carlyn yandle
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My needling starts with a need to build community

11/10/2018

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The other day I did this because it really needed to happen. All that gleaming new-campus architecture, surrounded by other gleaming buildings and gleaming buildings yet-to-come was begging for a little fuzzying up.

I did my undergrad at the old Emily Carr University of Art and Design campus which was decidedly less smooth and metallic and more crafty, situated as it was in the Granville Island artisan mecca on the ocean's edge. I liked running my hand along the old wooden posts carved with decades of scrawled text, and all the wiring and ductwork that in the last few years looked like a set out of Brazil. I miss the giant murals on the cement factory silos next door and the funky houseboats and the food stalls in the public market and Opus Art Supplies 30 feet away from the front entrance.

The new serene, clean Emily Carr building is surrounded by new and planned condos that most students could never afford, high-tech companies and, soon, an elevated rapid transit rail line. As much as I wanted to return for graduate studies, I was not convinced that I would be a good fit here, so asking for permission and access to the sign was a bit of a trial balloon for me. I got quick and full support for the idea and its installation, and now see this new white space as a blank canvas, ready for the next era of student artistic expression.

This is my first solo yarn-bombing foray. A bunch of us attacked the old school back in the day for a textile-themed student show but I have yet to meet my people here. So the Emily Carr Cozy is not just a balloon, it's a flare. Is there anybody out there?

As I busied my freezing fingers with the stringy stuff (in hard hat, on the Skyjack operated by design tech services maestro Brian) I kept an ear out for reaction. And it was good. Sharing the fuzzy intervention on social media (#craftivism, #subversivestitch etc.) reminds me that I am not alone in my need for needling authority. Indeed, this public performance includes behind-the-scenes connecting with my community of makers to collect their leftover yarn and thrift-store finds even before the main act. (You know who you are.)

Textile interventions in the public sphere have a way of provoking polarizing responses. Some love the often-chaotic hand-wrapping of colourful fiber; others view the crafty messing with architecture with disdain of all things cozy and crafty and engendered female. I liked the idea of having to wear a hard hat and working for four hours in a Skyjack, in the mode of construction workers in the immediate vicinity of my rapidly changing hometown, to complete my knitting job.


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The reverse side of the Emily Carr Cozy, seen only from the interior of the school, is like the work behind the scenes in my making: chaotic, improvisational and maybe more interesting than the public side. (Carlyn Yandle photo)
A visual of the process, below. (All photos by Caitlin Eakins)
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Public art is not decoration; it's a thoughtful disruptor

12/16/2015

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Picture'Lighthouse', commissioned by the Burrard Arts Foundation for Lumiere Festival 2015. Carlyn Yandle photo
As I was wrapping bolts of fabric around the Haywood Bandstand across from English Bay last Friday, a few intrepid dog-walkers approached me, shouting over the gale-force winds and all basically asking the same question: Why?

As much as I wanted to reply, 'Why not?' that's a bit glib. There's no why involved; it came about by asking the question, "What if?" Instead I told the dog-walkers, "It's for the Lumiere Festival." Some seemed relieved to learn that I wasn't mothballing the bandstand forever.

By the end of the day, and despite the hot colours and textures created in that dark park, I could detect some distrust in this project. Public art raises more questions than answers, and in this corner of the world, that can lead to some unease.

​
The 'why' response to public art always interests me. People need reasons, answers.

PictureCluster, for the City of Richmond, 2014. Carlyn Yandle photo
When I designed Cluster, the bright aluminum tubes that seem to extrude from the last guideway of the Canada Line in downtown Richmond, there was a lot of 'why's. There was even a chorus of 'why's' following the installation of the Network social-engagement project (below) at the Vancouver Art Gallery earlier this month.

I have to pick my replies carefully. Answers like, "Because it made you look", "Because it made you feel different" or "Because it made you ask questions" are greeted with annoyance. But that's the truth of the matter. These are not decorations or marketing tools but objects that hopefully lead to new ideas, new conversations.

We are a young city in the middle of a growing spurt and we're not comfortable with all the changes. But already we are beginning to shed our adolescent awkwardness and at some point we will mature into a great, well-rounded metropolis that embraces our ever-changing, diverse cultural landscape and points of view.

