Feeds:
Posts
Comments

Archive for the ‘Personal’ Category

Surviving a spouse

Posted in Bruce Byfield, death, grief, Personal, Uncategorized, widower, tagged , , , , , , on October 13, 2010| 4 Comments »

Face to face and online, people keep telling me that I am bearing my wife’s death well. The truth is, what I am really doing is maintaining the appearance of normalcy. I have just enough sense remaining to realize that people don’t want to hear the details and that what I am enduring is unimaginable to most people who have not gone through it themselves. Certainly, it would have been unimaginable to me before this summer.

I tell myself that I have learned from the parrots in my living room not to show vulnerability. Scream, puff yourself up, or cause a disturbance, but don’t let anyone know that you’re tired or ill: That’s their credo, and I can understand it. Grief is a private thing, and I don’t generally care to share it, except with those who already feel it.

I’m here to say, though, that surviving a spouse of thirty years is like nothing I’ve ever experienced – and I’m not exactly a stranger to trauma. It’s not even like other griefs, except maybe in general outline.

To start with, my situation means endless details. Quite aside from funeral arrangements and telling friends and relatives what happened, my life has been full of canceling subscriptions, changing the name on assets, dragging through probate, arranging new medical coverage, talking to my accountants to my lawyer, and to my financial advisor, and dealing with government agencies and officials of all sorts. Just when you are least able to handle bureaucracy, an avalanche of it is waiting to overwhelm you and suffocate you.

Yet these distractions are the least of surviving a spouse. My situation is also about noting a joke or a situation, only to remember that you no longer have anyone with whom to share it. It’s having thoughts that you no longer have anyone to confide to. It’s learning to cook for one person instead of two. It’s realizing that there is no division of labor – if you don’t do something, it doesn’t get done. It’s breaking down half a dozen times a day over trivia like an old photo or shoe, or watching a video and remembering that your partner never got to watch it, or thinking of a trip that she’ll never take now. It’s a sudden pain in your abdomen that has you worrying about appendicitis but is really just a new manifestation of anxiety. It’s waking up with your hair and your sheets cold with sweat, and getting up in the morning feeling like a hand is pushing against your chest whenever you do anything.

Then, just as you are getting some distraction from a video or book, so that you could almost belief that your spouse is out shopping or in the next room, it’s realizing that the respite is an illusion – that in dozens of tiny ways, your everyday assumptions no longer work.

And that’s just the common themes. Stay home, and you are alone with the thoughts that you have come to dread. Go out, and not only are you surprised to see people going about their ordinary business, but that business seems trivial and unimportant.

In fact, your whole relation to people change. You have less patience with people. Euphemisms like “passed away” or cliches like “I’m sure it’s all for the best” set your teeth on edge. You may find, as I did, that you have no longer have patience with other people’s foibles. You may even pick a fight, so viciously that, even when you apologize, the other person doesn’t forgive you, and you feel like an idiot for making the world a nastier place.

You discover, too, that the way people treat you changes. For one thing, relative strangers feel they can now give you meaningless advice on how you should live.

Also, you are no longer half a couple, but a lone individual for the first time in years. Many acquaintances and friends no longer know how to treat you. You are no longer married – and therefore, provisionally safe – to women. Things you could do or say as a married man now take on new implications, and are suddenly best avoided.

This change in the expectations placed on you is especially ironic, because the last thing you are thinking of is a new relationship. If your relationship with your spouse was as good as mine, you wonder if you will ever have a relationship to match. You seriously doubt that you will, and, anyway, the steps that are usually necessary to develop even a potential relationship seem so ludicrous that you are seriously thinking of avoiding the whole subject for the rest of your life.

In short, surviving a spouse means that the future, which for years you thought you knew in broad outline, is suddenly as indefinite as it was when you were fourteen. You discover, too, that you don’t really care.

In theory, you could start staggering down a new life path, but that would require giving a damn – and you don’t, not really. Taking a course or joining a meetup would just be a new way to pass time, and travel a lot of effort just so you can go somewhere else to be alone.

And if you say all this sounds like self-dramatization, like I’m only going through what billions have gone through before me, all I have to say is, “See? I told you that you wouldn’t understand. You don’t want to, either, because, if you did, you would comprehend just how fragile your life really is.”

Far less effort for me to show the facade they prefer. That way, everyone else can keep their illusions intact.

