Last weekend, on an overcast Saturday afternoon, the restaurant at Debenham’s in the new Liverpool One was bustling.  There was a menu card on every table advertising chocolate soups.  But, from what we saw, we were the only customers ordering one.  The "hubble bubble" looked good in the photo (and as above), but, according to my niece, a chocolate aficionado, it was a little disappointing.  So, off to the plush new two-storey Costa Coffee on the corner of Lord Street we went, and found a triple chocolate muffin.  This got a five star rating, and satiated her craving!  They also have soya milk latté there—and it rivals Canada’s Lettieri’s.

I’m back to indulging in the occasional soya latte!  And, at Yonge/St. Clair (on St. Clair) it’s from Lettieri.  The other morning, a heart formed on top (as pictured above).  Fun!  You’ll also find Hero Certified Burgers in the same premise—the best (healthiest and most creative) burgers in town. Try their Wild Alaskan Salmon Filet or Soul burgers for a change. Yum!

p.s. Regular readers might remember my Unscientific Study of Coffee from July 19, 07 

With my constantly changing routines and busy travel schedule, I usually find it hard to commit to extra-curricula classes.  Also, I am not a "gym person".  But, this past week, a neighborhood offering met my needs and interests admirably.  Roots’ flagship store in Rosedale has free one-class passes for their yoga studio.  Stimulated by the first class, I decided to take advantage of a "summer special"—unlimited classes for a week for $20. Though classes are reduced in number for the season, there were enough to meet my needs, and four out of five were enjoyable—especially the pilates. The studio is low-key, no mirrors or fancy accessories, and appears to have a regular clientele (all female).  Positioned at the back of the building (away from Yonge Street) the view of tree-tops through the window is well-planned and soothing.  And, eventually, you stop noticing the rattles of the subway line down below.  Definitely a positive experience!

Little wonder there needs to be public service announcements advising against drinking and driving (while operating water vehicles).  The LCBO (Liquor Control Board of Ontario) occupies prime real estate in popular lakeside locations.  In Killarney and Port Carling, their properties are waterfront.  Look at Port Carling’s pick-up dock (in the photo posted above).  On a recent road trip through Northern Ontario, no matter the basics communities seemed to lack, government liquor stores appeared prominent and dominant.  Maclean’s Canada Day double issue, with a feature offering the "startling facts" about Canadians vs Americans" gave interesting statistcs. Apparently, 27% of Canadians conusme alcholhoic drinks "at least ‘a few times a week’" compared to 19% of Americans.  Also, 1.3% of Canadians’ household expenditure goes on alcohol compared to 1% of Americans’.

Apple raises the bar on customer service and satisfaction, encouraging repeat business and spontaneous purchases. Win-win for everyone!

With their Procare and One to One assistance, you can get Apple technical support (for 15 mins) and/or personal instruction (for one hour) weekly.  Annual fees are very reasonable, and trainers savvy, friendly, and versatile.  Also, depending on location, canine assistants have been known to enjoy participating too!  

Lev and Sage are always eager to learn, and happy to observe from their travel bag.

Lev (as editor in chief of this blog) is pensive. 

Sage (as editor in chief of the DocSusan website) takes his job seriously (sometimes).

p.s.  Please note that the Eaton Centre Apple Store will be "undergoing renovations" mid-August for 10 weeks, so their space and services will be reduced during that time.

With all the thunderstorms of late, there’s also been a lot of rainbows.  Hopefully, that means (a lot of) good luck is on its way.  Check out this rainbow on a usually drab section of Yonge Street (close to Yonge/St Clair).  An ordinary evening can become special in an instant, if we’re open to acknowledging it…

Summertime in Canada, (particularly Ontario), at first glance, seems to divide the population into two:  those who have cottages and those who don’t.  Those who have cottages enjoy miles of private shorelines.  Those who don’t can find it hard to gain access to a lot of areas—no parking allowed without resident permit and scant public facilities.  Even when a beach is public, regulations can be prohibitive—with limited hours, no pets, parking and entry charges, and more. A  Sunday afternoon trip to West Kirby, last month, prompted me to think about summertime phenomena and marvel at the old-world charm and simplicity of the setting—few obvious restrictions and daytrip fun for all without fees or memberships.  Please look below to glimpse (on-going) pleasures of British yesteryear:  families, dogs, adult kids, fisherman, and sailors welcome.

Earlier this week, I was excited to be part of a quartet that attended Dirty Dancing, at the Royal Alex Theatre in Toronto.  We took advantage of a mid-week special (four tickets for the price of three), making a spontaneous same-day purchase.  Sometimes, the best night’s entertainment happens when you don’t have long-term plans for it, but break routine.

Not only were the sets and costumes superb, but the cast was consistent and well-chosen.  This wasn’t the kind of show that had you wondering when the interval was going to happen. And beyond the actual performance, we were also struck by deeper story-lines, like that of a nuclear family with two adult-children.  

Siblings often have distinct personalities (and outcomes), and the daughters, Frances and Lisa, were excellent examples of this.  Sometimes, one child can be seen to do no wrong, and the other child, no right.  One has "higher goals" and she is misunderstood. The other ’s behavior is less commendable, but she’s more likely to get away with it (though not grow from her mistakes).  Also, parents often seem to forget their own pasts when making suppositions and demonstrating differential treatment.  Not knowing (or attempting to learn) all the facts, and making judgments for the wrong reasons can be problematic, unless non-family members have a chance to intervene.

Though much of the music was familiar, and there was a strong urge to want to go home and get dancing lessons, this staging of Dirty Dancing, it was clear, offered more than the immediately obvious.  Seeing the movie years ago, I’d been more focused on visual and auditory effects.  This time around (perhaps helped by the stellar performances of the leads) it was refreshing to be able to consider deeper messages and meanings. Lively afer-show discussion ensued!

With extended trips to Chicago in April and May, I have a growing list of recommendations for visitors. Even without much time to get out and about, because of "show schedules," I’ve been very impressed by what this city has to offer, and the well-known friendliness and kindness of locals.
 
You can’t have a bad meal, as the following easy-dining eateries demonstrated (in no particular order):

• Fulton’s On the River (fish)
• Ben Pau (Asian)
• Tizi Melloul (Mediterranean)
• The Brick House (fun)
• Shaw’s Crab House (fish)
• Lou Malnatis (pizza)
• McCormick & Schmick’s (fish)

And, for take-out, Fox and Obel (gourmet foods), close to Navy Pier, is hard to beat.

Spectacular architecture is everywhere. Don’t miss the legendary architectural boat tour that has the best views. You might even notice a city kayaker alongside.

Then, for a spot of exercise, check out the incredible East Bank Club (Oprah’s gym). A friend kindly invited me to a yoga class there.  The studio it was held in overlooked the river as the sun went down, making the experience all the more pleasurable.

And, for animal-lovers, missing pets or thinking of adoption, a visit to The Anti-Cruelty Society (157 Grand Avenue) is encouraging.  It occupies a whole city block and has a "transparency policy," domestic animals in-care viewable through all windows. 

Alternatively, a quick walk through Lincoln Park Zoo, in easy-reach of downtown, offers a more exotic break.

Nature and entertainment aren’t forgotten outside of parks, either—even on ("Magnificent") Michigan Ave.  Check out the Saturday afternoon street-performers. And then there’s all those shops…

But, if you are in town for "business," like I was, there’s other priorities, and staying at the Holiday Inn Merchandise Mart Plaza helped—consistently a comfortable, caring, and convenient environment.

Though I haven’t tried it yet, a Segway Tour is on my list of "must-dos" for next time.  I’d also like an evening out on Rush, which seems like a lot of fun…

With all Chicago’s summer festivals, as well as museums, galleries, parks, and lakefront, I really look forward to more visits to this super-friendly city, that’s clearly a shining example to others in so many ways.

Many tourists seem to be impressed with Toronto’s cleanliness. However, unfortunately, its warmth, joie de vivre, welcome, and energy aren’t quite as remarkable.  Locals point out obstacles too, like in Peter Kultenbrouwer’s May 10, 08 National Post article about Yonge-Dundas Square, "A public square that isn’t public."

In 2007, I seemed to take a number of plane flights back to back.  Flying Toronto - Munich, in November, I put pen to paper, and wrote this poem.  It’s always interesting to have a little notebook in bag when traveling, all kinds of interesting reflections to record…

 

Special occasions often call for unique settings in which to celebrate.  These are places that you visit once, hoping to experience something out of the ordinary—not with the notion of getting a "good deal."

Recently, I joined friends for a one-of-a-kind evening at C5 (the restaurant/lounge under the ROM’s Michael Lee-Chin Crystal). What we will remember most about the venue:  high prices, miniscule portions, unique decor.

At this new Toronto dining attraction, you’re clearly paying for ambiance and originality.  Though the food is tasty (what there is of it), those not on calorie controlled diets may need to go home to a hearty meal later—or fill up on treats at a movie afterwards, as we ended up doing.

 

Recently, an e-mail arrived inviting me to decorate a terra cotta plant holder to be auctioned off at a charity event, Eat Play Love, put on by Toronto’s Children’s Peace Theatre, this Saturday, May 10, 08.  Though I had no previous knowledge of the charity and wouldn’t be able to attend the event, I thought it was a fun idea and interesting cause.  This past Monday evening, the pot was delivered.  By Wednesday afternoon, I’d glamorized it with faux jewels and iridescent paints. Almost overnight, a non-descript container started to turn into a "Magic Pot."  Artists are often called on to give in whatever ways they can.  Whenever and however possible, most of us try our best—whether time and resources permit, or not.  The finished pot is inserted above.  How it looked before treatment is inserted below.

