And that’s just how it felt, to look at my painting, hanging there with 24 other, entirely-other works. As Christopher observed, “Yours is so very different.” Of course my kid is different, I wanted to say. I didn’t plan it that way, but I’m not surprised that’s how s/he turned out. It’s nice to be with a crowd, but not of it. Even so, different-ness doesn’t guarantee confidence. Leaving my painting at the Gladstone was strange, and a bit stressful (it’s exhibited there with the others through Monday). I had a momentary twinge of -what, grief? separation anxiety? parental sentimentality? -when I walked into my tiny studio space at home and immediately noted that particular painting’s absence. It had become a sparky little fixture amongst the larger, older stalwarts, who seemed to hover and surround it in a protective huddle. I got cold thinking of it hanging in silence and darkness all night, alone and open to the elements of unfamiliar eyeballs and sneaky urban spiders.
Tag: live painting
I’m always surprised and delighted by the sheer number of fascinating, artsy events happening in Toronto at any given time. In addition to Art Battle, A Work Of Heart, which also features live painting, is coming up soon. A Work Of Heart is an initiative that brings together artists and philanthropy in a spirit of cooperation, self-determination, curiosity and sharing. To quote its current release, “artwork is donated by seven local artists… half of the proceeds will go towards building a boarding school in Kenya’s Mathare Slum.”
The main thing I hear and read is that Western-style gestures don’t help in implementing long-term change – that it’s feel-good-ism for the privileged. How much of this initiative is about the long-term?
Laura: We work with an organization called Living Positive Kenya (LPK) which is located in the Mathare Slum, the second largest slum in Aftrica. This NGO is a support group for women and children living with HIV. Mary Wanderi, who founded this NGO (and is currently Director of Living Positive Ngong), is a pervious social worker who had the heart-breaking job of going into the homes of women who have died and retrieving their children. After dealing with an overwhelming amount of HIV related deaths she decided she had to take action. She then created LPK.
Why did you create A Work Of Heart?
Laura: I want to be there for the long haul. I am not looking for the the international ‘feel-good-ism’ experience and to simply walk away. These women aren’t just a group we support- they are our friends. We work together to figure out what the deeper problems are in the slum and try to find solutions that work for them and their community. After my first trip to Kenya, I felt that the amount of money needed to upgrade the LPK daycare was something I could easily fundraise. Selling my art seemed like the best bet to raise that money in my spare time. I paint as a hobby so it was nice to have a reason to do it more often.
Laura: Artists in general have a lot of passion and are always looking for ways to push boundaries with their talent. A Work of Heart allows them to push a new boundary because their art can now physically change a life for the better. Art is impossible to define but can be best described as something that makes us feel less alone. We want to take this concept and broaden it beyond the painting. Through the selling of our art we can connect to people across the world who are in grave need. It’s not just about painting a great picture; it’s about ‘painting a better world.’
Casey: Art is a positive practice that crosses language barriers and can be experienced globally. Art is exciting because it can mean something different to different people and create an emotional response. There is no right or wrong way to paint or be involved with art. I think that this project exemplifies how one person really can make a difference and that visual art, along with all types of art, like music, dance, can have a global reach and connect the world.
How do you find artists?
Laura: Networking. I have friends who paint who know other artists. It has slowly been growing over the past year. People I have never met want to donate pieces to me because they love the concept. It’s a great feeling to see how other artists connect to it so quickly and so passionately.
How do you hope to expand Work Of Heart and its reach?
Laura: We have decided to push our goals and limits further each year. Last year we aimed to raise $1,000.00 and this year we want to raise $10,000.00. This is our first art show. We hope to have larger ones down the road and have more artists from the GTA involved. We have a deep connection to the women and children we work with in Kenya and want to help them build a sustainable community for their children and themselves.
Casey: I hope to continue to raise positive awareness for A Work of Heart through the media and help to build a solid base of supporters. I am passionate about this project and happy to pitch something I truly believe in.
Today marks the one-year anniversary of heads, the salon-style speaking event I helped to co-organize. It featured Ruth Klahsen of Monforte Dairy and Chung Wong of Givernation, as well as the first public edition of Art Battle, a competitive event that pitted two painters against one another in a timed event that the public could view and, once the pieces were complete, vote on.
While heads didn’t survive, Art Battle has rocketed into the stratosphere of popularity within Toronto’s cultural community. It’s so popular in fact, that the popular weekly Now Toronto is running a live feed of tonight’s event starting at 8pm ET.
The premise is simple: pit two painters against one another, live, for a specific amount of time (usually twenty minutes). When finished, the observers get to vote on a favorite, which is then auctioned off. The losing painting… can sometimes meet an ugly end. Or not. There are three rounds, and the public has the opportunity of being in one of those rounds. Fun? Scary? Nuts? Brilliant? All of the above.
I had the opportunity of interviewing the co-founders of Art Battle, Simon Plashkes and Chris Pemberton, about the hows and whys around pitting painters (sometimes well-known, sometimes not; sometimes not even painters) against one another in a public arena.
I have to admit, I’ve never been 100% sold on the idea of putting painters within a competitive arena. The very nature of it -people gawking and talking, holding cold beers and varying expectations, combined with the added pressure of an unforgiving stopwatch -means the essential nature of the artist’s output will be vastly different to what they’d produce in an actual studio. But who’s to judge which is better? That’s an interesting question worth exploring. And there is something fortifying about the level of community input and involvement Art Battle has consciously sought. I love the fact that Art Battle has encouraged those who’ve never put brush to canvas before to give it a try (both publicly and not). It’s equally heartening to see the curiosity Torontonians have shown towards Art Battle, rendering it the big success it is now.
Kudos to Simon, Chris, the entire Art Battle team -and not least of all to all the artists, past, present, and future, who continue to re-define that most contentious of words -“art” -and what our relationship to it is. Bravo.
Photo courtesy of Art Battle Toronto.