Read Full Post »

Morgan Green: Building a career on diversity

Posted in aboriginal art, art, art appreciation, British Columbia, Bruce Byfield, First Nations art, Henry Green, indian art, Jordan Seward, Morgan Green, Northwest Coast Art, Personal, Rick Adkins, Tsimshian, Uncategorized, tagged , , , , , , , , , , , , , on October 10, 2010| 2 Comments »

(Morgan Green is currently trying to raise $5000 to pay the remainder of her tutition for goldsmithing. She is offering a number of pieces of her original art in return for donations. If you want to assist, please click this link)

http://www.indiegogo.com/project/widget/9083 )

Looking at the artistic career of twenty-six-year-old Morgan Green, the first thing that strikes most people is how varied it has been. But probably, that variety comes naturally. With an art teacher for a mother, and master carver Henry Green for a father, Green has been surrounded by a variety of art all her life.

However, for Green herself, the road to becoming an artist, “All started with clothing. “I’ve always loved making clothing since I was young. I used to handsew on the bus or wherever to pass time. I can still handsew and walk at the same time,” Green says, adding with a smile, “I can also read and walk, but it’s a bit of a dangerous occupation.”

In fact, Green’s first formal training after graduating from high school in Prince Rupert was fashion design. However, since then, she has also studied bronze casting, molding technique, clay sculpture and goldsmithing, as well as learning wood carving with her father and Salish carver Jordan Seward, and jewelry-making with Haida artist Richard Adkins.

With this background, Green is already making a living as an artist, although, like most artists, she has also had the usual array of odd jobs, ranging from commercial fishing to waitressing.

“The most important steps were just doing it,” Green says when asked about how she established her career. “I put myself out there, applied for grants, asked to apprentice, showed up, and applied for art jobs.”

However, Green also goes on to say that, “Formal training has helped me immensely to have cleaner, professional work. Usually, the teachers are an amazing resource.”

A tradition of her own

Of mixed Scottish and Tsimshian background, Green shows a similar diversity of influences.

In general, she says, “I admire artists who work hard.” However, asked to name artists she admires, the first one she mentions is Art Nouveau artist Alphonse Mucha.

“The visual flow of his work is enchanting,” she says. “I find it rather poignant how he influenced the whole Art Nouveau movement like that, then died alone in exile. Very sad. I like that much of his art was poster art, popular culture. He has been an influence because I have studied his work a lot and use his work often as a drawing reference.”

The next influences she acknowledges are “Tsimshian historical artists. Most of their names aren’t known, but I am the most fascinated with their work. Their variations on Mouse Woman are my favorite, but everything about their formline is amazing – the shapes, the flow, the connections.”

Some writers on Northwest Coast art would see a split between the modern and the traditional in these influences, but Green doesn’t see tings that way. “I think that tradition and innovation are the same, or, I should say that Northwest Coast historical designs and sculpture were extremely innovative. I think that it is important to study tradition, because, without that study, innovation can seem hollow.”

Unlike some First Nations artists, Green sees nothing wrong with choosing subjects that are not part of her family’s crests. “Technically, if I stayed within my hereditary right, I would only be able to make eagle things,” she says, “But even in history artists were definitely different from the general population. To my knowledge, the hereditary right is more important for who’s wearing the item. Artists have always created art for many different people, as well as for performances, and even neighboring villages. So I think that we can be given some artistic license.”

Diversity upon diversity

Since Green makes her living as an artist, she describes herself as “somewhere in mid-stage of my career. I feel like my artwork is still maturing, but the quality is good, and I’m happy with where I’m at. I’m not really one for major production or commercialism (I like to make things one of a kind, and I believe in locally made), so I’m lucky that I have supporters who believe in me.

Right now, Green thinks that “My career is at another jumping off point.” Continuing to work in a variety of media, she says “I see it all as connected. The processes are all different, but have similarities. A lot of [working with a new medium] is learning how to work best with the properties of the material.

“I am, of course, in love with a very traditional style of Tsimshian art myself.”

Besides art, Green also hopes to do more teaching in the future. “Teaching has probably been my biggest revelation: first figuring out I had skills to share, and then trying to formulate my knowledge and ideas into a communicable lesson plan. I think that teaching Northwest Coast art fills my need for altruism. I think it helps people, and at the very least makes kids happy.”

In addition, Green is also concerned with violence against women, and was Jordan Steward’s assistant a few years ago on the pole to commemorate missing women in Vancouver’s Downtown Eastside.

As Green thinks ahead, she adds “I want to teach art and prevent violence against women and make our children stronger and able to practice cultural arts. And I want to do a fashion show, sometime soon.”