I have had the privilege of being an artist donor for Boston’s Art Connection for several years, already.  This is a marvelous one-of-a-kind artist- and community-friendly organization.  It would be wonderful if other major cities could follow its model, bringing artists and the wider community together, year-round, in mutually satisfying and innovative ways. 

A quick Google search to find other artists’ impressions of Toronto Art Expo (08) led me to the Artists Toronto blog.  After agreeing with some of the commentaries posted there about the event, I thought I’d look into membership.  Sharon Barr welcomed my "application."  What happened next was curious.  10 days later, she sent me a friendly-solicitation for ideas to help grow their site.  Suggestions wanted included the donation of e-mail lists and industry connections as well as initiative to devise a group show.  26 days later, I received an anonymous  "jury" rejection from a personal e-mail address that had the name "Jones" in it. A quick Facebook search enabled me to deduce that It was Stan Jones who’d provided the "glad tidings." It simply stated:  "It is the consensus of our committee that the images you have submitted for approval do not meet the subjective objectives of our committee."  I wasn’t sure what that actually meant, or what they could really be looking for.  All I was aware of were inconsistencies.  Note the time line for communications.  Application, solicitation, rejection.  Also note that they don’t have a 2-week application response turn-around, as posted.  One would expect elitism/run-arounds in the wider art world, but not from a parochial group that touts itself, in correspondence, as a "viable grassroots undertaking." By the way, you’ll find the Artists Toronto blog piece about Toronto Art Expo under the header "The Big Spring Art Shows."  The date given for it, right now, is March 8, 2009.  Of course, we know it must be 2008—and will likely be corrected, eventually.

p.s. Since posting this blog entry, I have received clarification from Mr. Jones about the AT "committee."  Apparently, it has five members (including him).  He states, "’Subjective objectives’ reflect the consensus of our jury in what we feel is a degree of artistic merit that we’re collectively comfortable with.  But it is only our opinion."  Unfortunately, still no explanation of the application, solicitation, rejection procedure.  Only a remark about  familiarity with "entrepreneurial drive."  If they do really intend their site to be "the main connection between Toronto artists and the art loving community" (as announced on their home page), they’ve demonstrated an interesting modus operandi with a target audience.
Perhaps it’s personal artist-artist-friendly experiences in the US, Europe, and beyond that make me all the more sensitive to Toronto artists’ (unnecessary) obstacles.

New puppies draw a lot of attention.  Dogs’ aging processes and illnesses don’t get enough. In the last month, I’ve experienced two veterinary emergencies with poopals, Lev (now 11) and Sage (now eight).  These have reminded me how quickly caninekind live their lives.  Anything that happens to them seems to come about almost instantaneously (far more speedily than with humans).  Sage got a blocked anal gland, with absess.  Lev had a third eyelid appear that I didn’t know exists.  Both dogs’ conditions were alarming.  Sage did a lot of licking and could barely walk.  Lev pointed her head in my direction, eye completely white (no eye ball showing). Thankfully, I noticed each dog’s symptoms promptly, and got emergency veterinary appointments and treatments.  I treasure every moment with such wonderful companions, and am thankful to have found appropriate, expedient, and convenient care for them.  Sometimes, there’s a tendency to wait and see what happens if we’re feeling poorly.  Animals don’t seem to have as much time as we do. Not only can they not explain to us how they’re feeling, they also tend to display greater bravery (suffer in silence).  If we have pets in our lives, it’s our responsibility to be alert to changes in their conditions, taking action right away if we are aware that something could be wrong.

Sage thanks East York Animal Clinic staff, and Dr. Kneebone.

Lev thanks Rosedale Animal Hospital staff, and Dr. Davidson.

Walking through the Yonge/St. Clair Centre (Toronto) to purchase a treat at Timothy’s, Easter Friday morning, I wasn’t surprised to notice that Ziggy’s/St. Clair Market (Loblaws flagship supermarket) was closed (grills down).  What did catch my attention was their display of floral merchandise that wasn’t locked away. Even if there are hidden cameras, and this is the way things are left daily, I still find it remarkable.  Perhaps that’s because I grew up in Liverpool.  Even though it’s the European Capital of Culture for 2008, most stores (and their goods) still have to be boarded up when businesses aren’t open.

There are more international art fairs and artists than ever. While visitors may only witness final happenings, what goes on behind the scenes for artist participants can present a totally different picture (no pun intended). In Italy (at the Biennale), logistical idiosyncracies went with the territory.  In Toronto, for an established local event, like Art Expo, perhaps my expectations were too high.  When event dates were moved up, just before Christmas (with tardy website adjustments, and a clash with a competing art show), other surprises weren’t yet in the air. (Please see an earlier blog entry, "Change of Date, Change of Fate:  Toronto Art Expo 08 Snowed Under," March 16, 08)

Reminders were included in Art Expo e-communications assuring that "no other" show goes to Art Expo’s lengths to make things easy for those exhibiting.  However, return e-mails, phone calls, and receipts, were difficult to obtain. Also, pre-show move-in wasn’t happy. Arriving for a mandatory end-of-the-day slot, it was disappointing to discover that recommended (rented) booth equipment wasn’t in place, making eventual set-up uncertain and tense. (I am very grateful to those who took non-job related initiatives, well into the night, to help postion my display prior to the next morning.)

Art Expo artists incur heavy costs for the privilege of participation, no matter show actualities. Here’s my own tally:
Sums Paid to Rime Canada:  $1957
• Amount for the smallest booth (5 x 15 feet):  $1695
• Amount for participating in the Toronto Life Advertisement option:  $265
Sums Paid to "Recommended Decorators":  $859.34
Booth’s basic fixtures (not included in booth registration fee, and outsourced):
• Showtech:  rental of 2 high ceiling mounted floodlights (secured at a greater distance from the booth than anticipated):  $540.14
• Stronco Show Services:  rental of a 5 by 15 foot strip of (poorly cut) grey carpet, no underlay:  $166.95
• Canfence:  rental of a custom-made (yet rusty and broken) fencing enclosure on which to hang the artwork:  $152.25
Sums Paid to the Toronto Convention Center:  $55
• Parking Pass:  $55
(Internet connection not taken because it was $895 +5% gst for wired access, and $395 for wireless access)

Different art shows, I now realize, can be lighter on the wallet, and suggest less possibilities for set-up stress/additional costs. Take, for instance, the Artist Project (Toronto), which happened the same weekend as Art Expo.  Here are their booth rates: 5 X 10 $600 + $300 = $900; 5 X 15 $900 + $400 = $1250; 5 X 20 $1200 + $400 = $1600; 10 X 10 $800 + $400 = $1200; 10 X 15 $1200 + $600 = $1800; 10 X 20 $1600 + $800 = $2400. A note from the Artist Project’s user-friendly Website clarifies inclusions: "We have negotiated a great price for the gallery style hard-wall system. The cost for this rental is included in the price of your booth. This system will facilitate a smooth and easy move-in; all you need to do is hang your artwork  and provide your electrical and lighting. As well, these walls will ensure a high-end, professional looking show…"

Right now, I’m looking forward to exhibiting at The Artist Project, Chicago, April 24 - 29, 08.  So far, the greatest administrivia difficulties and financial expenses connected with this show pertain to cross-border protocols and logistics.  Shipping to an out-of-the-country event, and determining far-from-home transportation, accomodation, and on-site necessities presents fresh challenges and adventures…

If this blog becomes a little less active over the next few weeks, please understand.  Now, back up to the painting studio!

For Toronto Art Expo’s opening night, I wore one of my home-made crochet creations. Many times, we make hand crafted clothes and then feel too afraid to wear them.  But, for special occasions like an art exhibit, I thought it might be fun to do so.  This crocheted outfit had many commenting that I looked like my paintings!

For more Susan-of-a-kind crochet creations please check out the crochet gallery linked to a previous blog entry, (Crochet for Stress Reduction, Fashion, and Fun, December 25, 2006).

This Sunday morning (today) was crisp but spring-like. Woken by birds singing and seeing the snow melt, I couldn’t help but think back to last Sunday morning—having to dig myself out of the house.  Last Saturday night, I abandoned my car at the Metro Toronto Convention Centre parking lot because we were in the midst of a snow storm—weather conditions that didn’t bode well for Toronto Art Expo attendance.  Originally, Toronto Art Expo was supposed to be held this weekend (March 13 - 16) and these dates could have worked out better had they been kept.  

When Mr. Peter Maguire (President of Rime Canada/Organizer of Toronto Art Expo) confirmed the date switch (off-line, just before Christmas, and on-line, well into January) from March 13 - 16 to March 6 - 9, 08, I was uneasy.  Apparently, there were two main reasons for the date-change:  to catch March break big-spenders before they left on vacation, and to upstage Toronto’s Artist Project’s first-year, which Maguire didn’t want to have poach his audience a week in advance.  

Sometimes, calculations and manipulations just don’t work.  Mother Nature is more powerful than humankind.  What is meant to be will be, rash or reasonable decisions and changes having little influence over outcome.

Irony:  A week after the event, receipts still haven’t been issued by Toronto Art Expo for expenses already paid (despite pre-show requests).  However, on the Saturday of the actual event weekend, reapplication packages were hand-delivered to each participant’s booth for next year (2009). Then, on the Sunday two paper warnings appeared.  The first note stated that 5 pm would be the cut-off time for resign-up.  Those who didn’t do so by then would be subject to re-jurying and possible price increase.  They’d also lose seniority over booth allocation.  The second note extended the deadline till 6 pm because of "traffic on the floor."

As I sat quietly in my booth (few attendees in evidence) musing about how Toronto Art Expo 08 (at least from what I’d witnessed) seemed doomed from the start, any notion of feeling pressure/anxiety to sign up (and pay up) for a repeat performance seemed a little silly.