What if I was part of it?


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'Network', created with Debbie Tuepah, at the Vancouver Art Gallery, December 2015. Carlyn Yandle photo
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Time is ripe for Occupy Neighbourhood movement

4/24/2015

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PictureOne of a handful of Vancouver's 'country lanes' from a 2002 pilot projects. (Photo: Ben Nelms for National Post)
And yet.

And yet there is nothing like an untenable situation to spark a creative response. There is evidence of it in the spaces between, beyond, behind, or otherwise outside the scope of authority. You see it in neighbourhood back alleys and in the gaps between buildings all over the world: small, bold, personal gestures. It may start with a graffiti tag (I was here, The Man can stuff it) and evolve into jaw-dropping unauthorized artworks. It may start with that one condo-dweller with no outdoor space who drags a chair down to the street to do some sketching or practise guitar. Last year some folks down the block put out a table at the corner park and had a sit-down neighbours’ potluck dinner. Down another block is a Country Lane, one of just a handful of alleys transformed into a garden-like thoroughfare in a pilot project with the City back in 2002.

PictureDay after destruction: Giant doily on the bulldozed community gardens in Kitsilano (Carlyn Yandle photo)
And so it has come to pass. Where bloom-perfumed weeknight evenings in spring normally draw out elderly food-growers, young adults on after-class dog walks, tots trying out their new walking legs and commuter-runners with backpacks now there is barely a soul. “It’s so futile,” a neighbour said, hands on hips and gazing around at the remnant plant-bits fighting for traction in the bulldozer tracks. “This is just big male egos at work.”

My community, like all Vancouver communities increasingly hemmed in by one glassy, luxury edifice after another, is under threat of becoming no place in particular.

Living directly across the street from a swath of rubble, I think about the Field of Dreams line, “If you build it they will come.” Except in the case of the formerly thriving community gardens obliterated by CP Rail last month, it’s more, “If you destroy it, they will vamoose.”
PictureVancouver's downtown alleys are typically sketchy, soulless spaces. (Photo: Jonathan Hayward , Canadian Press)
These small acts are claims on our community. There’s nothing like an obliterated cherished social space to make us rethink this expectation that city planners or developers or Translink or the provincial government will make our corners of the world livable. That’s up to us. It requires a little courage and some questioning of authority. It may involve a little risk and the understanding that it’s easier to get forgiveness than permission. 

PictureLivable Laneways has taken on the west alley on Main Street north of Broadway, with various temporary installations and community events.
This is how I came to move a couple of wrought iron chairs from my deck to the acres of dead dirt across the street. I wanted to see if they would be confiscated or destroyed. Instead, they’re being used, to rest for a spell, to soak up the rays, to down a beer. It’s a small act but even two empty chairs are an invitation, a potential conversation.

I’ve been researching creative ways to carve out social spaces in the face of the residential-investment spree that’s taken over Vancouver. Even in the tightest spaces -- or especially in the tightest spaces – humanity can grow and thrive. From the thinnest walkway container gardens in Kyoto to a laneway festival in one of our city’s dumpster-blighted back alley, there is potential in occupying a lost space.

Don’t just say something; sit there.

PictureA laneway in Melbourne, Australia (Photo by Corbis via traveller.com.au)
  

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Public art tour by bike all part of the velorution

4/17/2015

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There is a symbiotic relationship between art and cycling. For me, I don’t get to work/play in the studio if I don’t get on my bike, and I don’t get my daily dose of hard-pumping exercise if I don’t go to the studio.

My father, a career artist and devoted cyclist, has long believed a cure to what ills is Dr. Bicycle. I take that to mean not just physical aches and pains but creative lethargy. Any artist who rides will tell you that inspiration often hits while she’s flying on two wheels.
PictureThe June 2007 ride shut down Lion's Gate bridge for 30 minutes and the Stanley Park Causeway that leads to it for 60 minutes. (Tavis Ford photo)
Cycling as daily transportation is pretty much mainstream in Vancouver’s downtown core now, but it took a lot of persistence by non-conformists and idealists to get it that way.  The early Critical Mass rides through the city’s main thoroughfares on the last Friday of every month were composed of a motley crew of creative-thinkers. When that critical mass of riders was reached, the infrastructure followed, thanks to a progressive city planning department and pedal-power-driven community leaders like Mayor Gregor Robertson, Gordon Price and Peter Ladner.

