A new large-scale bronze artwork co-created by xʷməθkʷəy̓əm (Musqueam) master carver Kayám̓ Richard Campbell and Haida master carver and hereditary chief James Hart, 7idansuu (Edenshaw) now anchors Hart’s The Reconciliation Pole (2015-17) to Musqueam territory.
The new art, titled θəʔit, was commissioned with support from the Audain Foundation and the University of British Columbia.
The 15-foot-wide disc depicts four salmon carved by Campbell. The artwork name θəʔit translates to truth in English, which acknowledges the continued need for Indigenous peoples’ truths to be uncovered and remembered.
Details from The Reconciliation Pole (2015-17) by Haida master carver and hereditary chief James Hart, 7idansuu (Edenshaw).
The Reconciliation Pole tells the story of the time before, during and after the residential school system and symbolizes the path toward reconciliation between Indigenous and non-Indigenous peoples in Canada. It was installed at UBC’s Vancouver campus in 2017 at a large celebration that included ceremony held in accordance to Haida cultural protocols.
As part of his vision for The Reconciliation Pole, Hart invited Campbell to design and carve the artwork for the bronze disc. The new artwork acknowledges that the pole – which was carved and raised according to Haida tradition – stands on Musqueam ancestral territory.
Kayám̓ Richard Campbell is a Musqueam Elder, knowledge holder, archaeologist, master carver and residential school survivor. He was raised in Musqueam with traditional cultural teachings, and first learned to carve from his grandfather and uncles.
Carving professionally since 1979, Kayám̓ trained and collaborated primarily with Wallace Baker (Squamish) in his early career, eventually transitioning from traditional Musqueam design into a contemporary, interpretative style. He specializes in private commissions for largescale yellow cedar carvings, and is still frequently asked to carve items for many of Musqueam’s community and ceremonial events.
Since 1998, Campbell has been a field technician with Musqueam’s archaeology department. He now brings his cultural knowledge to the role of full-time senior archaeological field technician and works with partners throughout Musqueam territory to ensure Musqueam’s heritage is protected and respectfully managed. Kayám̓ is the proud father of six and grandfather of nine, all of whom were born and raised in Musqueam.
“θəʔit is a special project to me for many reasons. It is important that Musqueam art and design is shown on Musqueam territory because it shows that we are here, and it shows who we are,” said Kayám̓ Richard Campbell. “By anchoring Jim’s Haida pole, θəʔit is setting a strong foundation to connect The Reconciliation Pole to the land it stands on for generations to come. It is emotionally meaningful for me to represent Musqueam in this way, and to honour all those who attended Indian residential schools.”
“Musqueam’s cultural protocols guide much of our daily lives, and is the foundation of who we are. Although we have maintained many of these teachings over thousands of years, many are lost forever because generations of Musqueam children were forcibly removed from our community to attend residential schools,” said yəχʷyaχʷələq, Musqueam Chief Wayne Sparrow. “Kayám̓ embodies the spirit of resiliency that has enabled Musqueam to not only continue our cultural practices, but strengthen them by bringing pride to his family and community.”
Richard Campbell and Max Chickite carving into high-density foam for casting in bronze, 2021. Photo: Jeremy Jaud.
To bring the new artwork to life, Campbell and Hart also collaborated with artist Max Chickite (Lekwiltok, Kwakwaka’wakw), with support from the Morris and Helen Belkin Art Gallery and department of art history, visual art and theory (AVHA) at UBC.
Campbell drew the initial design in 2D, which was then enlarged and applied to an at-scale high density foam to carve his design into. The panels were then transported to the Burton Bronze Foundry on Salt Spring Island to begin the process of having it cast in bronze. The bronze panels were then taken back to UBC and installed in sections at the base of The Reconciliation Pole.
“The Bronze Disc pays respect to the Musqueam people, whose territory the pole stands on. It was wonderful to have a Musqueam artist, Richard Campbell, do the carving,” said Hart. “The Reconciliation Pole was carved in Haida tradition, but the meaning of the pole is for everyone. People leave offerings at the base of the pole – I hope that carries on. This helps with bringing attention to the whole story of the residential schools and hope for the future.”
“The Audain Foundation is grateful to Richard Campbell and James Hart for the opportunity to participate in reconciliation through art,” said Michael Audain, Chair of the Audain Foundation and Honorary Chair of FORWARD, the campaign for UBC.
While the new artwork completes the physical form of The Reconciliation Pole, it invites continued reflection on UBC’s relationship with Musqueam and what it means to work towards truth, reconciliation and decolonization as settlers on traditional Musqueam territory.
θəʔit highlights the importance of collaboration with Musqueam on new Indigenous public art and strengthens the university’s commitment to expand the presence of Musqueam art and culture on campus, as part of goal five of UBC’s Indigenous Strategic Plan (2020).
In addition to θəʔit, Musqueam art was unveiled in March of this year as a secondary logo for the UBC Thunderbirds, while in 2022, five new UBC student residence buildings were gifted hən̓q̓əmin̓əm̓ names.
“The Reconciliation Pole is a powerful reminder of the legacy of the residential school system, and the deep work of reconciliation we must all undertake,” said Dr. Deborah Buszard, interim president and vice-chancellor of UBC. “The addition of Richard Campbell’s artwork is another important step in UBC’s ongoing relationship with Musqueam and an opportunity to highlight Musqueam artwork and culture as visible symbols of the traditional, ancestral and unceded lands upon which UBC’s Vancouver campus stands.
“We also gratefully acknowledge the longstanding commitment from the Audain Foundation towards this deeply meaningful installation.”
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