Every winter I try to be as creative as possible with the floral arrangements/greenery outside my home.  But, in a cold snowy climate this can be difficult—especially for someone who favors natural over fake. This year, I made a 50-50 display (50 percent natural, 50 percent fake), and it’s been more long-lasting and attractive than previous years.  In fact, the fake parts (fruits and berry branches) have had better durability than expected.  Even after holding a lot of snow they will be recyclable for next year’s arrangement!

p.s. Canada Blooms may be happening right now, but nothing’s changed with the arrangements outside my home. No hint of spring!

I am exhibitng my spring fine art collection "From Doodlemania to Organic Art" at Toronto Art Expo, March 6 -9, 2008 (Toronto’s Metro Convention Center). After the event, I will offer behind-the-scenes tidbits pertaining to this "happening" and its organization on this blog.  What artist participants experience and what the general public notices, will likely be interesting (and different)… Participating at the Florence Biennale had predictable bumps (some of which are already recorded on this blog).  Showing artwork in a foreign country with different ways and standards is always an adventure!  In Toronto, however, and due to the heavy costs of participating at an event that’s not in its infancy, my expectations have been higher…  Let’s see what happens!

My booth is 401 u/l.  It’s on the upper level, in the far back left-hand corner, at the bottom of aisle A and adjacent to the toilets.  Please stop by and say "Hello!"  Hang out for a while!  Look for sping colors and feelings. I hope to create a "cozy, welcoming corner":  a little sanctuary tucked away in an overwhelming, large, noisy hall.  

Painting through a  "long, cold, lonely winter," this "Litttle Darlin’" has been crying out for spring—imagining it in a myriad of shapes and colors. (Please click the link just given and listen to the You Tube song that you’ll find there!)

The paintings on display, I hope, will lift the spirits, and hearts, of Art Expo visitors.  Oh, and, by the way, most of them are for sale!  The Art Expo mandate is that only originally work can be displayed and sold there.  Reproductions are available to order, outside of the show…

Dental Hygiene is important, for caninkind as well as humans.  However, too often this gets overlooked, especially as dogs age and have greater health risks. The routine to change smoke detector alarms when the hour moves forward or back is a good one.  Special days have a way of triggering us to remember special routines.  This year, Valentine’s Day was all the more significant for me, and will be in the future—as "Poopals Appreciation Day."  Lev and Sage had a trip to the vet to get their teeth cleaned.  Anne, the technician at East York Animal Clinical did a wonderful job, and Dr. Cindy Kneebone prescribed a potion to facilitate tartar removal year-round. No brushing required!  Leba III is a totally natural spray in solution—for humans as well as dogs.  It’s too early to gage long-term results, but we’re hoping so far so good.  Take a look at Sage’s clean teeth in the slightly hard-to-see snapshot above!  (Sage wouldn’t keep still.)

p.s. Please note:  a November 08 Google Search, "complaints about Leba 111" led the searcher to this blog entry.  In view of Sage’s dental demise (around the same time) it’s now unclear how much this product actually helps.  Optimism is always good, but reality can be a greater teacher…

p.p.s. Please check out this newer blog entry:  48-Hours of Caring for Sick and Elderly. Sage Makin, Little Wonder-Dog’s Recovery in Images, November 10, 2008.

This morning, I can hear the birds singing, a treat I’ve not been aware of in a long time.  It’s a sunny but crisp Sunday, and I think I can feel spring in the air.  I don’t know if this is true, but can only hope that we could actually be in for some milder weather and related mood changes.  To quote a familiar Beatles’ song, "It’s been a long, cold, lonely winter."  In a climate like Toronto’s, when snow is heavy, situations arise that would be unusual elsewhere, like the one described here…

Adequate and accessible parking for the genuinely disabled is essential, but not when be hazardous.  For too long, vehicles with disabled stickers (not necessarily disabled drivers) have been allowed to park on busy mid-town cross streets, like Balmoral.  These roadways that get even narrower when snowbanks pile up, like this past February. When a Wheel-Trans vehicle tried to squeeze between a parked Mini (with disabled sticker) and an iced over snowbank there was a wedging, and neither vehicle could be moved without tow truck assistance and police intervention.  Consequence, the street was inaccessible to regular traffic for three hours.  What are the chances  that a Wheel-Trans vehicle should squish a car displaying a disabled sticker.  Perhaps there’s a message in the irony?

Police vehicle cutting off the "accident area, parked vertically—shows how narrow the street is

Typical family size SUV arriving at "accident area"—shows the street can only really accommodate one lane of traffic

Typical street traffic congestion:  snow or no snow

Please take a moment to be in touch with a friend who doesn’t have a Valentine, and let that person know how much they mean to you/you care about them.  A simple phone call or e-mail may be just enough!  If you’re happy—and fortunate to have attention from a "special other"—try to be extra sensitive to whose circumstances are different.  Though Valentine’s Day (February 14), gives many a cause to celebrate (and for commercialism), more folks than seems fair feel uncomfortable as it looms. This poem tells a little more:

VALENTINE’S DAY

Loved?
I’m not sure about that

Happy Valentine’s Day!

Add to Valentine’s Day, Ontario’s first annual Family Day, four days later, February 18, 2008.  Apart from proving an inconvenience for some in the business world, this second "relationship-rejoicing" day may add to singles feeling more out-of-place (a significant percentage of the local population).  According to February’s Village Post, its very name is "puritanical," and just begs for satire!

 

Everyone loves a new pup.  I love two older ones. LEV, the editor-in-chief of this blog, and my senior art studio assistant, is 11 years-old today!  (Poopal, Sage, was 8 in December.)  Still working and playing hard, Lev chose a nice new doggy bed and some chew bones from Prettie Yiji to mark her special day. She also let me buy the same for Sage. Dog-lovers, it’s really worth a visit to this one-of-a-kind Hazelton Lanes boutique. Not only did the owner offer a nice discount, he also added in an extra pack of treats for the birthday girl—and free delivery, on his way home after staying late.  Sometimes you can find better deals than at PetSmart and Pet Valu in the least likely places!  Special customer service and more unique merchandise are typical non-chain store advantages too!

The "January blues" are legendary. Then comes February, and moods sink lower. Is there anything that can be done to help? Some are too familiar with the pain (not just in January or February, but year round) and don’t need to have it explained (like in the poem below). Others are able to escape it— supports, special advantages, or attitude making things easier.  Living in warmer friendlier climates (or taking a sun break) can also be helpful.  But this isn’t always possible.  In cities such as Toronto, known more for aloofness and coldness than ambiance and joie de vivre, extra efforts need to be made.  It’s important to be aware of those around us, and check-in on them—include, invite, encourage, or reciprocate.  At least, try and offer a smile or "hello," even to someone you don’t know.

FEBRUARY FUNK

Looking good on the outside
Doesn’t dull the pain within

Do you know that pain?

Under the nose
In the throat
Around the eyes

An upset that you feel
Even if others don’t see

Do you know that pain?

Maybe you don’t
Likely you won’t

Do you know the sadness of
Loneliness
Hopelessness
Helplessness
Despair?

Seeing that others, clearly, don’t care

A "Please"
"Thank you"
"Sorry"
"Well done"
Might pick up someone else’s day

Few brave enough to show the way

Don’t ask "Why?"
Ask, "Why not?"

Interactions with other artists tended to involve those positioned at close proximity. But, quick wanderings around the exhibition gave an overall feel of atmosphere, energy, artwork, and personalities.  

12 artists I’d not met before, and spent time with during the Biennale are listed below (in alphabetical order). You might like to check out their work:

• Jeff Beier (sculpted painting)
• Joy Engelman (environmental painting)  
• Jim van Geet (figurative painting)  
• Pam Ingalls (Russian impressionist painting)   
• Olga Karpeisky (still life and portrait painting)
• Rian Kerrane (sculpture/installation)
• Janice Lawrence (joyful painting)  
• Charlotte Lugt (abstract painting)
• Mary Medrano (painting)  
• Miriam Pet-Jacobs (mixed media)  
• Danish Saroee (photography)  
• Mona Youseff (realist painting)  

12 artists I didn’t get to meet at the Biennale, but whose work I enjoyed viewing, are listed below (in alphabetical order):

• Ina Bartelds (floral painting)
• Karima Ben Otmen (painting with Arabian influences)
• Gina Blickenstaff (mother/child portraits)  
• Maria Catuogno (sculpture)  
• Cheri Christensen (Russian impressionist painting)
• Ann Dunbar (watercolour painting with embroidery) 
• Kimmo (Kimmo style painting)
• John van der Kolk (sculpture)
• Bria Kromm (painting with layers and symbols)  
• Nancy Lamb (figurative landscapes) 
• Maria Isabel Parra (multi-media artist)
• Sergei Zlenko (Russian figurative painting)

Some artists, attached to causes, were able to be more visible because of this:

• Pomm Hepner (watercolor painting) got extra wall exposure and mention due to her Artists for Human Rights membership. She is also a prominent Scientologist.
• Josie Taglienti (abstract pastels) promoted the Fine Art Registry, having been sponsored by them.

My Biennale display neighbors were two painters with very distinct styles and techniques:

• Denise Faegenburg  
• Amy Swartelé  

Having had a chance to review Biennale artists’ websites since the exhibition, I realize that while some had their best work on show there, others didn’t. The Biennale was, in many cases, an opportunity to sample a small piece from much larger pies and gain exposure.

Of course, there are many other artists I’d like to link in this blog entry, but that’s what the official catalogue is for, and where most participants were given equal space. Painter Nafisa Naomi, however, got a double-page spread—in advance of her winning first prize for her four canvas display, "Regeneration".  Unusual coincidence!  So did mixed media artist, Jackie Sleper—in advance of her winning first prize for her sculpture, "Modestia," given pride of place in the Biennale main foyer area (as shown here).

