On the morning of Jan. 12, 2010, Frantz Voltaire met up with his cousin, Georges Anglade, for a coffee in his birth city of Port-au-Prince, Haiti. Just a few hours later, Voltaire hopped on an airplane and headed back to Montreal.
It was when he arrived that he first heard the news.
“We met in the morning not knowing that it was the last time,” said Voltaire.
Anglade and his wife were among the more than 230,000 people killed by the 7.0 magnitude earthquake that hit Haiti that day. Voltaire himself had escaped the earthquake by mere hours.
Voltaire was one of many who exchanged stories of the earthquake through workshops, artwork, and panel discussions at the TOHU circus in Montreal Saturday. The event, called “Ayiti La,” was organized in collaboration with the Maison d’Haïti.
People from all walks of life told tales of heartbreak, hope and frustration, describing the ways in which the earthquake still has an impact on the country — and themselves — a decade later.
‘It was a shock’
Frantz Voltaire left Haiti a few hours before the earthquake hit in 2010. The destruction was such that when he returned years later, the place was unrecognizeable. (Franca Mignacca/CBC)
It took Voltaire years before he finally convinced himself to visit Port-au-Prince again. When he did, he could hardly recognize it. Even now, 10 years later, Voltaire fears it will never recover from the devastation.
“When I finally decided to go to Haiti, it was a shock,” said Voltaire.
“When you live in a city, you have some references, you have some landmarks. And you see more of the landmarks have disappeared.”
The cathedral he lived near, the national palace, and the school he attended as a child were all gone.
Haiti-Montreal connection
Jean Bonald Golinksy Fatal, head of a Haitian workers association, also spoke at the event Saturday. He was in Port-au-Prince at the time of the earthquake.
“I was on my way to my home, when I saw a woman on her knees in the streets, raising her hands and screaming,” said Fatal.
“It was at that moment that someone told me, ‘It’s an earthquake.'”
The connection between Haiti and Montreal is a strong one, says Jean Bonald Golinksy Fatal, who lives in Port-Au-Prince but visits Montreal often. (Franca Mignacca/CBC)
The damage was limited in Fatal’s neighborhood in Port-au-Prince, so it wasn’t until the next morning that he fully realized what had gone on.
“It was extremely serious, shocking, with bodies and people in the streets,” he said.
Though Fatal still lives in Port-au-Prince, he visits Montreal frequently, feeling a strong connection to the Haitian community in the city. At the event Saturday, he said he wanted to make sure that Montrealers never forget that Haiti still exists and is still important.
“There’s an extremely important link between Montreal and Haiti,” said Fatal. “After the earthquake, I believe that connection only grew stronger.”
“The people who died or disappeared in the earthquakes deserve that we honour their memories.”
Coping through art
Edzer Prophete had moved to Montreal a year before the earthquake hit, but several of his friends and relatives were still in Port-au-Prince.
Prophete lost his father’s cousin that day and the death had a major impact on his tight-knit family.
“We all lost someone,” he said. “In Haiti, we live in families, so cousins are close.”
Edzer Prophete moved to Montreal a year before the earthquake. ‘We all lost someone,’ he says of the tragic event. (Franca Mignacca/CBC)
Now, he hopes his artwork will remind Montrealers of the tragedy.
“It had an international impact because it caused a forced migration, at all levels, of all kinds of people who were traumatized by this situation.,” he said. “It has to stay part of history.”
He stood by a display of his own paintings Saturday, describing how each one has a piece of Haiti in it. He uses high contrast paints and shattered lines to depict the dramatic loss the country went through.
Prophete still feels frustrated whenever he thinks about the day of the earthquake.
“When I see things are going badly and there’s nothing I can do about it, it tears me up inside,” said Prophete.
Ayiti La will resume at 10 a.m. Sunday morning at Tohu Circus, 2345 Jarry Street East, and will close with a musical performance at 6 p.m.
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.