An armchair psychologist might be tempted to speculate that Green is trying to combine the interests of both her parents in her own life. However, those who know her might be more tempted to say that her ambitions are just Morgan being Morgan, looking ahead to more of the diversity that has already characterized her career.

Read Full Post »

Rande Cook’s “The Poet”

Posted in aboriginal art, art, art appreciation, British Columbia, Bruce Byfield, First Nations art, indian art, Northwest Coast Art, Personal, Uncategorized, tagged , , , , , , , , , , , , on October 4, 2010| 1 Comment »

Kwakwaka’wakw artist Rande Cooke has been on my short list of Northwest Coast artists for a couple of years. I knew I wanted one of his works, and it was only a matter of time before I found the right one. When I saw an artist’s proof of “The Poet” at the Alcheringa Gallery in Victoria, I knew I had found the right piece, because it fit so well into my emotional landscape.

You see, “The Poet” is a private edition of twenty prints in honor of Joan Rodgers, the wife of print expert Vincent Rickard, who died on May 23, 2010, at the age of 57. The title takes its name from the fact that Radgers wrote several volumes of poetry (although according to Elaine Monds of the Alcheringa Gallery, did not publish them).

I have met neither Rodgers nor Rickard, but, by the ugliest of coincidence, my wife died on July 5, 2010, aged 55. The synchronicity is not exact, but close enough I responded immediately to it.

The print shows Rodgers kneeling in the middle with two plants below her to represent her love of gardening or creativity (another similarity with my wife). Above her is the raven, with his wings enclosing her. As a being able to travel freely between the mundane and supernatural worlds, the raven is an appropriate psychopomp, or escort of the newly dead into the afterlife.

The surrounding black frame is broken, suggesting the suddenness of Rodger’s death and the disruption that it leaves behind. Another broken circle is suggested by the positioning of green in the design. Another indication that “The Poet” is a memorial piece is suggested by the positioning of the raven’s mouth to suggest a frown.

All of which I can thoroughly relate to just now.

Even so, I would not have bought if the design was not engaging in its own right. It has a fluidity – like all of Cooke’s work that I have seen – that turns the semi-abstract traditional forms into pure abstraction. Caught by the flow of the lines, the viewer’s eye has trouble focusing on the individual forms – until, suddenly, have traveled the diameter of the design, the eye moves into the middle and the forms suddenly come into focus.

I am struck, too, by the use of the pale green as the third color in the design. Green is a common enough color in Kwakwaka’wakw design, but usually it is much darker. Nor does it generally overlay the bolder black and red lines, as it does with the plants in “The Poet.” Here, its sparseness makes it seem almost fragile in comparison to the other colors in the design, and its presence in both the plants and the raven’s wing and face suggests a connection – although one fragmented and incomplete – between the states of life and death. This suggestion is reinforced by the fact that the black decorations on the raven’s wings, just below the patches of green, seem vaguely plant-like.

As an artists’ proof of such a small edition, my copy of “The Poet” should be extremely collectible – an exception to my contention that most prints should not be bought as an investment. However, what strikes me is not the investment potential (which would never lead me to purchase a print), but the subdued dignity it gives to its subject – a kind of refinement that seems highly suited as a memorial to the dead.


Read Full Post »

Ron Telek: “The Siren: The Keeper of Drowned Men’s Souls”

Posted in art, art appreciation, British Columbia, Bruce Byfield, First Nations art, indian art, Nisga'a, northwestcoast art, Personal, Ron Telek, sirens, Uncategorized, tagged , , , , , , , , , , , , on September 27, 2010| 1 Comment »



Ron Telek is primarily a carver and a sculptor. He has worked in everything from wood and stone to cloth and bone, but most of his work is three-dimensional. Consequently, I was curious to see what his first print would look like. I expected a sort of two-dimensional equivalent of film noir, full of shadows and vaguely glimpsed forms, but instead the print was “The Siren: The Keeper of Drowned Men’s Souls,” an intricate piece that more than one viewer has compared to a tattoo design (I envision it stretching across someone’s back).

Besides the medium, another unusual aspect of the print is that its subject and execution includes only one hint of Telek’s Nisga’a background: the design on the back fin of the smaller siren.

Instead, the piece draws on Classical Greek and Roman mythology. At first, the subject is surprising, but, on second thought, why not? Although Telek has a First Nations background, he has mentioned several times the influence of Japanese,African, and South American art on his work and such influences can sometimes be seen in his work. Nor is this the first time he has done a non-aboriginal piece. All things considered, it is not surprising that other cultures should be visible in his work, especially since the siren is not that far removed from several figures in local First Nations mythology, such as the Otter Woman.