We don’t often know what will end up as an award winning work, or exactly why. A closer look at "Regeneration" (segment pasted below) may appear a tad disappointing—have viewers wondering how the canvases joined together (or whether they were supposed to).

Some nationalities weren’t as apparent at the Biennale as others. The Dutch had a huge contingent—97 (maybe).  840 artists from 76 countries were present, I believe.  There were also a lot of transplanted artists (those who found it hard to say which country they actually represented), like Plein Air Cottage artists, Helen Tilston and Violeta Shtumeyzen.  One evening, six of us went out for dinner, and found, by chance, that what we all had in common was being from one place but living in another.  Some had changed countries two or three times.  I could relate!  Is it the artistic spirit that encourages these moves, or modern day life?

Poems 15 and 16 provide closure to my Tanzanian travels—reveal their legacy and an after-trip evaluation of sorts.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)  Next, I’ll share the lessons of Kilimanjaro, which, I believe, helped prepare me for the Florence Biennale experience!

15.  From JRO to YYZ

It wasn’t paradise
But it was very nice

16.  Trip Evaluation

Recognizing what’s good
The important understood.

 
Poem 14 was written on the journey home.  (Please don’t forget to check out the other Tanzania Safari Poetry blog posts before and after this one.)

14.  2 Degrees C in Toronto—Light Snow Falling

It’s a long way back from Africa
Dreams fade to realities
Magical moments diluted in airports

Planning for what, where, when
Already.

Looking for fun "stocking stuffers," Chanukah ideas, house-warmers, and shower, kicthen, or "just because" gifts?

Please be aware that souvenir reproductions of "Buon Appetito!’s"’ twenty images are being sold by the Good Neighbours’ Fund (mangaged by TD Waterhouse, Yonge/St. Clair branch).  This is to help support Buon Appetito! showing at the Florence Biennale.

Please contact the Good Neighbours’ Fund, directly, if you would like to purchase few-of-a-kind souvenir reproductions of "Buon Appetito!" Your interest is much appreciated.

Items being offered currently are listed below. Please click on the image included here, as guide, or go to the "Buon Appetito!" exhibit page to see more.

 
• Five-card greeting card packs are $20 (Fruit-y, Sweet-ie, Vegg-ie, and Fun-ky).

• Decorative marble tiles are, per tile: 4"—$20, 6" —$35, 8"—$45.

p.s.  DocSusan’s exhibit overview page is now posted on the Biennale’s World Fine Artists’ Site 

Here is a party picture from the October 11 Grano/Florence Biennale party. (Others are posted in the DocSusan’s Website Visual Diary.)

Hon Dr. Carolyn Bennett, MP holds her thank-you portrait with award winning film maker husband, Peter O’Brian.  Artist (DocSusan) looks on and Biennale artwork, "Buon Appetito!" hangs behind.

Last night, the newly launched Yonge/St. Clair Good Neighbours’ Fund held its first community celebration/fundraiser at Grano, which from all reports in was a great success.  The event was on behalf of my Florence Biennale exhibit.

Here are some quotes included in the Good Neighbours’ Fund brochure: 

"St. Clair to ArtWalk and the new Wychwood Barns project, to the recent success with Luminato, we have a great deal to be proud of here in Toronto. I am proud to be part of a small effort to make up for the misguided cancellation of the Public Diplomacy Program which used to help fund artists to show their works abroad.   We are truly blessed to have such a talented artist in Susan Makin living and working in our Riding of St. Paul’s.” 
CAROLYN BENNETT
Member of Parliament
St. Paul’s, Toronto

"I have always felt that all arts (and crafts) benefit by rubbing elbows with one another, so I am happy to see food and the visual arts doing just that at The Good Neighbours’ Fund Celebration.  Congratulations on your launch!  Having had significant support from my own community over my life, I am a firm believer in initiatives like this one.  There’s no better place to discover and
support talent than close to home. Very best of luck to you!"
LAURA CALDER
French Food at Home
Food Network, Canada

(Earlier related blog entries include:  Toronto Preview—Florence Biennale Exhibit, Yonge/St. Clair Innovation—The Good Neighbours’ Fund, and Why Canadian Talent Moves Away from Canada.)

Instead of giving a thank-you speech, I read the poem that follows—written especially for the event.  For those who weren’t able to make it to the event, and those who’d like to know more about it, I thought this was the best place to share what I said:

From Boston, to Toronto, to Florence—and Back?

Painting happily in Boston
An invitation arrived

Long live the Good Neighbors’ Fund
For whatever assistance it can provide
Nurture the dreams of other talented Canadians
that they stay in Canada
Not feel forced in other countries to reside.

Big thank you to Justin Skinner for his October 11 news piece in the City Centre Mirror today. Please click on the link to take you there http://www.insidetoronto.com/News/Centre/article/32066 or read text from it below:

NEW FUND SEEKS  HELP FROM GOOD NEIGHBOURS
Grassroots charity will support local artists
BY JUSTIN SKINNER
October 11, 2007 11:14 AM
 
When local artist Susan Makin was invited to enter some of her work in the prestigious Florence Biennale, an international arts competition, she was understandably thrilled. Her excitement turned to disappointment, however, when attempts to find funding to pay her way there came up dry.

For information on the fund, including how to make an additional donation, e-mail goodneighboursfund@gmail.com

Tonight’s the big night!  Our Yonge/St. Clair Good Neighbours’ Fund celebration/fundraiser is happening at Grano—on behalf of my Florence Biennale exhibit.  Please join us—from 7pm, 2035 Yonge Street.  Also, please check out the Florence Biennale website for updates about what will be happening in Italy in December.

There are many people to thank—and prizes and suprises.  Since this has been a real community/team effort, I wanted to list and acknowledge who’s been involved and how:

SPECIAL GUESTS
• Hon. Dr. Carolyn Bennett, MP for St. Paul’s
• Kim McBrien, New Director, Visual Arts Ontario
• Yonge/St. Clair neighbours and friends

SPECIAL THANKS
• Hon. Dr. Carolyn Bennett, MP:  suggesting such a celebration
• Roberto Martella:  hosting the celebration at Grano
• TD Waterhouse (Yonge/St. Clair Branch):  staff/logistical support
• The Town Crier:  making this a "local news story"
• Neighbours, friends, and businesses (Eglinton to Bloor and beyond):  publicity assistance
• Laura Calder, Food Network Canada for her terrific endorsement (for the Fund brochure)

SPECIAL DONATIONS
• Grano (2035 Yonge Street):  the venue and refreshments
• World Class Bakers (690 St. Clair Ave. W.):  refreshments
• $300 fund kick-off cheque:  an "anonymous friend"
• Pansies painting for silent auction: Susan Makin

DOOR AND RAFFLE PRIZES
• Alexia Von Beck (1228 Yonge St.)
• All The Best Fine Foods (1101 Yonge St.)
• Dimmi Bar and Trattoria (140 Cumberland St.)
• Home Hardware (1420 Yonge St.)
• Indoors and Out ( 2045 Yonge St.)
• Jivamukti Yoga (5 Shuter Street, 3rd floor)
• Laywine’s Pens and Organizers (25 Bellair St.)
• Petplan Insurance (Winnipeg, Manitoba)
• Picture Me (128 Cumberland St.)
• Printziples Fine Art (1470 Yonge St.)
• Spa - Nails (1244 Yonge St.)
• The Spice Room (55 Avenue Rd.)
• TDWaterhouse (Yonge/St. Clair Branch)

TALENT/EXPERTISE
• Product Photo,technical/practical support (productphoto.on.ca)
• Lindsay Goldman, photography
• Armor Media, product development (armormedia.com)
• Gary Wiseman, magic

TIME, ENERGY, AND PATIENCE
• Ryan and Sonia Shapiro, Armor Media
• David Bernstein, Product Photo
• The Good Neighbours’ Fund Executive
(Ryan Green, Graham Kennedy, Susan Makin,
Peter Paz, Danny Pivnick, Saverio Veltri)

Last Sunday evening, I enjoyed a very "fine dining" opportunity at ONE—Toronto’s latest hot-spot restaurant.  Usually, I’m not such a "fine diner" or restaurant reviewer.  But, the visiting couple who invited me to join them there—as an extra special treat—thought our experience might make an interesting blog entry…

Our reservation was put through a month ago, when ONE first opened.  However, when we arrived at the restaurant, though confirmation had been given earlier that day (after I returned a hang-up on my cell phone) there was no indoor table for us.  As a result of insisting, several times, that we had not booked and did not want an outside table (it being a cooler evening), we were obliged with the "best table in the house."

Despite it really being the "best table in the house" (nestled in a corner), the acoustics still made hearing each other difficult.  When you’re with older folk, hearing can be a delicate matter at the best of times.  So can eyesight (though even I, with 20/20 vision, couldn’t manage to read the small-print menu in dim light without straining). That said, ONE was prepared to not have its clientele stress over "failing faculties."  Noticing our awkwardness, a server delivered a box of Josephson spectacles to the table (four pairs arranged in order of lense intensity).  My gentleman host tried on two of the pairs and gave up.  The only alternative was for me to recite the entire menu to him.

My recitation was interrupted several times by a very eager server who told us that the restaurant’s intention was that we share our food tapas-style.  My lady host insisted that she had no desire to do that.  Brits can get to the point fast—we all knew what we wanted and we all wanted the same thing—basically fish, chips, and salad…  Since we weren’t sharing a variety of different foods, we’d now just wished to be advised about quantities.  Three fish, two salads, and two chips could work nicely, we were told.  In actuality, we might have done better with only one order of chips.  While the fish portions were petite, the chips portions weren’t.  The salad portions were just right.

