carlyn yandle
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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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Laying doilies on devastated gardens: a bit of sublime madness?

3/6/2015

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When the white RCMP SUV was spotted cruising around the Maple Street section of the community gardens early Monday morning, it was clear that the chainsaws and earth-movers were next.
PicturePlaceholders for levelled gardens: Wrap I and Wrap II, 10' diameter each, crocheted Tyvek (Photo by Carlyn Yandle)
For the next three days all the gardeners of those little plots along the Arbutus rail corridor could do was ask that some of the uprooted shrubs be saved. But mostly those who had the stomach to watch the carnage were shaking their heads, hugging one another, trying not to cry.

The train used to come by here when there were gardens. Now there is no need for trains yet all but a fringe of the gardens must go.

It's the futility of the destruction of people's source of food, pleasure and community that hurts the most. CP has every right to their right of way, but it's a crying shame all the same.


PictureBackhoe tracks and Wrap I, 10' diameter, crocheted Tyvek (Photo by Carlyn Yandle)
When all was left was the tracks of the backhoe, I thought that laying down some giant doilies seemed appropriate. Or at least it didn't seem any more ridiculous than levelling the gardens along a useless spur where the rails have long disappeared under the tarmac of some streets it used to cross.

There was no one around when I unfurled the two 10-foot-wide doilies on the bare dirt after the land-clearers left for the day - eerie for a time and place where there's usually all sorts of people tending their vegetables, walking dogs, riding bikes, pushing strollers or just surveying the spring coming on. But soon a few curious souls ventured in to ask what I was doing or snap some Instagram-destined pics. Conversations started up, mostly about Those Assholes but also about the grandmothers who loved their doilies, or the other things that these things reminded them of. A bit of absurdity in the face of absurdity, but it kick-started something. 

When one's world seems unbearable "it is the sublime madness that makes one sing," Pulitzer-prize-winning war correspondent/author/minister Chris Hedges told the crowd at a packed downtown church two weeks ago. Acts of creative expression in the face of devastation are signs of a belief in a "divine justice." They are small acts of hope that say, 'We exist.'

Hedges rocks your world view here (talk begins at 16-minute mark):

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Defending the doily in 20 images, 20 seconds each

1/23/2015

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This just uploaded... Six and a half minutes devoted to that question I get a lot:
"What's up with the doilies?"

(Video courtesy of Terry Fox Theatre's PechaKucha program. More info on the entertaining, informative and globally-popular PechaKucha format here.)
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Discarded doilies demand attention

8/9/2013

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PictureWrap (I), polyethylene fibre, 96" diameter
In my fourth-year sculpture class venerable artist and (now newly-retired) Emily Carr instructor Liz Magor took one look at my first installation of a kazillion doilies stretched across the cavernous classroom and said, "You seem to be in love with doilies. Maybe it's time to break up and find something else to love."

It was just the kind of motivation I needed to embark on a three-year challenge to bring the thrift-shop throwaways into the gallery fore.

PictureWrap (II), polyethylene fibre, 96" diameter
I admit I am in love with spidery, handmade doilies. My hands barely know the work that goes into their tiny filigree patterns. Following a complex pattern is a highly meditative exercise in concentration, patience and commitment. Their circular designs reflect the mathematical patterns of coral, brain, bibb lettuce.

But the real power of those little doilies for me is their symbolism. Each one represents its maker, invariably an older woman who has clearly worked this way with her hands for many, many years, who probably learned from her mother, who learned from her mother. When I spot them in heaps in a plastic basket on a thrift store shelf, 50 cents each, I am quietly horrified. How can all these humble labours of love, these overlooked objects of household protection, be reduced to almost no value? And am I still talking about the handmade items or their makers? I've been tangling up the two for a long time — for too long, some might say.

PictureFlo (I), acrylic on canvas, 60" x 60"
For three years I've been pushing the doily into new dimensions, trying to make the invisible visible. Mixing them up with industrial materials like mortar and Tyvek. Using patterns from the back of 1950s Ladies Home Journals to turn eight-inch-wide doilies into eight-foot-wide doilies. Messing with the macho painting conventions of Abstract Expressionism from the same era.

The show went up at the Queen Elizabeth Theatre lobby last week. I don't know what the concert-ticket-holders will think of giant doilies hanging from railings, the small sculptures of unfathomable petrified doilies or painted fields of doily patterns, with names like Flo (after my grandmother with skilled hands and a bold spirit) and Persistent Grey.

PictureRavages (I), found cotton doilies, mortar, dimensions variable
I'm sort of resigned to the idea that many will find it all weirdly decorative. Maybe Magor would say that now I really need to find another object to love. But for me it's a mission accomplished. I've somehow managed to fool everyone with the promise of Art and filled the pristine, privileged gallery space with doilies.

Is my love affair over? I'm trying not to think about it too much. Over-thinking has never helped me.




Unlaced continues at the Queen Elizabeth Theatre until Sept. 23, 2013. Gallery Hours: during QET performances or by appointment. Contact: Connie Sabo, gallery curator, 604-505-4297

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Ask not why the giant doily

5/2/2013

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Picture
After a long and often painful labour, I’m happy to introduce…the twins!

I’m not sure why I plumped up the two eight-foot-wide doilies, freshly completed today, for their first picture. It might have something to do with this morning’s mammogram.

‘Why’ is always a scary question wherever conception is concerned. ‘What’ and ‘how’ are a little more manageable.

What they are are two crocheted doilies on a scale of 1 inch = 1 foot, using a material that mimics the relative volume, appearance and weight of the cotton floss called for in the original patterns for the two table-top doilies I found in my stack of 1950s homemaker magazines.

Picture
What material was a tough enough question without the Why lurking behind. I’d been searching for the right stuff for ages until I realized it was all around me. In fact, I’d been hammering cedar shingles into it for weeks at a time last summer: Tyvek exterior building wrap. I pushed the Why away as I special-ordered a 100-yard bolt of the wrap.

The size of the doilies was determined by the biggest crochet hook I could get my hands on (and could handle). After making several swatches I finally decided two-inch strips were sufficiently doilyish.

Scraping up any residual knowledge of basic math that has clung to my grey matter, I have conjured up this probably-incorrect calculation of length of materials used, in answer to the What:

Picture
36 inches (1 yard width) ÷ 2-inch strips = 18 strips x 60 inches (length) = 1080 linear inches per yard x 95 yards (100-yard bolt minus remaining five yards) = 102,600 linear inches ÷ 12 inches = 8,550 feet ÷ 2 doilies = 4,275 linear feet per doily. (I love how stats can be simultaneously unfathomable and banal.)
How did I know how to make doilies? Let me count the ways in all those crappy/crafty afghans, potholders, slippers, placemats, doll clothes, stuffed animals, toques, nerdy vests and that abortion of a bikini.

Why the giant doily, you/I insist? Because it was there, in my head. I conceived two to enjoy their similarities and their differences.

Go forth, twins! Find your purpose! Write if you get a show! And don’t let the why-ers get you down!

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