobbies, especially those born of COVID-era boredom, often fail to stick, and yet as viewers, our appetite for “yarn paintings,” custom Pokémon rugs and all manner of fibre-art content has hardly abated. A group exhibition appearing in this year’s DesignTO Festival is celebrating that fact, billing itself as a “love letter to textiles.”
That show — Artifacts — is up until Jan. 27 at Bulthaup Toronto. It’s an unusual venue; the space doubles as a showroom for ultra-modern kitchen furnishings, which lends a high-contrast backdrop to the exhibition’s modest collection of fuzzy wall hangings. And it’s an eclectic variety of selected work, illustrating just how diverse the art form can be.
Curated by Adrienna Matzeg and Betty Wood, Artifacts highlights a wide range of techniques, including weaving, embroidery and (abstract) macramé. Using crochet, American artist Baylee Schmitt has replicated a cupboard from her childhood home — a 2D trompe l’oeil that hangs from the ceiling, dripping with yarn.
Locals Laura Carwardine and Yaw Tony both take inspiration from architectural forms. Tony’s piece is a vibrantly patterned velvet wall hanging, reminiscent of an Hermès scarf; Carwardine is fascinated by the coded visuals of architectural drawings: the stripes, dots and squiggles that stand in for things like brick and concrete and insulation. These hidden patterns appear as embroidered designs, stitched through a sheet of plywood using neon nylon rope.
Co-curators Matzeg and Wood have long admired the work of the artists they’ve assembled. Wood is a design journalist by trade, and she’s followed several of the participants’ careers, while Matzeg is employed as an industrial designer — as are some of the other folks included in the show. Like them, the curators have cultivated art practices on the side, and both have new works appearing in the exhibition.
The curators first met at Wood’s debut solo exhibition last spring (Still, Life – the spaces I remember) and quickly discovered they had much in common. Both share an affinity for punch needle, and like many hobbyists, they discovered the medium in the earliest days of COVID-19. Back then, Matzeg was newly out of work, itching to busy her hands and mind, and punch needle became the solution. For Wood, the art form was a means of managing lockdown anxiety, while staying connected to her roots. Based in Toronto, the artist is originally from the North East of England, an area with a long heritage of mat making. (“It’s what you’d call a ‘rag rug’ over here,” she says.)
“One of the really thrilling things about this medium is that it removes the anxiety of creating,” says Wood. If a stitch doesn’t match your vision, you can simply yank it out and start over.
“It’s like drawing. It’s so expressive,” says Matzeg, who delights at the range of tones she can capture with thread.
Since 2020, the pastime has flourished into a part-time art practice for them both. Matzeg, who studied photography at NSCAD University, often uses travel photos as a reference for her meditations on architecture and memory, whereas Wood is more focused on capturing domestic scenes, creating illustrative tapestries of unassuming interiors, like the home she shares with her wife. They’re cozy glimpses of an ordinary but blissful private life, and for Artifacts, she’s paired one such tableau, Settling in (monstera in the kitchen), with a scene from Guild Park and Gardens in Scarborough, where the ruins and remnants of many great Toronto buildings have been artfully lain to rest.
“One of the things I find really striking about Toronto is that it has such a quickness to demolish heritage buildings,” says Wood. “This idea that we don’t preserve interiors, that runs through a lot of my work. I draw a lot of interior spaces that are transient or lost or personal.”
Like Wood, Matzeg is also keenly interested in the memories we build around a place. “My practice is really focused on nostalgia,” she says, “and this feeling we have of trying to get back the feeling or the moments that are gone.” To that end, the new works she’s included in Artifacts are travel souvenirs of sorts — architectural details meant to channel memories of Portugal.
Textile art lends itself well to stories about nostalgia, according to Matzeg. The texture of the thread is a nod to the fuzziness of memory, she says. “It gives a blurry edge to these things that you can’t grasp. You can’t see them as clearly as when you were there.”
And yet, there’s something undeniably contemporary about the medium. Even though traditional textile crafts go back hundreds and thousands of years, they suddenly feel fresh.
“A lot of them have become lost and are finding their way back to the surface again through new practitioners or new versions,” says Wood. “This is what’s interesting for me, and I think it’s interesting for a lot of people: we’re finally realizing that the gatekeeping around what has value — what is viewed as art — the value of that is changing and shifting. And I think it’s long overdue.”
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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