My hosts would have preferred to have all the food come out together, but the server who’d instructed us on being supposed to eat tapas-style, also insisted that salads should come before the rest, and couldn’t be dissuaded.  Finally, came the desserts:  a chocolate truffle of sorts, Timbit-like donuts infused (or stuffed) with "cheesecake" (a liquidy substance), and ice-cream.  We each chose differently, and it was the simplest (plain ice cream) that was the best liked.  The desserts weren’t as special as what came before, we all agreed.

Since I’m not much of a drinker, I stuck with water.  My hosts, however, wanted to try two different Canadian wines.  After deliberation, the sommelier did them an (off-the-menu) favor.  Apparently, a reprint of the wine list, which would be out the next day, was going to include more Canadian wines, as well as by-the-glass selections.

Brits like to ask questions, especially when they’re in atypical environments.  We were all intrigued (and, as animal-lovers, somewhat disturbed) by the decor.  Apparently, it was the work of Yabu Pushelberg. We felt overwhelmed by the cow or horse hair(?) walls in the main dining area (dyed gray), and pig skin suede (?) around the reception foyer (already looking worn in parts).  Aligator print (?) embossed leather covered wrap around seating.  Exact details were uncertain since each employee gave different answers.

The servers and receptionists were all young and sweet, and tried hard to please, but weren’t as polished as one might have expected for a venue where it’s easy to run up a $350 tab for modest food and drink selections.

Finally, came the "loo"—or "luna landscape" as my lady host came to call it. She insisted on going there before we left, and I accompanied her.  As we exited our separate cubicles, we both had the same response.  "Do you know the doors are see-through?!"  Whether this effect was meeting a trend, or simply an accident, she was more taken aback than impressed.

All in all we had a very fun evening at ONE—even if it was so for reasons we weren’t anticipating.  And, as my hosts told me on the drive back to their more conventional/elegant accommodations at the Royal York, they’d have hours of dinner stories to share with other friends, here and back home.

p.s.  After reading this blog entry to a friend, before posting, she alerted me to Amy Pataki’s professional restauant review from last weekend.  It seems our findings about ONE weren’t unusual —though Amy speaks with more bluntly and authoritatively than I do.  Regardless of what’s been shared, I am confident that Mark McEwan will be able to turn things around, quickly.  Every beginning is hard, and he certainly is a lot more ambitious and risk-taking than most of us would ever dare to be.  Best of luck to him!

 
Yesterday (Sunday) afternoon, it was a treat to attend Toronto’s 18th annual Word on the Street celebration.  Not only was it a picture perfect autumn day, but it was also exciting to pick up on the energy at Queen’s Park Circle—experience so many Torontians’ thirst for reading, learning, and communicating being quenched. 

I went home feeling refreshed and revived—an interesting contrast to the evening before when Nuit Blanche festivities had skimmed the same location.

Apart from the booths and readings, a variety of performers engaged the crowd, informally, a key ingredient I thought missing the evening before (or perhaps they’d been active in zones I hadn’t managed to cover).

Saturday afternoon, it was a pleasure to have been invited to "paint for a cause"—U Quest’s Urban Angels.  Sadly, billed "celebrity artists," like Vivian Reiss weren’t able to stick around.  But, alongside David Arathoon, I put brush to canvas for a good few hours—as did some official sponsors and a group of OCAD students.  Monte Kwinter opened the festivities, talking about his personal art education (coincidentally including a stint in Boston at the Art Institute) and contributed a series of red brush strokes.  

The 80 foot canvas in front of UrbanQuest’s town house development site will be cut up and auctioned to help raise money for arts and literacy programs for disenfranchised youth.  Vivienne Ziner is the mastermind behind the Uquest Vision, and she is gathering a growing list of corporate/institutional supporters, including Ecomedia, Whippersnapper Gallery, and Toronto Public Library.  Then there’s a list of individual donors, topped by Linda Frum.  This private initiative was definitely an "art in action" experience, and warmed my art-spirit.

 
Unfortunately, Saturday evening, afterwards, cooled my art-spirit.  Scotia Bank’s Nuit Blanche event ran from 7:03pm to sunrise, throughout downtown Toronto.  Mayor Miller, in the cover page of its substantial program-book announced, "In my first term as Mayor, I championed Toronto’s cultural renaissance by launching Nuit Blanche."  He then added, "Scotiabank Nuit Blanche allows our artists to showcase the cultural energy that sets our city apart from any other place in the world, and bolsters Toronto’s status as a city that honors its artists and creative communities."  

Well, everyone is entitled to their own opinion.  A policeman directing pedestrian traffic at Avenue and Bloor quipped, "If this was in London, or anywhere else in Europe, there’d actually be something to see."  It was easy to concur (having just returned from there).  The streets were full of crowds but art projects were scant (a few video installations jumped out here-and-there).  Where were the street performers and visual art monuments?  Instead, a mobile tap water van was parked outside the ROM advertising a City of Toronto’s positives.  However, the whole grand boulevard leading up to and through Queen’s Park was bereft of any real attractions.  U of T had something that looked like a fake fire happening—or maybe it was real (fire trucks and an ambulance arrived).  People lined up around the block on Cumberland, I was told for a "TTC sound installation," but where was the street music—the ambiance/the energy?  Regular street-level galleries were jammed, for a change.  Too bad they don’t get similar attention, year round.
 

"Live With Culture" banners have been hung throughout the city if you look up on street posts.  In "Zone A" (Yorkville through to Queens Park), fresh designs make pretty decorations. In Zone B, along Spadina (into China Town/Kensington Market) remnants from 2005/6 have been left (as they were).  From the numbers of participants out on the street, it’s clear they were seeking something—hopefully culture.  Or, was it just a chance to enjoy a balmy autumn evening with friends en plein air?  As someone who walks the walk (is impassioned to paint and write, day-in-day-out), I really wonder.  I think some were just there for the free Ritter Sport Chocolate being hurled into the crowd on Hazelton (across from the new Hazelton Hotel)—and related marketing photo-ops.

Mayor Miller’s Nuit Blanche program message concludes by thanking Scotia Bank and all other sponsors and partners for making this "’free all-night contemporary art thing" happen.  As I think about my own "free all-year contemporary art privilege" to represent Canada at the Florence Biennale without any support (financial, or otherwise—not even a returned e-mail), from Mayor Miller’s band of funders and associates, I can paint a completely different picture of culture/art in Toronto and hands-on support and respect for its emerging artists—a feeling of being better appreciated abroad than at home.

p.s.  Please check out Sarah Milory’s October 1, 07 Globe and Mail article, "A fun night at the art circus," for a more detailed account of Nuit Blanche—and suggestions for improvement.

As I’ve alluded to in earlier blog posts, seeking funds to follow through with my acceptance of the Florence Biennale invitation to exhibit (for December 07) has been quite a task.  

Fortunately, ten months on, "good neighbors" have banded together to help launch a Good Neighbors’ Fund.  This came into being, officially, Monday September 10th, 2007.  It will be held and managed by advisors at TD Waterhouse, Yonge/St. Clair Branch.

The Good Neighbors’ Fund is atypical and so is its modus operandi.  Individuals who receive grants from it need to play a key role in raising funds for them them.  This means to help with the organization of an event and the production and sale of souvenir items connected to the project requiring money.  Fund committee members are volunteers and the wider community is encouraged to get involved in a variety of ways—at the event or with the production, sale, and purchase of related souvenir items.  Fun opportunities to socialize, network, and meet others living and working in the ‘hood!

This being the inaugural year of the Fund, revenue acquired by it will go to a grant that will help pay off expenses incurred by the actualization of the Florence Biennale exhibit, "Buon Appetito!"  The Good Neighbor’s Fund hopes to work with another "talented local" next year on a fresh arts/cultural project (for which funding hasn’t been forthcoming from other sources).  But, its continuity (and ability to assist) will depend on this year’s outcome, of course!  

We are hoping that as many interested Torontonians as possible will be able to join us at Grano (2035 Yonge Street), 7pm, Thursday October 11, 2007.  Please check out the invitation posted on the DocSusan website at the bottom of the Biennale Gallery page.

Last Sunday afternoon, walking the dogs down Yonge Street, I was able to chance upon three "Sunday gardeners" potting the potty pots in quite a leisurely way.

Just like me, other taxpayers, out and about, weren’t too happy with how things were looking.

We’re now well into September, and most wondered why bland summer foliage had been purchased heading into fall, and required a special Sunday planting.  Chrysanthemums might have been more suitable—at least provided a hint of seasonal color, and been quicker to arrange.

Close to election time, it’s only natural to think about elected officials and who might be responsible for decisions like those connected to the potty pots’ installation and adornment.

Even the apolitical among us turn political when noticing such a curious use of funds.  Are expenditure decisions like these an individual representative’s responsibility (fault) or those of the party to which that representative belongs?

As provincial elections near (October 10, 2007), it’s important to remember that each and every vote matters, as do you—a person with the right to vote.  Florida in 2000 demonstrated this.  So, who does one vote for here and now, in Toronto?  Do you know the personalities running well enough?  Have you asked for help/advice from them since they entered office, and did they respond effectively (regardless of their party line), and or/who you are/your question?

Re-electionable officials make time to hear and respond to every "regular constituent’s" concern as thoroughly as possible—personally or with appropriate assistance.  If you have had the experience of being ignored by anyone up for reelection, it’s easy to think twice about helping reinstate them.  Then there’s the promise-makers (not currently in office) whose performance you you can’t be sure about.  Should they be given a chance, or not?

Unsurprisingly, many who have the right to, decide to not vote at all.  They simply don’t feel comfortable with any of the options offered.  Some who run aren’t always suitable.  Some who don’t could be!  Unfortunate, but true…

p.s. Earlier posts about the "potty pots" included on this blog are:

Toronto’s Tax and Funding priorities, July 19, 07

Potty Pots in Rosedale:  Extravagance at Taxpayers’ Expense, August 18, 07

Toronto—the Bigger Picture

Toronto’s a busy place this week with the Toronto Film Festival.  I walked through Yorkville Thursday evening (the first night) and was astonished by the crowds and hype.  Everyone was waiting for someone, but no one knew who…They just huddled around the barely-opened Hazelton Hotel, and Mark McEwan’s ONE restaurant—likely the best vantage point, as the newest and hottest spot in town.

