Art
This designer's creations are the definition of wearable art – NiagaraFallsReview.ca
Carrie Yap doesn’t just make hats. Each intricate design is a culmination of haute couture techniques, meticulous handiwork and tireless research. And each design celebrates and engages with traditional Chinese and Asian fashion.
“I like that my work has depth rather than just being a piece,” writes Calgary-based Yap by email, just a week after giving birth to her son — or in her words, adding “another amazing identity” to her repertoire. “I am an artist, urban planner, community advocate, athlete, wife, sister, cousin, aunt and now mother.”
As an artist, working under the label Yap Sister, Yap says that she learns more about Chinese and Asian culture and history with every hat she makes. “I spend a lot of time researching, whether it’s through books, movies, web or speaking with people.”
Once she gets an initial idea for a hat and creates a sketch, Yap tests out construction methods. “The methods for traditional Chinese or Asian pieces (I defer to Asian because sometimes the piece cannot be limited to the Chinese culture) are rarely readily available or documented,” Yap explains. A lengthy trial-and-error process is often involved. And sometimes, the materials and methods are outdated, which means Yap must innovate new ways of creating.
“Throughout the entire process, I am documenting my findings so that I can replicate the foundation of each piece and find adjustments as needed.”
Next comes production, which is a labour of love. “Everything is done by hand including cutting, wiring, sewing and attachment of cultural touchstones like hand embroidery. I could rely on machinery, but when I am embroidering it by hand, I am walking in the same steps or stitches as the artisans before me,” says Yap, who also employs an all-woman team to create her pieces.
The latest collection, titled Auspicious Expressions, was inspired largely by books. “I was in New York visiting the ‘CAMP: Notes on Fashion’ exhibition, and I came across two books, ‘Hidden Meanings in Chinese Art’ and ‘Collector’s Guide to Chinese Dress Accessories.’” Surprised by the depth and symbolism of Chinese art, Yap wanted to recreate traditional pieces, but with an added modern twist. “I wanted not only to replicate but also communicate like the artisans before me,” she adds.
“The current Western fashion scene is saturated with fashion catered toward a Western taste and frame,” says Yap. “I certainly struggle to find clothes that fit my esthetics and certainly my body. In this time of social justice, it’s important to remember that there were many racialized communities that helped to establish the Western world and continue to do so.”
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For Yap, reclaiming space in the fashion world is not all that different from reclaiming space in communities. She frequently uses her social media platform to highlight social justice causes, a step she says “is only natural.”
Yap’s upcoming collection will consist of more contemporary pieces. “I recognize that not everyone wants to wear a giant crown and wants something a bit more subtle,” she says. These pieces will be the crown jewels of an upcoming Signatures Collection made up of everyday pieces that are still inspired by traditional designs. Yap says the most common critique she gets is that there’s no hat-wearing culture in North America. The contemporary collection sets out to challenge that. “You can wear these beautiful pieces every day because their historical function was to be used in daily wear.”
Ultimately, Yap’s work aims to reclaim traditional craft techniques (some of which are on the verge of dying out, thanks in part to the rise of fast fashion) and further the scope of Chinese fashion and its movements, including Hanfu, the shift to revitalize cultural touchpoints from the pre-Qing dynasty era. “There is more to Chinese and Asian fashion than the cheongsam. Like fashion everywhere, it has evolved.”
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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.
The Canadian Press. All rights reserved.
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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