The bike has been my main mode for most of my life but I still feel like I'm playing a bit of Russian roulette every time I head out, even though negotiating city streets isn’t the life-risk it used to be. It’s mighty fine seeing old folks and tykes on bikes but you know there’s been a real sea change when you see guys in their 20s and 30s cruising the city on two wheels -- or maybe that’s all due to the new craft beer joints and weed stores. Drunk and stoned cyclists in traffic: not cool.



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Meanwhile, there are still quite a few art-loving folks in my world who only rarely, if ever, take to the bike paths but if there's ever a time, this is the season for it, and this weekend is the perfect time for some pedal-play.

May I suggest this art-cycling combo: the self-guided bike tour of some of the city’s temporary public artworks on display for the Vancouver Biennale. (Map and key at right.) 

PictureVancouver artist Marcus Bowcott's Trans Am Totem
Not listed on this tour is one work that will have particular resonance to the bike-loving bunch: Trans Am Totem, by Vancouver artist Marcus Bowcott.

If the promise of fabulous spring weather this weekend won't tempt you, this call to action video will:


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Shab-fab granny squares cover it all

1/16/2015

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Maybe it's the chilly monochromatic climate at work here, but I'm suddenly wrapping myself up granny squares. The more I think about them, the more potential I see.

There's a lot of culture woven into those fuzzy little colour grids. They're there in the background of popular culture, infusing irony and cozy home-yness, nostalgia and disdain. One graces the couches of neuroscientist Amy Farrah Fowler's nerdy apartment and Roseanne's working-class house. Jemaine sleeps under one  (badly).

Sure, they achieve that soupçon of shabbiness or tastelessness essential to the story but those set decorators are no idiots; granny squares inject hits of high colour and pattern to the visual field. They are trippy, decorative non-decor objects. Their form is used because of their assumed function over form. 

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They are the throws that are thrown around, their colourful geometry reflected and refracted so that they radiate western domestic culture, love it or hate it.

Cate Blanchett adorned a designer version on the red carpet, to a chorus of derision by the fashion police, which secured the actress more publicity. 

There's something delicious in the mix between haute couture and the easy, scrappy crochet method that results in over 13,000 Etsy items under the search term, "granny squares".

I've loved/hated granny squares ever since my cousin and I were given matching shrink vests at age 10, from our moms. I would have been wearing that single, large purple granny square at a time when the Italian dads in the neighbourhood were setting up that granny-square pattern in concrete breeze walls around their brand new Vancouver Specials. 



PictureOne breeze wall in a photo essay by the author of joy-n-wonder.blogspot.ca
Like the blankets, the breeze walls evoke utility and thrift but are visually interesting enough to warrant new consideration. The modularity of granny squares and breeze-wall blocks ooze with potential, especially as a mash-up.

Granny squares command attention. The Los Angeles Craft and Folk Art Museum took on new dimensions when it was covered in thousands of donated granny squares as part of its CAFAM Granny Squared installation a couple of years ago. 

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Suddenly, a city that is generally at odds with notions of the handmade, the domestic and the artisanal was attracting mainstream media attention for its collaborative crocheted culture jam.

A couple of years before that, in 2011, members of many Finnish women's organizations and the craft teachers' union blanketed Helsinki Cathedral's steps in 3,800 granny square tilkkupeitosta (Finnish for 'quilt').

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The modular motif marries beautifully to existing architecture, as the granny squares take on a Tetris effect, cascading down to the giant public square in this domestic intervention.

But what about the granny square as a building block itself? What if a building appeared to rise out of a giant crocheted coverlet? How could concretized crocheted granny squares be utilized as sculpture?

It's a fuzzy concept worth building on.



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Trades bring public art to a new level

9/19/2014

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PictureManaen Senkow (left) and Jordan Thys assemble the sculpture. (Carlyn Yandle photo)
You know you're working with the right people when you arrive at their shop with nothing to show for your sculpture idea but some vague sketches and they don't frog-march you out of the industrial park.

