CVPAG President, Jock Hildebrand, D.F.A. at the Summit
CVPAG President, Jock Hildebrand, D.F.A. at the Summit
The Cowichan Valley Public Art Gallery Society has, in her chosen word, a “champion”!
Jean Crowder, recently retired Member of Parliament, Nanaimo-Cowichan (2004-2015), brings her deep experience and her vitality to the creative process of establishing a Public Art Gallery in the Cowichan Valley.
As the Society’s honourary chairperson, Jean believes her strength will be in “speaking to people where they are.” Intelligent and warm, Jean’s voice is widely recognized and respected, speaking publicly, politically and in-community. A four-term MP, her roles included shadow critic for: Aboriginal Affairs, Community Economic Development, Health, and Status of Women. As a professional as well as a volunteer, she has established relationships with all elements of our Cowichan Valley’s diverse spectrum of cultures, social and ethnic languages, and interest groups. From the multiple perspectives of the economy, local community issues, social activism, cultural priorities, youth, and marginalized citizens, Jean can persuasively discuss the value to the Cowichan Valley of a world-class Public Art Gallery.
“We must first identify our audience clearly. We must be open to input from all elements. Public engagement is crucial in developing a vision. Relationship-building is key to a successful process. Bringing diverse groups together and speaking publicly to all elements of society are a joy for me.”
“The arts are our birthright . . . I see a project that reflects the natural traditions of this Warmland: the cedar, the rains, the rivers and Salish Sea, the creatures and the people. First Nations must be informed, asking respectfully if and how they might like to be involved. An wholistic vision of arts and culture can reflect our culturally-rich Island community. A Public Art Gallery can be a space for public forum; it can pull people together, educating us to see our world in new and different ways. The arts expand and enrich the languages with which we tell our stories.”
A Public Art Gallery can be a vital restorative communal space where people share their life stories. “Story and storytelling are central to civilization . . . and what’s happening to ‘story’, now, in our current culture? Listening to individuals’ unique stories, and taking someone’s story forward, has been the most powerful experience of my life in-community.”
– profile by Wendy Robison
Image: Balinese wooden mask. Photo: Daniel Collins.click to see the full image
Hanging in my current home, blessed with many walls, is my modest collection of wooden masks. Amongst the collection, hanging by itself in the living room where the light is sometimes just right, is my personal favourite, the first mask in the collection.
It’s quite plain, really, especially compared with most of the others and is unpainted, carved in slightly blemished wood, of a Balinese face at rest, with eyes bulging and slightly smiling full lips (like a Buddha some have said). I purchased it in New York where I had been trying to live as an actor/waiter/alexander technique receptionist for over two years in the early 80’s. There was a shop in the village where I’d never dared go inside because I knew my greed for folk art would overcome my need for food. But I stopped every time I went by and gazed longingly in the window. The store featured Indonesian art. I finally went in.
It was immediately overwhelming. Especially frightening beauty was rampant, dangling from the ceiling and screaming from the walls. Lots of fantastic, large fanged, bug-eyed beings, fabulous masks and puppets and carvings and dragons and pink lotuses and snarling demons all painted up. But I was looking for something in particular. I had been dreaming up a clown character who opposes nuclear development, a man of peace named ‘Nonuke of the North’. I was seeking inspiration.
As I was looking at all the stuff, drooling on my runners, pricing the costly items, starting to worry that I wouldn’t be able to afford anything, when I came to a section of unpainted carvings, including several masks. I held them all and tried them on. A few were out of my price range, not hard to beat. After a long time I finally narrowed it down to simple one with a sweet face. I chose it because I thought the face looked universal and neutral, but I’m a naïve white man.
I took my purchase to the cashier and paid about $25, which was all I had to spare. The Indonesian owner of the shop wrapped it up in tissue and put it in a small cardboard box, which I thought was so thoughtful for an inexpensive item. He smiled and asked, “Do you know what this one is called?”
“No.” I said.
He smiled and said, “A Peaceful Man.”
When I eventually moved into an old house in the West End of Vancouver, that mask was the first thing on the wall, followed by a few Mexican masks that I’d purchased on tour with that nameless theatre company that lured me to New York in the first place. That was the beginning of my collection, which now contains over 40 masks from 14 countries.
I had moved to Vancouver to take a job with Expo ’86 as a singing/dancing beaver in the opening act in the Canadian pavilion in what was later voted “the worst show at Expo”. After that very challenging gig I thought that what I jokingly referred to as ‘my performing career ’had hit rock bottom. I decided to shift gears (again) and dedicated the rest of my life to being a photographer, becoming a dance/theatre publicist/photographer/writer for the next 20 years I was in Vancouver.