At any rate, despite its unusual aspects, many of Telek’s characteristic elements are in “The Siren,” such as the figure in the mouth and spirits in the form of faces erupting all over the body. What is unusual, though, are the suggests of sexual aggression or predation in the breasts, each of which is made of a single spirit with teeth where the nipples should be, or the open mouth with teeth where the vagina should be. This sense is reinforced by the waves of hair, which instead of being seductive become a Medusa-like mass of writhing spirits.

Aggression is also suggested in the heavy shoulders and the reaching left hand, whose size suggests that it is reaching out to the viewer.Telek’s siren does not merely lure men to their doom, but actively preys upon them.

Then, too, the relation between the siren and men she captures is ambiguous – but menacing no matter how you interpret it. Some of the spirits seem resigned, but far more of them appear to be angry or in pain, leaving you to wonder how, exactly, the siren is keeping them. Does she only gain substance and the power to act through the drowned souls? Is the fact that she seems composed of lost souls an indication that she only exists in people’s minds? However you interpret the piece, the siren is not the supernatural beauty that you sometimes encounter in Classical mythology. Instead, she seems a supernatural dominatrix, overwhelming and perhaps luring the drowned men through sheer force of presence.

This is a remarque of the limited edition print – that is, a copy with an additional element not found in the original. Usually, a remarque consists of a quick doodle, but, Telek has added the second siren, adding almost as much detail as in the original image, and increasing the size of the print by nearly half.

The second siren reinforces the impressions hinted at by the first. Its face is more shark-like than that of the original image, evoking the figure of other powerful female figures in various First Nation mythologies, such as the Haida Shark Woman and Dogfish Woman.

In addition, the second figure gives a perspective through the drowned man still wriggling in its hand. The sirens, clearly, are huge.

The idea that the sirens gain substance from the capture of drowned men is further reinforced by the facts that the second figure’s body includes fewer spirits, and that it is somewhat smaller – perhaps a juvenile or teenage siren. Perhaps it is not even sexually mature, since it is much more slender and lacks the mass of flowing hair of the main figure.

Psychologists could go wild on the implications of these images (I know at least one who is sure that Telek was abused as a child on the evidence of his carvings). Personally, though, I prefer to simply enjoy the imaginative possibilities – and to thank Telek for this present, and for adding the remarque before giving it to me.

Thanks, Ron!

Read Full Post »

The definition of literacy

Posted in Bruce Byfield, literacy, Personal, Uncategorized, writing, tagged , , , , , on September 19, 2010| 3 Comments »

As I write, a local newspaper is gearing up for its annual literacy promotion. The cause is hard to fault, especially if you’re a hyper-literate like me. I can’t help wondering, though, exactly what the organizers mean by “literacy,” except a vague, feel-good cause that everybody supports.

After all, there is something self-serving a newspaper promoting literacy. Is the newspaper really interested in the common good, or simply in ensuring a new generation of readers? In these days when obituaries are being written for beloved old newspapers in particular and the medium in general, I have to wonder.

The trouble is, no one ever seems to identify exactly what they mean by literacy. Even at a minimal level of being able to read street signs, ballots, and government documents, a definition of literacy runs into trouble. After all, exactly what abilities does minimal literacy include? The ability to use a colon or semi-colon properly? An ampersand? A hyphen or forward slash? The knowledge of when to use a list, and what a numbered list signals as opposed to a bullet list? When to use and how to pronounce the accents in words borrowed from other languages? By these standards, very few people would ever be counted as literate, even though all of these questions are relatively elementary.

Similarly, what level of comprehension is implied by the term? Does a person, for instance, need to be able to identify a literary effect? To be able to consciously use those effects themselves?

For that matter, is an awareness of language and how it develops required before someone is literate? If so, then thousands of grammar Nazis who condemn any departure from an artificial standard English would be horrified to learn that they were not literate themselves.

Also, sooner or later, a definition of literacy involves a familiarity with the cultural influences that shape a language. True literacy in English, for example, requires a knowledge of Shakespeare and Christianity (or at least the King James Bible), as well as several dozen other authors and cultural influences.

And what about idioms? Should a person who can write and read a language but not understand an idiom or a pun be considered literate?

Discarding any of these requirements is difficult, but that is only half the problem. The other half is what degree of knowledge or skill a literate person is supposed to have in each of these requirements. How can you measure a concept that, the more you consider it, the more complex it becomes?