Behind the Scenes—Community Support

It took five hours, yesterday, to hang my Florence Biennale preview exhibit at Grano.  A big thank you to a dear friend who helped me do this.  I don’t know what would have happened without this gift, or Roberto Martella’s (owner of Grano/arts aficionado) and his patient staff’s support.  

(a taste of the exhibit—no pun intended)

I truly appreciate Roberto’s generosity and endorsement of the exhibit.

The Hon Dr. Carolyn Bennett, MP’s personal involvement with the Biennale project has also been tremendous—reflected in her announcement in this fall’s St. Paul’s riding Parliamentary Report and Town Crier column, and despite an incredibly busy official schedule.

(an unofficial portrait sketch)

Irony and Truth—Personal Responses

After completing the Biennale collection, I imagined I’d feel a sense of accomplishment and relief.  The truth is I didn’t.  On the contrary!  Others may believe differently as they enjoy viewing such a cheerful body of work…

The artist’s journey demands strengths and resources beyond art-making.  Creating an international exhibit isn’t an easy or cheap task, physically, emotionally, or financially.  And, along the way, you learn about who can be counted on, as well the politics of where you live, and the kindnesses of strangers.  Confidence, faith, and feeling the product is worthwhile travel a bumpy road, regardless of how good self-esteem may be. The reactions and initiatives of others can be pivotal. 

At significant times in life—and the Biennale appears to be one of them (at least for me)—friends, acquaintances, peers, and strangers have chances to choose to play together (or not)…

For those who’ve been following this blog’s saga of the 75 brass pots on Toronto’s Yonge Street, in Rosedale/Summerhill (installation and maintenance guesstimate, $1 million), local vendors report interesting developments.  The solitary positioned pot was planted and unplanted several times.  Maybe whoever’s responsible can’t decide what to put inside—or is trying to save money for this summer by not filling/maintaining it permanently?

The foliage that I did manage to capture on camera was still in black containers, sticking out above the soil’s surface, and not very attractive. Another possible reason for why it was removed?

 
My male dog, Sage, is fascinated by walls and lampposts.  I stopped him from leaving his mark on such expensive decorative hardware.  He was too shy to do so on camera anyway!

 
Last week, more pots appeared (less than a dozen), and already the sidewalk’s looking cluttered, even with nothing sticking out of them.

 
And, because the pots were empty, there was a chance to take a closer look at their construction.  Blue styrofoam covers metal sheeting.  As an amateur gardener who’s not much of a "handy woman," I wondered about drainage.

Stay tuned to see what might happen next…

A friend lured me from my studio yesterday evening with a ticket for Kooza.  What a gift!  

Both the winter and summer holidays seem to have passed me by (almost) while I remain(ed) in hibernation to complete the Biennale exhibit collection.

To sit in the "grand chapiteau" was a thrill and delight—gave me a chance to marvel at real performance artistry—so much talent, skill development, surprise, and wonder.  Memories of childhood and attending Billy Smart’s Circus in Liverpool!

From the three child gymnasts to the trapeze artists, to the unicycle couple, to the high wire quartet, to spinning wheelers, to the juggler, to the balancer, to the seesaw and stilt men, I was gasping and gulping.  Then, in between there was the stuffed dog—and I won’t tell you what he did…or about the fun audience participation opportunities with the clowns.

My Biennale creations feel small compared to what the Cirque’s performers accomplish night after night.  Humbled and energized, I’m ready to get back to my studio and approach the finale of the Biennale project with revived gusto.

Almost perfect was more than perfect for me—a real treat and reminder.  The (thankfully stopped) fall on the last stilt stunt drew attention to the fragility of everyone and thing and the life-saving importance of seamless teamwork and camaraderie.

We enjoy daily outings, but don’t manage to get to the countryside or parks often enough—perhaps why I know that city dog-walking, in Toronto, can have unexpected inconveniences…

Stroll along St.Clair’s south side, from Avenue to Yonge, and if you have canine companions you’ll likely be carrying their poop all the way. I did until a rubber container appeared outside a vacated office building/construction site, chained to a post.  Thank you to the kind person who thought to put it there!

Then there’s the stretch from St. Clair to Cottingham on the east side of Avenue, where you’ll see just one (over-stuffed) "litter-only" bin next to the Cottingham bus stop.

Take a look at all the recycling items inside…

And, on the subject of Avenue, did you ever notice some of the lamp posts there?  It’s nice that they have decorative banners attached up top, announcing the newest show in town. 

But, what about down below?  How sturdy is their infrastructure (something we’re now starting to worry about since the Minnesota bridge collapse)?  This one looks like it could take a tumble (flimsy naked iron rod revealed on the right hand side)!

On certain Toronto streets, there’s a paucity of public garbage containers.  And, even if they were there, Councillor Paula Fletcher, it seems, would prefer they remain poop-free.  In April, 07, her push for Torontonians to "poop, scoop, and carry" received significant attention.

Is it fair to focus garbage issues on relationships with (wo)man’s best friends?  The suggestion to walk poop home to your "green bin" or leave it somewhere en route, and remember to go back and retrieve it later is impractical and unrealistic.  I’ve tried it!

Toronto has other garbage problems…  Brimming blue and grey boxes, placed outside private residences the night before recycling collections, appear to invite interesting responses.  Not only is evidence of neighbors’ drinking, eating, and other (not-so) personal habits displayed for all to see, but growing numbers of career-rummagers are finding original ways to make a quick buck from them.

Then there’s "regular garbage".  How many residents keep all the rules?  Some are still seen dumping in public receptacles, even ladies from nice homes.  They’ll sneak out early in the morning or later at night, not to be noticed.  And, those who don’t wish to wait two weeks for the next recycling pick-up, stuff everything together as they did before, for the alternate week’s general trash collection. 

No matter how diligent some of us try to be, green bins are often seen to be more popular with raccoons than humans—easy to push over and open in a quiet alley.

By the way, if you want to read more about racoons, the National Post’s feature article, The Other Torontonians by Robert Fulford (from July 21,07) is entertaining.

It’s easy for an opposition party to make promises.  Being able to carry them through, if they’re reelected, is what will really count.

A July 5, 07 media release was headed, "Liberals Would Restore Funding to Promote Canadian Culture Abroad."  This round-table, headed up by Stéphane Dion (Liberal opposition leader) was a great initiative, and suggests hope for the future. That said, it might have been nice to see a more representative sampling of creative types quoted—including some who weren’t invited to participate and aren’t already famous.

While Canadian Liberals, it appears, are anxious to boost funding for the arts, Canadian Conservatives are preoccupied with their endorsement of Nascar…

CBC television’s week-nightly show, Today on Politics’ last episode before the summer break included much joviality about the Nascar backing.  So, afterwards, I perused Prime Minister, Steven Harper’s, governmental website to see what his most striking personal interests seem to be.  Cat foster care and hockey, apparently.  His wife, Laureen, is described as enjoying riding her new motorcycle in her "spare time"…

Did you know that, according to the Toronto Star newspaper, Dashan Mark Roswell is China’s best-known performer?  A weekly Star feature asks Canadian expatriates what it is like to live abroad, and invites readers to send in their own stories.  

Roswell was asked if he still sees the world through Canadian eyes.  He responded that he’s not sure  what "Canadian eyes" are. He admits that there are parts of his personality that have been shaped by China.  But, he is still as Canadian as he’s ever been. He thinks that one of Canada’s greatest assets is its lack of a strong national identity.  He stated, "I have no clearer idea of what it means to be a Canadian than anyone else…"

Just wondering:  Had Roswell remained in Canada to work, would his talents have developed in the same way?  Could he have had such a successful and original career in the arts here? 

Last weekend, I strolled down Yonge Street (towards Summerhill) and came across the sign posted above.

 
It appears that Rosedale, one of Toronto’s best kept/most prestigous neighborhoods, is having special funds poured into it—enough to include the installation of 75 large custom-fabricated bronze planters with mounts, each hand crafted in place.  I observed a workman coating the mounts, one by one, as part of the prep work.

 
Then, at the neighborhood Timothy’s, I read Sunday’s Toronto Star comment piece, "Two New Taxes Vital for Toronto."  Apparently, the city faces a budget shortfall of around $575 million for next year, and reserve funds have been drained.  A "land transfer tax" and "motor vehicle levy" are in the works—a great way to quell the "white-hot" real estate market and make car ownership even more prohibitive…

More important: what, I wondered, about the poor homeless people living amid the pots, under the clock tower bridge?  How is the city planning to help them?

p.s.  July 21st’s Toronto Star article, "Embattled Mayor Hangs Tough" had an insert (not included in the on-line edition—"The Three Faces of City Council").  This reminded readers how councillors, back in February (07), weren’t able to agree on who should stand where for a "class photo."  Another Star article, from that time, "Council Bickers Its Way Out of Photo," gives a sense of city leaders’ group dynamics—how decisions may (and may not be) made.

p.p.s.  Friday evening, July 27, walking up Yonge Street around 10:30 pm., I noticed two workmen hand-treating the mounts—cutting the paving stones around them, and preparing for the bronze planters’ installation.  The one-and-only finished mounted planter had some foliage in it, already.  I spoke to the workmen, and learned that their bid for the job had been $50,000 cheaper than the one they beat out.  Each custom-fabricated bronze planter cost $4,500, not including the mountings and surrounds.  Then, add to that miscellaneous expenses and manpower hours.  A million dollars might be a conservative guesstimation, especially since, later, there’s going to be all the necessary maintenance (planting, watering, removing, and replacing). More (unessential) tasks/outlay for the city?! 