But back in between rehearsals for ‘The Goose and Beaver show’ I also managed to create ‘Nonuke of the North’ who appeared for the first time in the 4th annual Vancouver peace march in April, 1985 with 80,000 other protestors. Nonuke wore bright yellow plastic 2-piece rain gear trimmed with green fake fur. There was a large fluorescent green peace sign on his back. I hesitated copying the mask because i didn’t have the time, but the peaceful, gentle spirit of the mask was a definite part of the Nonuke’s character. I painted Nonuke’s face white with a green peace sign. The character was much more popular than I had expected and spent most of the day posing for photos. I loved the fact that Nonuke was making people smile or laugh while protesting. He appeared on all local TV and newspaper coverage of the event, including a great shot in the Vancouver Sun..
The next year the march was scheduled on a day when I had to work as the Beaver and I couldn’t re-schedule because of my uncooperative Goose. So I asked my youngest sister if she wanted to fill in for me at the 1986 march. My idea that year was to include Santa Claus so I rented a costume for her b.f. to dress-up in. I thought Santa and Nonnuke would be a hot couple and I was right. My sister said they posed for photos “pretty much constantly”. There were over 100,000 peace marchers in 1986, a record that still stands.
1986 was the first year the march ended up at B.C. Place and those in costume or with good signs were asked to parade in front of the other assembled participants sitting in the stands waiting for the speeches. My sister said that when they walked in a roar went up in the crowd as people cheered like crazy. She looked around to see who they were cheering for and realized it was them, Santa and Nonuke holding hands.
As they walked by each new section of the stands they got a standing ovation. So many people wanted photos that they never had a chance to sit down. She also remembers, as I did, having to smile with closed lips so as not to break the bottom curved line of the peace sign painted on Nonuke’s face. Lots of pictures appeared in all the papers and TV coverage that year also. When I returned the Santa costume, the rental company had loved seeing him on TV and didn’t charge me.
The next year I decided that Nonuke could have a partner and made a green rain gear costume with brown and yellow checked fur. I remembered the mask and recklessly decided to make papier mache copies for my friend Jay and I to wear so that we might appear more neutral and non-gender, non-race specific. I thought we looked fabulous. Perhaps we looked too gay?
As the 1987 march assembled on the far side of the Burrard Bridge, we were soon accosted by an angry Native Feminist who demanded to see under my mask. When I lifted it and she saw my white face she screamed, “I thought so!” and unleashed a barrage of abuse based on cultural appropriation. She wouldn’t listen to the fact that the mask wasn’t copied from her culture, she reasoned that it was stolen no matter where it was from. She stormed off and soon returned with a piece of paper saying, “This is what your sign should say!” She jammed the paper into my hand. It read, “Racist for a good cause!” I argued back that this wasn’t native misappropriation because the mask and the character were meant to be seen as universal but she wasn’t listening. Maybe she was right? Was Nonuke’s costume a rip-off of Inuit culture?
Jay and I walked in the 1987 march but my spirit wasn’t in it. Nonuke and his partner didn’t make it into any newspapers. Nonuke, as a solo without the mask, made it out to a couple of other smaller demos after that but that was his last peace march.
In an end of the millennium wrap-up on Dec. 16, 1999, the Vancouver Sun re-published the photo from the 1985 march along with a subsequent letter to the editor from some anti-peace march ranter from Ladysmith. Anyone know an H.B. Dickens?
– Daniel Collins, 2018
Image: sketchbook drawing: 9″ x 12″. pen and ink with watercolour. drawn on site, Pallazzo Veccio, Florence, Italy. click to see the full image
My all-time favourite trips have been primarily for the purpose of seeing art. The cities in Europe that I travelled to all had major art galleries and museums that, as an artist; I felt compelled to spend time in.
My last trip to Europe was like an abbreviated a tour of the History of Western Art: beginning in Athens, Greece; I visited the Parthenon and spent many hours sketching the ancient art pieces in the Acropolis Museum (now known as the “Old Acropolis Museum”, as a new one has been added to the site since my visit in 1987) see sketchbook image.
Later came the many Art Galleries and museums of Paris see sketchbook image and London, where I recall drawing furiously in the National Gallery while being shooed from the building by the guards at closing time see sketchbook image.
By the time I arrived home from that Art-History filled journey; it felt as though my place as an artist in the grand scheme of things finally made sense, and it was a very satisfying feeling.