My idea is for a giant version of a severed fiber-optic cable — but it should also look vaguely like a thruster-cluster thing. And I'd also like to hint at those giant tunnel borers and massive industrial fans. Somewhere in there. 

I don't know where to begin to try to communicate all this to industrial welders so my burly cousin with a lifetime in the forestry industry opens a door and before long I'm thankful to be pitching my idea to Manaen Senkow, of Select Steel, whose grandfather John Senkow built the decorative railings at the historic Minoru Chapel in Richmond as well as other metal fixtures that helped revamp Steveston. 

PictureFiber-optic wire bundles (Carlyn Yandle photo)
I tell him it should be a bunch of brightly-coloured, random-length, angle-cut tubes made of some shiny, rust-proof metal. Which should be spaced apart somehow so you could see between the tubes. Which will be hoisted up at the end of the Canada Line in downtown Richmond. And, by 'will' I mean, 'may be', if this City of Richmond public art project doesn't fall through.

I bring along a snarl of fiber-optic wiring in my purse, like rosary beads.

And Manaen, who I'm told does a lot of sketching and designing himself, says yes. All do-able. Then the long collaborative process begins.

This isn't my first time working with metal fabricators — my last project relied on the welding skills of upcycling specialist Noah Goodis — but this would be a small, potentially pain-in-the-ass job at a bustling shop serving the West's primary industries. It all comes down to having faith that people who work with their hands in all crafts like to innovate and stretch their skills. 

PictureJeff Morris bolts down Cluster to the last Canada Line column. (Carlyn Yandle photo)
Fast-forward several months, to  overnight last night (at this writing) when another team of trades gets in on the project, this one in the hoisting of massive sculptures into place. Enter Jeff Morris of Pro-Tech Industrial Movers, who finds the prospect of swinging nearly 1,000 pounds of plate aluminum up onto the end of the last guideway at Brighouse Station "simple." 

He was right. And right on time, too.

My faith in the trades in the collaborative process is confirmed.

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Cluster, day one. (Photo by Eric Fiss)
***
City as Site, a survey exhibition of Richmond's public art, continues at Richmond Art Gallery (five minutes' walk from Canada Line's Brighouse Station, now with newly installed Cluster) to Oct. 26. Public art bus tour: Sept. 27, 1:15-3:30 pm, with public art specialist Dr. Cameron Cartiere and special guest artist Andrea Sirois. RSVP required: ktycholis@richmond.ca or 604-247-8313. 

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I was under the assumption I would mostly be making

9/12/2014

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People say talking about one's work gets easier with practice. I don't know any of those people. (Glen Andersen photos)
I did not sign up for this.

Well, actually I did, in my exhibiting-artist contract with the Richmond Art Gallery for the current City as Site public-art survey show, but that's not my point. I believed that steering away from my career as a manager and devoting my working hours to the independent business of building a visual art practice would be chiefly about making stuff — not so much with the talking and the writing about the making. But if that maker wants to actually be a part of what they call in art school "the discourse", she must talk about the work. In front of people. Sometimes a lot of people, many of whom are not here to listen to me. I mean her.

Engaging an audience is not my forte. I usually start with a pre-emptive apology of some sort because I know how this  is going to go down. I tend towards the tangential when I'm nervous, often resorting to wild hand gestures to make my point. My pace quickens as I go until I'm hyperventilating at which point I cut it short, usually with an unprofessional, "That's it" or, for variety, "That's pretty much it" (arms raised in resignation for emphasis).

You've got to stop apologizing, a friend said in a phone call the day after my five-excruciating-minute Artist Talk last Friday. It shows a lack of confidence. (Guess who just read The Confidence Code?) 
Haven't you heard of self-deprecating humour?, I said.
It's not if you're not being funny, she said. 
She had a point.

Then there is the dreaded video interview (at bottom).  I believe the only reason that the artist interview is listed as a condition of the contract is that otherwise most artists would high-tail it in the opposite direction.  The single-shot monologue creates the perfect condition for sudden eye twitches and facial tics. I spend so much time, um, trying, um, not to, um, say 'um' that my train of thought often jumps the rails and I end up serving up such pearls of wisdom as, "I also do re-upholstery."
PictureClockwise from left: Me, Nancy Chew, Jacqueline Metz, Glen Andersen, Nicole Dextras.
Even just being at one's own opening is akin to feeling naked on the street. After all, a lot of this making stuff originates in the privacy of the studio, involving private ideas. Sorry for making you all look at my privates.