No wonder that many educators stick to simpler goals, like standardized spelling. At least with spelling, there is usually a definite right or wrong answer, so long as you stick with official English. But including anything that makes reading or writing seem worth developing means entering a more complex world where right and wrong is qualified and weighted, where – horror of horrors – a student might even be able to question a teacher, provided they know how to construct an argument.

In the end, the concept of literacy seems to come down to what you are pointing to when you use the term. But I would be a lot more comfortable if the promoters of literacy did point to anything. For all I know, their concept of literacy – or, at least, what they are willing to settle for – is far different from my definitions.

I can’t help suspecting that authority figures are automatically hypocritical whenever they talk about literacy. Obviously, a technological society needs higher general standards of literacy than other cultures in order to function, but I always have the nagging suspicion that, when promoting literacy, the Powers That Be would vastly prefer that it not be promoted too far – certainly not to the extent that the average person can deconstruct official pronouncements and maybe question them. In the end, I suspect that the level of literacy they are prepared to settle for is far less than the level I would prefer, and that literacy can be a far more radical concept that everyone assumes.

Read Full Post »

Ian Reid (Nusi): “Working Shaman”

Posted in aboriginal art, art, art appreciation, British Columbia, Bruce Byfield, First Nations art, Heiltsuk, indian art, Northwest Coast Art, Nusi, Personal, shaman, Uncategorized, tagged , , , , , , , , , , , , , on September 14, 2010| 2 Comments »

Ian Reid (Nusi) is a Heiltsuk artist whose work I have been watching for a while. For a long time, I was determined that the first Reid piece that I would buy would be one of his Chilkat ravens, like the one that was in the Continuum show at the Bill Reid Gallery. However, when “Working Shaman” came into the Inuit Gallery last month, I leaped at the chance to buy it. The mask is a simple one in some aspects, but all the more appealing for that reason.

If you have read anything about shamanism on the Northwest Coast, you may remember that shamans typically did not wash or cut their hair. This is the main element in Reid’s mask, with its unkempt hair and mustache, its carelessly-tied topknot, and the white feathers. The blending of the red paint into the color of the unpainted wood also suggests a lack of cleanliness, or at least the chapped complexion of someone who spends most of his time outdoors.

Many shamans had a fearsome reputation (certainly, their graves were isolated, and not places where people lingered). This reputation is played upon in many modern renderings of shamans, but Reid has taken a different approach. His shaman is not so much a figure of fear as an eccentric. The unfocused eyes and slightly parted lips suggest the trance state of someone imperfectly grounded in the everyday world.

This is the first Heiltsuk piece I have bought, and I admit to knowing almost nothing of the Heiltsuk artistic traditions, mainly because they do not seem to have been studied in their own right. However, the carving and the painting suggest a tradition that I would expect from the Heiltsuk’s physical location: It mostly resembles the Kwakwaka’wakw, but also has a touch of northern formline as well.

Saying more is complicated by the fact that Reid seems to be drawing on 19th century sensibilities, rather than working as a modern artist familiar with the formal rules of formline. The formline on the mask is looser than modern artists usually draw today, and the U-shapes are independent decorations, not elements contained by the formline. In fact, such formline as appears is thin and almost overwhelmed by the red of the eye sockets and nose, and around the mouth.

Where you can see the plain wood, it looks old rather than recently carved. Add the smearing of the red, and the general impression is of an old mask – dug up, perhaps, from a shaman’s grave to put on display in a museum.

Given that much of Reid’s work is ceremonial and communal, this impression is probably deliberate. Artists who work both commercially and cultural generally make a distinction between the two types of work and, looking for a tradition for non-cultural work, what better place to find it than in a museum? That this is a mask to look at, not to be danced, is emphasized by the fact that not only are there no eye holes, but neither are there are any holes for the nostrils — not even an indication of where they would be.

Portrait masks can be hard to do well. Many carvers – and buyers – prefer bird or animal masks, that seem more imaginative. But in depicting a shaman and giving the mask a patina of historicity, in “Working Shaman,” Reid shows that a portrait mask can be as imaginative as any.

Read Full Post »

Lyle Wilson, “Shaman’s World”

Posted in art, art appreciation, British Columbia, Bruce Byfield, First Nations art, Haisla, indian art, Northwest Coast Art, Personal, Ron Telek, shaman, shamanism, Uncategorized, tagged , , , , , , , , , , , , , on September 4, 2010| Leave a Comment »

With few exceptions, the collecting of Northwest Coast Art did not begin until the 1970s. That means that pieces from those collections are just now starting to appear in estate sales – sometimes at bargain prices, if the heirs are more interested in quick cash than obtaining the full value. Consequently, when a copy of Lyle Wilson’s 1980 limited edition print “Shaman’s World “ showed up at the Inuit Gallery during the summer, I quickly snapped it up.