Having moved to the Cowichan Valley a little more than one year ago; I feel a great desire to be able to see the art of the world closer to home. To that end; I have become involved with the Cowichan Valley Public Art Gallery Society and hope to see their vision of an exciting new major public Art Gallery come to life.
This beautiful place we live in is absolutely brimming with people whose creative paths could be positively impacted by having intimate and personal access to the high-level art exhibitions that a proper public Art Gallery could attract.
There is no question that to establish, build and fund such a top level Public Art Gallery is a very ambitious project; one which which would have no hope of success whatsoever without the combined efforts and energy of many dedicated individuals and groups.
I invite and encourage you to add your voice to our cause, and play a part in making the dream of a Public Art Gallery in the Cowichan Valley become a reality.
– Dorian Melton (editor, CVPAG newsletter editor)
see more from Dorian’s travel sketchbooks
Beside Shibui’s gate, a silken fish drifts among hot summer pines. A gentle soul lives here. From his hands, earth’s elemental strengths flow in stone, marble, metals, fragrant woods, manifesting deep love of form and the landscape of emotion caught in line.
Jock Hildebrand is an internationally exhibited artist of monumental public sculptures, and of dynamic paintings and drawings in private collections. His public art stands in Asia, Europe, North and Central American. “Many of my works stem from my interest in anthropology and ethnology. I believe that form itself has a more universal, cross-cultural understanding. (Hildebrand, Jock Hildebrand, Sculptor; Creating International Sculpture. [Self-published?] brochure.)
Since graduating from Emily Carr College of Art and Design, for 40+ years Jock has explored the “non-verbal, non-linear gestalt” of the language of art, “manifesting my fascination and enchantment with the mysterious world, conceptualizing in a new way my position towards the physics of art”. Each piece is worked from notebook drawings, then rigorously dismantled to find what doesn’t work. “Great art must create a poetic universe in which all elements have the rhythm and consistency of authenticity. Great art is magic.”
In 2014, Jock and Carmen came to Maple Bay. Together, they’ve grown a gallery and sculpture garden: shibui is Japanese meaning ‘complexity in simplicity’. Shibui seeds Jock’s creative essence: “thought into desire into manifestion”: a poetic landscape where nothing distracts from the “honest” love of the artist.
Sensualist, fisherman, tanner of skins, bronze caster, art educator, civic innovator, environmental agitator, Buddhist wildling and intellectual; enchanted and enchanting — Magician.
Jock’s involvement in the community:
· member on the Cowichan Estuary Restoration and Conservation Association board
· representative for CERCA to the Cowichan Stewardship Roundtable
· opened the Shibui Fine Art Gallery
· mentor in the Youth opportunity Program
· speaker in the CVAC speaker series.
A collection of paintings by Bonnie Schmaus and Laurel Hibbert
Sept 1- October 31
Please note: the gallery is located in the foyer of the Performance Centre (third floor). Art can be viewed an hour before showtimes (day/night), at the opening reception, and by appointment.
Opening reception: Saturday, Sept. 8, 2:00 pm to 5:00 pm
illustration: Dorian Melton “Not the Flintstones”, 1987. 22” x 30”, conte chalks on watercolour paper
Imagine a campfire in the distant prehistorical past with sticks being shaped to hold bits of fresh meat over the fire for a meal. Having sharpened a stick well enough to do what was necessary; perhaps one of our ancestors scratched an extra mark or two to add pure decoration to their cooking tool (as a parent; I can easily imagine that doing so might have been one tactic employed to keep scrappy siblings from battling to establish ownership of the same stick).
I love a good “origin” story as so many beginnings can only be visualized through the power of imagination. I hope you will enjoy the following article found on the Smithsonian Second Opinion website as much as I did.
From the article The Ancient origins of Art.(smithsoniansecondopinion.org)
“Back in the ’60s and ’70s, Paleolithic archeologists considered art as just kind of the cherry on the cake if you like—art wasn’t considered to be evolutionarily important. It’s what you did if you had time to do it, but it really didn’t serve an evolutionary function; it had no adaptive value. I think we’ve gone very far from that to a position today where we think that symbolic behavior is absolutely critical to the way that human societies interact and are structured.”
– interview of Randall White, paleoanthropologist, by William Allman
About the illustration: This drawing is based on a photo taken while visiting a Dinosaur park in the vicinity of Cobourg Ontario in 1987. This particular style lasted for exactly 3 drawings and no more. – D.M.