But the smiles in this picture don't lie. Tough as it is, the talking is the audio part of the sharing that sheds more light on the subject, in this case, the behind-the-scenes look at Richmond's Public Art collection.

***
City as Site continues at Richmond Art Gallery (five minutes' walk from Canada Line's Brighouse Station) to Oct. 26. Artist workshop: How to Apply for Public Art Calls, Sept. 13, 1-4 pm with Elisa Yon, public art project coordinator with the City of Richmond. Public Art Bus Tour: Sept. 27, 1:15-3:30 pm, with public art specialist Dr. Cameron Cartiere and special guest artist Andrea Sirois. RSVP required: ktycholis@richmond.ca or 604-247-8313. 

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public art exposed: a peek behind the scenes at new show

8/29/2014

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It's one thing to dream up an idea for the back end of the elevated Canada Line track and quite another to see that dream come together in a mammoth aluminum sculpture.
PictureMetal fabrication at the Select Steel shop, Delta. Carlyn Yandle photo
So when I got my first glimpse of the progress of Cluster at the metal fabricators this week, the piercing clang and whine of the shop suddenly seemed to give way to the theme from 2001: A Space Odyssey. 

Whoa.

It was exactly as I had imagined it, except for the immensity. That something so voluminous could come out of a bundle of bubble tea straws was sort of short-circuiting my brain.

Well?, their faces seemed to ask.

"It's... very... big," I said, immediately thankful their earplugs spared them from hearing the bleeding obvious. 

PictureCluster concept sketch (image by Carlyn Yandle)
Of course, no one sees these moments of shock, nor all the anxiety, revelation, frustration, obsession typical of the emotional swings that go into the creation of public artwork. When Cluster is hoisted into position next month, its narrative will be in the eye of the beholder, its entirety read in an instant.

But a new Richmond Art Gallery exhibit (opening next Friday evening, Sept. 5) is pulling back the curtain on the process behind five public artworks that dot the city, in its City As Site show, curated by RAG director Rachel Lafo. Here is where visitors will see evidence of the beginning of the ideas that were pitched, developed, reworked, and finally translated into forms for public placement. Combined with that focus is a survey of all artwork in the local public sphere that is defining Richmond as not just another clutter of condos but a specific space in a particular time.

PictureMetal fabricator Jordan Thys at work. (Carlyn Yandle photo)
For me, laying bare some of my half-baked early concepts and awkward sketches that led to the development of Cluster (as well as the Crossover crosswalk design) is slightly uncomfortable but this is a warts-and-all display. Not shown is the high level of trust that must exist for any collaborative project to succeed: trust in one's own ideas, the physical properties of the materials, the skill and temperment of  fabricators, the foresight of structural engineers, and the patience of the commissioning bodies. Public art projects come with the headache-y package of  issues of insurance, permits, budgets, timelines and many unforseeables. In short, it's much more than a good idea.

Embedded in those physical projects is the intangible quality of faith. Cluster isn't done yet, but I have faith that it will soon be a thing in the manufactured landscape that will spark conversation, which will connect people and by extension contribute toward a unique, vibrant community and cultural hub.

Fingers crossed anyway.



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deadhead alive with ideas of our watery past, uncertain future

6/27/2014

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PictureLike moths to a light, paddleboarders hover around Deadhead. (Carlyn Yandle photo)
On one rambling two-hour bike tour of False Creek Sunday, a friend and I cruised by the Dragonboat festival, the jazz festival and the food truck festival. Granville Island was foody festive. Kits Beach was body-festive. When everything is awesome we found some  visual relief in the form of Deadhead, a chaotic sort of pirate ship/treehouse combo straight out of Waterworld.

Except this floating sculpture is not a big-budget flop. In fact, this curious floating object that is currently moored at the Heritage Marina in front of the Vancouver Maritime Museum makes use of wood salvaged by Cedric Bomford, with his retired engineer father Jim Bomford and artist brother Nathan Bomford.