The print would be unusual today, but, when it first appeared, it must have seemed utterly unique. I tag it in my mind as a Northwest Coast Gothic, a kind of predecessor of Ron Telek’s work. It is also Gothic in a modern sense: monochromatic, macabre, and, quite possibly, self-consciously over the top.

The shaman’s world, apparently is actually two worlds, one the mundane world of light, and the other the dark world of the supernatural and other realms like the sky and the depths of the ocean. In the mundane world is the head of an eagle – perhaps a tutelary spirit to judge from the hand above it – while below it is a figure that may be a man terrified of the shaman, but which I suspect is a masked dancer, trying to make sense of reality through his dance. Meanwhile, in the spirit world, a man transforms into an eagle while below it swims a killer whale, another figure of power.

Neither world has much in common with the other except the shaman, who stands in the middle like a sort of ying-yang symbol, half of him in each world. Both worlds are contained in a frame of human figures (whose formline shapes suggest that they are intended as skeletons), birds and monsters that are apparently wolves. The tops and bottom of the frame are mirror images, perhaps adding the additional dimension of life and death to the cosmology contained within the print.

The shaman’s position, clearly enough, indicates that the shaman mediates between all aspects of the world, as well as their different methods of understanding. It might also be significant that the shaman is less skeletal than the human figures in the outer frame and has a differently shaped-head; perhaps the suggestion is that the shaman is the only piece truly alive.

The formlines in “Shaman’s World” are wonderfully simple, defined largely by interior elements to indicate knees and hips and chests. They flow from one shape to another, as good formline should, but so do the elements of the design. For instance, although the shaman’s arms are held in front his chest, the body of the human transforming into a bird and the first sprouting feathers look, at first, like an additional arm. Similarly, the twisted body and tail-flukes of the killer whale suggest a third leg. Together with the formlines, these flowing shapes help assure that the viewer’s eyes are never still, picking out a detail here and there, but always moving around the design.

Another obvious element is the use of blank space. Although much of the design is symmetrical, especially in the frame, the blank spaces on both sides of the shaman are highly irregular, being open and broad on the mundane side, and narrow and twisting on the spirit side. In this way, both the traditional symmetry of most Northwest Coast art and the asymmetrical preferences of modern design appear in the design – yet another set of elements that the shaman mediates between.

By restricting himself to black and white, Wilson relinquishes whatever a secondary or tertiary formline color might have brought to the print, but probably it is just as well – had he added red or blue or green, the design might have collapsed under its own weight. As things are, it is still a restless piece, full of contrasts and new elements to discover as your eye travels around it again and again.

Read Full Post »

Alano Edzerza: Commercial Works and Castings

Posted in aboriginal art, Alano Edzerza, art, art appreciation, art galleries, British Columbia, Bruce Byfield, First Nations art, indian art, Northwest Coast Art, Personal, Uncategorized, tagged , , , , , , , , , , , , on August 30, 2010| Leave a Comment »

Alano Edzerza is a thirty-year-old Tahltan artist whose work ranges from architectural commissions and uniforms for the Dutch Olympic team to T-shirts and hoodies. Although he sometimes duplicates the same design in different media a little too often, on the whole, his work is a good example of how you can find something for every budget in Northwest Coast art. So long as you’re not looking for one-of-a-kind pieces, you can often find pieces of work for $200-$500 in the gallery that carries his name.

For example, one of the pieces usually available at his shop is this Chilkat belt buckle:

Edzerza has often worked with Chilkat designs, but, because they originate in weaving patterns, seeing a single element like this is startling. More often, a Chilkat design will have a number of elements, often repeated, with the result that you rarely linger over a single element. Isolated here, the design gives you the chance to study the face at length. In fact, it wasn’t until seeing this belt buckle that I realized that Chilkat designs (of which I know very little) are structurally closer to the formline designs of paintings and carvings than I had realized.

Edzerza also occasionally sells castings of other artists’ work, like this one taken from a pendant by Mark Prescott, whose prints have been available in the Edzerza Gallery:

The pendant is non-traditional, of course – if anything, the crouching figure of the shaman reminds me of some Old Norse drawings I have seen of Woden. This (presumably) accidental resemblance seems appropriate, since, like the Old Norse god, this shaman with a rattle in his right hand and a knife in his left combines elements of both the magician and the warrior.

