Sketch of a Road Trip (Mike Glover, The Big Lonely 2009)

 Mike Glover. The Big Lonely (2009) Glover took a trip across the country (one of many), and self-published this book of sketches. They are notes for his paintings. He likes old buildings, old machines, boats, lonely rocks and trees. The cover image shows his taste. The drawings are accurate records of the subjects, seen from an angle that creates a pleasing composition. The objects look self-sufficient, as though they existed apart from the humans that made them, or the human that sees and records them. In his paintings, this self-sufficiency creates a kind of solitary, elegiac mood. Glover gave me this book in exchange for a few items for his model railroad. I’m glad to have it. ****

Canadian National Treasures (Callwood, 1994)

June Callwood. National Treasures (1994). Vision TV received its licence in 1987, and began broadcasting from its very modest studio a few months later. In 1991, June Callwood discussed an interview show with them. Her guests would be National Treasures, or at any rate people that she thought should be recognised as such. Most of her guests were drawn from her circle of friends and media acquaintances (she was a journalist and social activist). The show was a success, and helped Vision TV grow its audience. It’s now a money-making property owned by ZoomerMedia, with a more secular and marketing approach than the religious and multi-cultural service that its founders had promoted.
     This book consists of edited transcripts of nine of these interviews. They’re interesting as documents of a certain time and sociopolitical ambience that has passed. They trigger nostalgia for what looks like a simpler time, which it wasn’t. The cultural landscape simply felt smaller back then. But the transition to the larger and less easily encompassed  Canada of today was already underway.
     Callwood is a pleasant conversationalist, which makes for easy reading, but I don’t get the sense of personal or other revelations that I’ve had from Eleanor Wachtel (Writers and Company) or Mary Hines (Tapestry) interviews. However, the interview with William Hutt did change my perception of him. The others confirmed or expanded what I already knew (or thought I knew) about them. Recommended for anyone who wants to know more about the 1990s in Canada. All the interviewees have relevance today. ***

Michael Everett Glover: The Big Lonely and Beyond

Michael Everett Glover. Big Lonely and Beyond (2009) Anyone who’s driven any stretch of the Transcanada Highway knows why the Big Lonely is a good name for it. This book records some of Glover’s travels.
     The sketches are naturalistic, sometimes impressionistic. His paintings are semi-abstract realist. Buildings, boats, cars, railroads, grain elevators, and skies are among his favourite subjects. This sketchbook shows off his skill as a draftsman and his skill in combining and layering shapes to form a composition, His paintings display the same skill in composition plus eye for colour. His palette recalls the Group of Seven, who saw the same colours on their travels. It’s a Canadian thing.
     Glover’s work has a elegiac ambience, often showing us how the works of human beings fade away. But the land endures. We have three of Michael’s small paintings. His website is at https://www.meglover.ca/
     Full disclosure: Michael has been stopping by on his journeys across the country for several years now. He gave us a copy of this book shortly after he published it. I like looking at it. ****

Jane Ash Poitras, a deliberate artist

 Virginia Eichhorn Consecrated Medicine. (2004) An illustrated monograph about Jane Ash Poitras, to accompany an exhibition at the Thunder Bay Art Gallery. Poitras is deliberate artist, she plans her works with meanings and messages in mind. Here, the meaning is indigenous medicine, and the colonial dismissal of indigenous knowledge and wisdom.

 

     The pictures are not easy; they’re neither elegant nor pretty. They are layered compositions of collaged images in several media, surrounded by or overlaid with painted symbols and figures and texts. These add up to densely complex and not easily grasped meanings. One must read the work like a book, which I think is Poitras’s intent. Reading is both an intellectual and an emotional investment in constructing meaning. The layered images make us re-read the texts, and create both ironic distance and dissonant emotions. We both deconstruct and reconstruct meanings.  It’s a journey from comforting cliche to unsettling insight. I think that’s what she intends.
     Her personal history is I think the impetus for her art. She was a homeless indigenous child found and raised by an elderly German immigrant woman. She embarked on a conventional career as a university-educated micro-biologist. She apparently always maintained links to her heritage. She was not assimilated after all. But reconnecting to her indigenous self meant deconstructing the settler persona acquired in her adoptive home, and reconstructing her Cree self. Making art was her method. Her artworks invite us to share in her journey. Reading her art, we follow her on that journey, and we deconstruct the comfortable settler persona we’ve developed. What do we construct out of the wreckage? I hope it’s a new awareness of and respect for the indigenous people who were here first.
     Poitras is part of the quest for what it means to be Canadian. It doesn’t mean what it was in colonial times. It doesn’t mean what it’s become in our multi-culturalist present. What does it mean, then? I don’t think we have the answers, but Poitras’s work contributes to the conversation. It’s a conversation whose meaning is constant reconstruction of the answers.
     Go look at Poitras’s art if you get a chance. ****