PictureDeadwood under construction. Photo: Maritime Museum
Deadhead is anti-slick, a welcome switch from the Disney and Celebrity Cruise floating cities that are part of the local summer scene. 
The mash-up of spiral stairs, lookouts and ramps make this a magnet for curious kids, and a good introduction into what public art can look like.

An open house (or open barge) is slated for next Saturday (July 5), 2-5 p.m. with sig­nal flag work­shops running at  2, 2:30, 3, and 3:30 pm
Sat­ur­day July 5, in Her­itage Har­bour and at the Van­cou­ver Mar­itime Museum, just off the south side of the Burrard Bridge — a good excuse to use the new bike lane).

More photos showing Deadwood in process here.

PictureView from the crowsnest. (Photo from http://deadhead.othersights.ca/)
Just when I was sure every last skilled carpenter has been sucked up north to Kitimat, or further, to Fort McMoney, it's with some relief to see local builders constructing something for the purpose of art.

I love a sculpture that is both playful and foreboding. It speaks of the imagination of kids and the hands of skilled makers with means, but it also evokes our shared history of makeshift dwellings in the watery part of the world, and a climate-changed future we'd rather not imagine.

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The pretty and the pretty awful make it into Eastside murals

4/11/2014

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PictureUrban Crow (detail), by Richard Tetrault




I have this vague, hippie-era-soaked memory
of my brother and I hanging with my father as he painted a wall alongside some other artists. Forty years later I suggested to my brother that he swing by my own mural project last summer, reminding him of those times when we were to come see the art in the making.

There's a humble history of mural-making in East Vancouver, but well-known Strathcona-based artist Richard Tetrault has taken it to new heights. Speaking in Vancouver and Richmond this week, his survey of his large-scale, collaborative, very public paintings emphasizes place and history.

His work is about layers: the often conflicting layers of histories of Vancouver's distinct communities and the layers of translucent colour that identify his painting style.

PictureIconic hydro poles and back lanes, Urban Crow (detail)
The very-Vancouver images of construction cranes, crows, and hydro wires take on symbolic meaning in his murals. But behind the expansive visuals on the sides of buildings or retaining walls is a whole other skill area: working with Eastside communities to create the content that is often contentious but necessary, he says, in moving forward. So, residential schools and the 'bad' Balmoral hotel sign are depicted, often despite some objections by those who are haunted by them, but in a way that acknowledges their impact without further torment. 

Then there is the challenge of the logistics of securing funding and handling swing stages and working while exposed to the elements. These are skills that only develop from a lifetime of experience in public mural-making, and are invisible in his slideshow of works that show, say, collaborating members of the Chinese, First Nations, and Japanese community represented in the Radius mural at the Firehall Theatre in Vancouver's Downtown Eastside (below).

PictureThe Radius mural in progress at the Firehall Theatre.
Some of that background can be seen in the short film (see YouTube clip, below) about the immense Through the Eye of the Raven collaborative mural on the Orwell Hotel.

Tetrault is heavily influenced by his own early-adult years in Mexico, absorbing the social art murals by the likes of the big three — Orozco, Rivera, and Siqueiros — whose large-scale public artworks were created to speak to a largely illiterate indigenous population.

PictureSiqueiros' Revolutionaries (detail), 1957-65
What makes a good/important contemporary mural remains the subject of great debate, making this public artform fraught with issues. 

Is a mural without a message — such as to remember a history of struggle, to give rights or hope to the wronged, to call to action — mere decoration? Is colour, beauty and skill worthy enough of public funding? What are the parameters for officially sanctioning one kind of expression over another? Should the public have input into what is being funded?


PictureOne Terrace local shares his views on the Enbridge campaign. Photo by Josh Massey
Unauthorized murals — also known as graffiti — are fleeting but can also pack a punch, as famously seen in Bansky's surreptitiously created scenes.

It can be seen in the work of my cousin in Terrace BC. (name withheld) for his anti-Enbridge art on the public property of the old Skeena Bridge and possibly painted out by now. For the people, by the people. 



***
Richard Tetrault's murals can be seen in the flesh with the help of the interactive maps in this self-guided Eastside Mural Tour.

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