Entering competitions of any type has risk involved.  But, some demand more work than others.  Take, for example, the RBC Canadian Painting Competition, billed as "recognizing the talent of emerging professional visual artists in Canada. "

New artists can emerge at any age. But, most competitions, with such objectives, seem to focus attention on younger applicants.  They also seem to overlook that "courtesy e-rejections" of sorts could be sent to those who’ve put effort into applying (and making the competition stats look good).

After all, the written part of the RBC application does require considerable thought and writing time, if completed properly.  A number of images are required to be professionally painted, photographed, and transmitted, as well as explained—a process that can take about three months, when taken serously.

Not winning, in itself, doesn’t lead to "sour grapes." It’s just nice to feel like you’re worth more than a number!  On application, one is shot back at you, and that’s the last you hear from the organization.  Even if you send follow-up/inquiry e-malls, which are supposed to be permissible, they don’t respond. 

The acknowledgment with number allocation simply says, "Artists who are being seriously considered will be contacted between June 1-15, 2007 for additional inquiries; artists have 48 hours to respond back otherwise they will be removed from the consideration list. Once the 15 semi-finalists are announced on June 29, 2007, all other works are released."  

On July 9, the long silence ended, for anyone who had gone to the trouble of applying and was wondering what was happening (perhaps they were contacted and didn’t know about it…) The announcement didn’t come from RBC, but in an Akimbo special mailing—a coincidental finding for subscribers who might also have been applicants.  

Akimbo relayed that more than 1400 works had been entered by 690 artists. It also included this commentary:  "RBC applauds all of the semi-finalists named today for their artistic talent and achievements," said Gay Mitchell, executive vice-president, RBC. "We are pleased to encourage and support Canada’s emerging artists and hope the exposure they receive as a result of being short-listed as well as having a forum to display their work will provide them with exciting opportunities to advance their careers."

RBC, not having communicated, personally, in any way, with the 675 non-finalists, might have liked to take the announcement opportunity to add, "A big ‘thank you!’ to all other participants—we encourage them to keep on painting!"  But, they didn’t…

Many artists won’t reveal "trade secrets."  Others, like myself, see this as essential to the job—a way of generating excitement about the powers of creativity, educating others, and learning along the way…  

I do hope the tips, techniques, and examples my DocSusan blog and website can  share will encourage you to pick up your own brushes and experiment and/or better appreciate individual artists whose work you admire.  

Generally, each painting I do goes through a minimum of eight stages

When a still life/model is involved, I usually:

1. Find or decide on the subject matter, including shopping for it.
2. Decide on size, scale, and media.
3. Arrange the subject matter.
4. Organize the easel/palette/model set-up.
5. Prepare hanging hardware suitable to the media (and attach it).
6. Paint the subject matter, in layers:  under-painting, mid-painting, final painting—and all stages in between.
7. Glaze the painting.
8. Paint around the painting’s edges in acrylic, by color-matching from the oil painting.

The whole production process is usually a six - eight week process, from start to finish for 24in x 24in whimsical works (stages five - eight taking three of those weeks).  Larger pieces take me significantly longer to produce.

When I’m working on a series, I often have three pieces on the go at once—each at a different stage.

For larger abstract pieces, I usually:

1. Come up with a concept, color scheme, or style as a "jumping off point."
2. Decide on size, scale, and media.
3. Consider the colors and applications with which I might want to begin.
4. Organize the easel/palette/room set-up—especially if I’m working on several pieces at once and want to give them each similar treatment.
5. Prepare hanging hardware suitable to the media (and attach it).
6. Paint  in layers:  under-painting, mid-painting, final painting—and all stages in between.
7. Glaze the painting.
8. Paint around the painting’s edges in acrylic, by color-matching from the oil painting.

The whole production process can take months, allowing for spontaneity, randomness, and surprises.  Also, I don’t like to waste paint, and this type of work provides me one way to use up paint left over on my palette from other (non-absract) pieces.

Depending on the size of the pieces, I can have up to a dozen works on the go at once—each at the same stage.

For series of paintings, I usually:

1.  Consider the bigger whole before the individual parts.
2.  Work on each individual part as though it is an only part.
3.  (Re)arrange the individual pieces that make up the greater whole  in Photoshop.

The media I use:

1.  The oil-based colors come straight out of the tube, no medium added—except odorless Turpenoid by Weber, when necessary.
2.  Once the painting is dry, a layer of Liquin Fine Details by Winsor and Newton brushed over the top.
3.  Turpenoid Naturals my brush cleaner of choice (also by Weber).

PLEASE NOTE, retailers selling Weber products are quite hard to find in the Toronto area…  And "flammables" can’t be shipped across the border by Dick Blick, my (US) art supply retailer of choice.  Above Ground is my art supply retailer of choice in Toronto, but their product range and special order possibilities are more limited.

My Florence Biennale fundraising scramble continues… This leaves me little time for painting, which is what I really should be doing—why I’ve only completed 11 out of 20 pieces, so far.  Therefore, quite aptly, I’m spending my Canada Day Weekend painting for Canada.

As this blog might reveal, I’m not lazy and don’t take short-cuts.  Regardless, drumming up funding for the privilege of representing Canada at the Florence Biennale, December 07, has had me stumped—even after 10 months of constant efforts.  I’ve been refused/not responded to by government agencies and business, alike.  There’s been a variety of excuses—from not meeting "eligibility requirements" to explanations of priorities being otherwise (with causes/groups that can give better pr/advertising returns).

Enervated as I am, I’m not going to give up the Biennale invitation, or have the paintings I’ve committed to create suffer.  Everything, I’m convinced, happens for a reason.  And, eventually, the purpose of/answer for such struggles might be clear.  Already, I’ve had a learning experience, and plenty of time to reflect on Canada—how/why/what works here (or doesn’t)…  In the meantime, surrounding myself with my paintings, which usually turn out cheerful no matter how I’m feeling, will help me keep things in perspective—remember what’s really important.

Good news!  The Second Cup at Yonge and St.Clair is displaying my artwork from tonight on, in support of the Florence Biennale exhibit. This particular franchise is standing up for Canada by providing neighborhood exposure for a local artist representing her country—giving publicity to issues such an endeavor has come to reveal (as touched on in this blog’s March 07 entry). 

Canada can’t be seen on the world stage as a nation that’s preoccupied with playtime.  Her visual artists and their art events need as much reognition and endorsement as her athletes and their sports events.  Culture and intellect count, as do the individuals who work hard to show this.

The painting included in this blog entry (and already hanging at Second Cup) is "Pansies…Again," 24in x 36in, oil on canvas. 

p.s.  Please remember to click on the images to see them more clearly.  Also, please note, the actual artwork is crisper and more vibrant than a photo of it might suggest.

Yesterday afternoon, I was invited to a "strawberry tea," hosted by the Hon. Carolyn Bennett, MD at her home.  Carolyn is a very versatile and industrious MP who shows an obvious love for her riding (St. Paul’s, where I live) and her constituents.  She’s personable, vivacious, and dedicated, no issue seeming too small for her to try to remedy.  

I’m in discussion with her right now about the arts in Canada and how individual visual artists, like myself—even when selected to represent our country at a world-class event (the Florence Biennale)—find it impossible to get support (funding or otherwise) from government agencies or national and local businesses.  You can spend so much time trying to secure assistance that actual art-making suffers—time as well as impetus gone!

Carolyn showed her commitment to helping turn things around with a recent studio visit, and by purchasing a painting of mine ("Very Berry," oil on canvas, 10in x 10in). 

 

Since I knew this piece was going to be on display at the tea, I decided to prepare a fruit plate to go with it.   

 

This, I think, ended up being the most visited offering on the table, for the children at first. Then, the adults followed, and the plate was soon emptied. 

I believe that when food looks fun and interesting, whatever it is, people will gravitate towards it.  Maybe the shapes and colors drew little fingers in, or it was just because fruit, large or small, is easy to grab and munch—juicy and refreshing on a warm nearly-summer afternoon.  

Lev, Sage, and I visited Woofstock this past weekend. The St. Lawrence Market area of Toronto is a wonderful venue for street fairs and the warm sunny weather added to this event’s success.  Then there were all the dog-lover attendees and their very well-kept pets.  Not a bad-looking or neglected canine in sight. On the contrary!  

As for the vendors and their products, there were the more familiar and classic, and the newer and flourishing.  Some of the displays that we perused or patronized included:

• Animal Wellness (magazine)
• Buddy Belts (harness alternatives)
• Four-Legged Style (pet carriers)
• Modern Dog (magazine)
• Pet Plan (insurance)
• Puppy and Dog Basics (magazine)
• Sadie’s Choice (natural potions)
• Wellness (nutrition)

It was an expensive weekend:

• Lev and Sage each got new buddy-belts, pastel blue for Sage and deep pink for Lev—with the idea that strangers may be more likely to guess correctly who’s the girl and who’s the boy.  It’s terrific to see how much this one-woman company has grown in the last five years.  (They had a seconds/outlet store to sell off their a-little-less-than-perfect belts at half-price—$40, which we appreciated.  The belts sold in retail outlets are completely perfect, of course!)

• Sadie’s Choice natural products, something we were unfamiliar with, caught our eye, and we went for their $25 two-item special—choosing their Outdoor Repellant and Solar Shield.

• Modern Dog was selling $5 gift bags, which included a new doggy treat called Barking Mad.  Lev and Sage thoroughly enjoyed sampling this on the way home—so much so that Lev dived into my bag to grab seconds.

• Four-Legged Style’s portable kennel, at $40, was a little bit of an impulse purchase, but I know we’ll get good use out of it.