Edzerza has also done a casting of an eagle pendant by Marcel Russ. I believe the original is in argillite:

Unfortunately, this picture suffers from the limitations of my digital camera. As a result, you will have to take my word that this casting manages to capture the strong sense of line for which Russ is famous. That is not an easy thing to do, and many casts I have seen of original works are muddied versions of the original. But here, Edzerza – who also shows a love of a good line, both in the occasional borrowing and his own original ones – has managed to give a strong suggestion of what the original must look like.

Works like these do not increase in value like exclusive works. But, at their best – as in these three pieces – such commercial works make a bit of beauty accessible to any budget.

Read Full Post »

The myth of the three-sentence email

Posted in Bruce Byfield, Business, Personal, Uncategorized, tagged , , , , , on August 25, 2010| 2 Comments »

One of the ideas that keeps circulating through books and blogs about business is that emails should always be kept short. The suggested rules for keeping them short vary – less than a hundred words, short enough to be read without scrolling, and, most common of all, two to three sentences – but the idea is similar, regardless. It is also an idea that can do as much harm as good.

There are at least two rationales for this idea. The first is that if you are sending a marketing mailout, shorter ones are more likely to be read than longer ones. However, given that mass mailouts are likely to be flagged by spam filters, I suspect that the length doesn’t matter much, and that mailouts of any length are most likely to go to the Trash folder unread. Moreover, most emails are not mailouts, and, in a business context, you can count on them being read regardless of length.

The second is more convincing: Conciseness is more forceful, and more respectful of the recipients’ time. And, certainly, many emails, such as those arranging a time and place to meet, hardly need more than a sentence or two.

However, if issues are being discussed online, a brief email will hardly be enough. You should still make sure that an email is no longer than it needs to be, but if what you are discussing needs eight hundred words, then by all means you should give it eight hundred words.

By contrast, insisting on conciseness can cause problems of its own. For instance, this morning I received the following email: “Any specific request for the Greek food? How many boxes would you like?”

I immediately understood that the first sentence referred to the Greek food that the sender would be bringing around to my townhouse tonight. However, at first I interpreted the second sentence as a question about how much food should be bought. It was only after I replied that I realized that the second sentence was referring to another matter altogether – how many cardboard boxes the sender should bring, since they were helping me pack. This is a trivial matter, but it shows how easily conciseness can create confusion.

Moreover, in many contexts, being concise can create a negative impression. It can sound curt or rude, or even indifferent, even if your intention is not to create such an impression. Communication is always as much about relationships as it is about the ostensible subject, and, when you are being concise, on of the aspects most likely to be left out is the relationship part. If you get too caught up with efficiency and forget this fact, that you can easily leave the recipient feeling slighted.

I had an example of this when someone recently sent me a three-sentence email in response to news about my partner’s death: “I am so sorry to hear about your loss. It is so sad. My sympathy to you and your family.”

The sentiments were right here, but the shortness of the sentences undermined them, making their expression sound formal and insincere. The email also has a staccato rhythm and regularity of structure which makes it sound even more perfunctory. It sounded so indifferent that I found myself wondering why the sender had even bothered.

By contrast, here is another email I received at around the same time: “I am so very sorry to hear this news – please know that you have many friends thinking of you and sending you support and love.”

It is just as short, and just as obviously from someone who does not know me particularly well. Yet it takes the time too be personal in a way that the other email did not, and as I result, I found some small comfort in it.

Novice writers might be tempted by simple rules to help them write better, but the point is that they rarely work. Follow a rule like the three sentence email, and you can cause yourself more problems than you solve.

Read Full Post »

The sub-literature of grief

Posted in "Death is nothing at all", "Do not stand", bereavement, Bruce Byfield, grief, literature of death, Mary Elizabeth Frye, mourning, Personal, Scott-Holland, Uncategorized, tagged , , , , , , , , , , , , , on August 20, 2010| Leave a Comment »

One of the minor tribulations about grief is that people are continually pressing inspirational poetry upon you. Just as people feel they have the right to touch a pregnant woman’s belly, so even comparative strangers feel that they can offer you material that ordinarily you would never consider reading. Suffer bereavement, and you are aware of this mawkish, archly Christian sub-literature that dozens of people suddenly want to share with you.

