Behind every local art event and program are those who make it all happen, and one person who works hard to make Orillia’s arts community thrive is Christine Hager.
Since moving to Orillia more than 20 years ago, Hager has found herself involved in a variety of non-profit organizations in the city.
She has volunteered full-time at Couchiching Jubilee House, served as executive director of the Sharing Place Food Centre and, for the past eight years, has worked as secretary for the Orillia and District Arts Council (ODAC).
One might think Hager, given her resumé, has had a lifelong passion for non-profit work and the arts, but her involvement in Orillia’s creative scene stems from a background in business, and her artistic career is limited to her hobby of sketching horses while growing up.
“I am not an artist. I do not paint or sculpt anything … but I love art,” she told OrilliaMatters. “It’s part of your soul. Everything around you is art. People just need to open up their eyes and recognize that.”
Originally from Sudbury, the soon-to-be-70-year-old Hager comes from a background in inside sales. She spent much of her career working for mining companies.
She said her current path began through making connections with others.
“You get tapped on the shoulder by somebody, you go for coffee, people ask you something,” she said. “I moved down here around 2002, and that’s when I kind of fell into doing not-for-profit work.”
Her background in business and sales has helped Orillia’s arts scene grow. Most arts programs and events in the city need funding, after all, and that’s where Hager shines.
She recently stepped down from her position as secretary to take a role in revenue development for ODAC.
“That’s what we need right now. We need the stability to be sustainable. We can’t depend on grants. You have to have a diversified revenue stream,” she said. “I’m the best one to do that because I have the most contacts.”
Her transition to non-profit work happened smoothly, and it continues to bring her great satisfaction.
“It’s given me that sense of satisfaction that, when I tell someone I can understand how (they’re) feeling, it’s because I’ve been there, and I can empathize with what they’re going through,” she said. “One of my favourite things at the food bank was until you walk a mile in somebody’s shoes, you have no right to criticize them.
“It’s always teaching and educating the public. That’s all these positions have always been. The public needs to know the reality of not-for-profits and vulnerable people, homeless people, and hungry people — and the arts people, too. They are trying to make a living as well.”
When Hager joined ODAC in 2014, “the board was very thin,” she said, but the organization now boasts an array of opportunities for local artists, thanks to the work of Hager and others.
ODAC hosts numerous art exhibitions for members, local and county art projects, public events, and more, on top of advocating for its members and other local artists.
One new program rolled out through ODAC is its Helping Elders with Arts (HeARTS) program, which provides seniors with the chance to learn a variety of art styles, art history, and enjoy physical activity on a regular basis.
With all her work helping the local arts scene thrive, Hager — who said she enjoys Sudoku and jigsaw puzzles — does not take much downtime for herself.
She also volunteers with St. James’ Anglican Church through its Sunday breakfast program, social justice committee, and community garden.
While she hopes to eventually take a bit of a step back from her responsibilities, Hager said she loves connecting with people.
“It’s nice meeting people. I love meeting people and developing the network that I have,” she said. “That’s been one of my big things: just getting to know people, building relationships, and then finding opportunities.”
Looking to the future, she hopes to see ODAC gain a full-time staff member and become a true “umbrella” organization that provides opportunities and advocacy for all local artists.
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.