• Still thinking of Joey, our "rescue dog," Wellness had the solution—its weight management food.  We got him a pack ($13)!

Finally, just for fun, Lev and Sage participated in a photo-shoot contest for Puppy and Dog Basics (looking for a cover-dog, for an upcoming magazine).  Lev didn’t strike her best pose, but Sage stuck out his little pink tongue for the camera. The competition was hot!

At the end of Saturday afternoon, as day one of the festival was closing, there was a black-tie event happening on the other side of the street.  Canada’s Walk of Fame was right there, alongside, and their annual awards ceremony was taking place, filmed by CTV!

Canadian customs duties are prohibitive.  Think carefully before buying anything from the US and having it mailed to Canada.  Between postage and duties, there are no savings.  On the contrary, you pay top dollar for items that are meant to be less than.

Recently, I made two purchases that incurred unreasonable charges.

1. A canine bicycle basket from In the Company of Dogs, at a "reduced price"—US$44.97.  Then there was the shipping—US$21.15. Finally came the duties—CD$12.05.  With shipping and duties combined nearly costing as much as the item purchased, there’s a real problem—even if the item is recreational rather than an "essential."  Canada Post collected the cash payment at my door before handing over the purchase.

By the way, In the Company of Dogs takes five weeks to ship to Canada and isn’t as customer-service friendly as one would hope—especially if issues arise.  Also, some of their products can be found elsewhere at better prices.

2. Ten 24in x 24in canvases from Dick Blick (the premier art supply chain in the US), which cost US$102.15. Then there was the shipping—US$18.22.  Finally came the duties—CD$33.85.  With shipping and duties combined nearly costing as much as the items purchased, there’s a real problem—especially for work-essential goods. Fed Ex sent out a typed statement after delivery, detailing their costs, which they try to keep to a minimum (CD$1.68 brokerage fee and CD35 cents disbursement fee).

By the way, Dick Blick makes sure you get your order in a couple of days (via Fed Ex Ground, for size-appropriate products) and have wonderful discounts, providing you don’t live outside the US.  Unfortunately, I haven’t yet found a Canadian art supplies retailer that can rival their selection, discounts, and efficiency.

 
Random first impressions can tell us a lot about the place we’re visiting, as well as the one we call home:

• Arrive in Toronto at the airport, and you have to pay for your luggage cart but the washrooms are free.  Arrive in Geneva, your luggage cart is free, but you have to pay for the washrooms.  Either way, you need the right currency (coins) in advance of getting off the plane.

•  Buy a train ticket in Geneva as a tourist, and you might be recommended to go"first class."  Especially for single women traveling alone, this way is considered safer.  (The graffiti alongside the train tracks hints at the wild personalities that sometimes hang around trains and train stations.)

• Look at graffiti in Switzerland, and you’re looking at art.  It’s clear to see that a lot of thought and effort has gone into some of the designs and colors that form the words.  In Canada, graffiti is usually shear vandalism.  Reverence for the arts appears eclipsed by funding cutbacks and the consequences can have a domino effect.

• French is one of Canada’s official languages.  However, most anglophones aren’t anxious to speak it (just as most francophones don’t like having to speak English).  In Switzerland, there’s French, German, Italian, English, and various local dialects, as well as as an openness to switching between them.  Politics and laziness don’t seem to get in the way.

• Out and about in Geneva, pass someone in the street, or answer their question, and they’ll address you more formally, adding "Madame" (if you look/act like an adult).  They’ll also say "bonjour" even if they don’t know you.  Out and about in Toronto, there’s usually less formality/manners—as well as casual interactions with strangers.

• In Switzerland, there’s obvious appreciation for the little things in life (with smaller scale streets, cars, food portions, clothes, homes, stores, etc.).  Individuality and uniqueness are still favored over mass production and sameness.  In Canada, sometimes, bigger and more become "have-to-haves" which are mistaken for better (just like in the US).

• En route to the airport in Toronto, there’s a billboard with Madonna modeling a plain little black dress she’s designed.  It’s 55 Canadian dollars.  On the way from the airport in Geneva, there’s a similar billboard with Madonna modeling another little black dress she’s designed, this time with off-white silk detailing.  It’s 85 Swiss francs.  With Canadian tax, they work out to roughly the same final price.  Except, for the Canadian version, the taxman might be seen to be getting a better deal than the consumer.

Canada is often compared to Switzerland.  But these quick observations indicate that there may be more differences than similarities… Spotting differences, no matter how subtle, turns travel opportunities into illuminating experiences.
 

December 7, 2006, I felt like I officially came home to Canada, due to the  Portrait Society of Canada’s Portrait Arts Festival, "The Miracle of the Portrait."  Their biennial 4-day event (initiated in 2001) opened with a rousing version of "Oh Canada,"  which took me by surprise and delight.  Standing up for our anthem, I felt happy to be Canadian, as well as an artist—alert, open to, and appreciative of how the next few days would unfold.  

A dozen individuals (judges, board members, sponsors, and gallery officials) formed a row on the stage at the Jackman Hall, Art Gallery of Ontario (AGO), while the very industrious and talented chairwoman, Veronica Tsyglan, gave introductions and explanations.  Right away, slides were shown from the annual portraiture competition.  There’d been 150 submissions this year, and 15 "top finalists" chosen. 

The quality of the artwork presented was exceptional—and more traditional in technique than contemporary.  I took a deep breath as my own slides appeared—whimsical, expressionistic, and primitive compared to the majority.  Regardless, I didn’t feel as out of place or awkward as I thought I might.  The audience demonstrated appreciation and respect for every piece shared.  

A ballot was in attendees’ welcome packages, and there’d be a one-vote-per attendee first-place "people’s choice" winner (Andrew Atroshenko for "Julie").  Simultaneoulsy, Steven Rosati would be announced as the judges’ top choice at the conference’s closing gala (with a portrait of his son, "Looking Ahead").

The competition’s finalists, as determined by the judges, were:

James Ian McDougall (Ontario, Canada)
Andrew Atroshenko (Russian Federation)
Wei Min Tang (Republic of China)
Edward J. Reed (Virginia, USA)
Donna Surprenant (Ontario, Canada)
Marina Dieul (Quebec, Canada)
Guangbo Tang (Ontario, Canada)
Raphael Tchetyshov (Ontario, Canada)
Melody Kozmeniuk  (Saskatchewan, Canada)
Sam Hester (Alberta Canada)
Dongmin Lai (British Columbia, Canada)
Steven Rosati (Quebec, Canada)
Yetvart Garbis Yaghdjian (Ontario, Canada)
Judith Elasser (Ontario, Canada)
Hans Holtkamp (Saskatchewan, Canada)

Being a "newer Canadian" I was struck by how many other "newer Canadians" were at the festival—as well as among the finalists. 95 people had registered to attend the festival, which was open to art lovers and promoters as well as artists, locally and internationally.  The first Portrait Arts Festival (in 2002) had just 30 attendees, so numbers were climbing slowly but surely.  Tsylgan explained to me that since portrait artists are a small highly skilled group, organizers were very happy with participation statistics. 

The master artists presenting included two from Canada (Andrew Benyei and Juan Martinez), two from the US (Koo Schadler and Dan Everett Thompson), one from Switzerland (Gwenneth Barth) and one from China (Yuqi Wang).  They demonstrated portraiture techniques in clay, oil, egg tempera, pastel, and charcoal, respectively.  This met the society’s mandate to cover as many media as possible, while helping to improve members’ skills and knowledge.

Foreign involvement is vital to the Portrait Society of Canada’s activities and membership.  Tsyglan describes Canada as a "young country" in terms of numbers of artists professionally involved with portraiture.  Therefore, professional development/peer support can’t have borders or boundaries.

One of the most enjoyable aspects of the conference, for me, was the ambiance:  the camaraderie, mentorship, community feeling, and lightheartedness.  Portrait painters have an obvious love of people, and are good at connecting with them—offer plenty of direct eye-contact, focus, and attention.  It was very exciting to be surrounded by so many peers eager to share similar vocational desires and frustrations.  

I was very relieved to not be alone in complaining about the lack of time left to actually make art—the "business" of art seeming to take over (especially when your brain isn’t wired that way).  Andrew Benyai, in fact, listed four types of artists:

    1.  Those with technical skills but no creativity.
    2.  Those with creativity but no technical skills.
    3.  Those with both.
    4.  ??  Those with "business skills"…

No matter a portrait artist’s type, all speakers concurred that portraiture is "hot," as proven by recent art auction sales.  John Ryerson, Director of the Varley Art Gallery,  and Bill Pickering, Chair of the Varley McKay Art Foundation (sponsor of the "best in show" prize) talked of their organizations’ commitment to find, support, expose, and recognize portrait artists.  

Eva Major-Marothy, Senior Curator of the Portrait Gallery of Canada, explained its background and mission, describing how it emerged from the Library and Archives of Canada and future relocation options.  She also mentioned a $20,000 acquisitions budget and her specific interest in acquiring artists’ self portraits or portraits of other artists (in any media, including computer art and video).  She pointed out how commission work usually has "3rd party restrictions," suggesting that work might be a lot more creative without these.

Unfortunately, a lot less enthusiasm was evinced for depictions of animalkind as "portraiture" (by both galleries represented at the festival).  I found this surprising in view of the value Canadians attach to the great outdoors and its wildlife—as well as their pets.  Other artist participants agreed, so I wasn’t discouraged with respect to my own animal art-making aspirations.

I’m usually a restless conference participant, but at the Portrait Society’s festival, I didn’t need to check my watch once.  Time just flew by, with so much to see, learn, and process—a great motivator for starting up in my studio first thing Monday morning.  Having recently moved back to Toronto after a four-year absence, I’d been procrastinating.  Now, I couldn’t wait!