They mean well, of course. Whenever someone thrusts a printout at me, I thank them with a straight face, solemnly read the printout, and thank them for their kindness. I don’t want to hurt anyone’s feelings, particularly when they are trying to make a thoughtful gesture.

Inwardly, though, I am wondering, “Why do they imagine that grief has blunted my aesthetic sense?”

You see, what makes this poetry such a tribulation is not that it’s Christian. I am an agnostic, but I live in a post-Christian culture, and I fully accept that, to understand the literature of the past, I have to be fully versed in Christianity. And I am, so much so that I have have read large chunks of St. Augustine and Thomas Aquinas. But when there are such Christian poets as John Donne, Emily Dickinson, or Gerald Manley Hopkins – or even Tennyson, in his ponderous way – why would anyone turn to the mediocrities that I keep receiving?

At least with such poets, the aesthetic pleasure can provide a genuine relief from grief, and deciphering the argument can be an intellectual diversion, even if I reserve judgment on the Christian conclusion.

But the poems that make up the sub-literature of death are usually doggerel, with all the subtlety of an SUV slamming into a pedestrian.

Take, for example, “Do Not Stand,” a poem attributed to half a dozen sources, but probably the work of Mary Elizabeth Frye. “Do not stand at my grave and weep; / I am not there,” it begins, then goes on to explain where the speaker can be found – for instance, in the reflection of the snow, or the sunlight on grain. A statement about survival after death, it is better written than most of this sub-literature, but goes on for about half a dozen lines too many without any development of thought. And when I come to the last line of, “I did not die,” I become possessed by the cynical ghost of Robert Graves, and I am moved to ask why the speaker has a grave, then.

For that matter, why shouldn’t those to whom the poem is addressed cry? That is a natural part of grief, and knowledge of the person’s survival after death does not change the fact that the deceased is no longer present.

Another example of this literature is, “Death is nothing at all,” which is attributed to Henry Scott-Holland, a canon at St. Paul’s Cathedral in the late nineteenth or early twentieth century. According to Scott-Holland, the dead “have only slipped away into the next room” – as if that made them any more approachable.

“I am I and you are you,” Scott-Holland continues helpfully, just in case you were confused, and urges you to act the same as always, and act as though he was still present. “What is death but a negligible accident?” he asks, apparently because “I am waiting for you for an interval / Somewhere very near . . . . One brief moment and all will be as it was before / How we shall laugh at the trouble of parting when we meet again!”

Well, you know, even granting survival after death in some form, I seriously doubt that laughter. I don’t know about anyone else, but falling into each other’s arms with cries of relief sounds more realistic to me. When I reunite with somebody in life, I don’t laugh at my emotions when we parted, so why would I do so after death? There is something so arch and so smug in this doggerel’s sentiment that to me it amounts to a trivialization of death and grief.

Yet even these two pieces sound like masterpieces next to the anonymous “God sends his love.” Sharing some of the archness of Scott-Holland, this one describes the dead person as being chosen to die so that he can help God in his work. It repeats Scott-Holland’s sentiments about not grieving, but at least has the decency to add, “But do not be afraid to cry, it does relieve the pain.” – although the sentiment is immediately spoiled by the nonsensical line, “Remember there would be no flowers unless there was some rain.”

Blithely skirting around the problem of pain, the piece goes on to assert that death is all part of a divine plan that humans cannot comprehend, and urges the mourners to be helpful to those in need, adding

And when you feel that gentle breeze or the wind upon your face, that’s me giving you a great big hug, or just a soft embrace.
And when it’s time for you to go from that body to be free, you’re not going, you are coming here to me.
And I will always love you, from that land way up above, will be in touch again soon.

Then it ends with “Ps God sends his love” – a tug at the heart strings that even Steven Speilberg would feel ashamed to try.

What is interesting about all these pieces is how much they have in common. They all take the form of the deceased talking to those who survived them, assert survival after death, and downplay the importance of grief. The last two also promise that the deceased and the survivors will meet again as a reason not to grieve.

Perhaps some Christians can find some comfort in the repetition of their core beliefs. Presumably, many can, since few seem to object to the use of uninspired modern hymns in place of the masterpieces from the 18th Century in ordinary services.

But, for me, such works seem profoundly inhuman. By insisting that grief is unnecessary, they show no understanding of human psychology whatsoever. And when this inhumanity is expressed so poorly, with so little development of thought – well, is it any wonder that these printouts go directly into the recycling bin when I come home? In every possible way, they seem a mockery of my grief, not a comfort in the least.

Read Full Post »

« Newer Posts - Older Posts »