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MERMADES IN THE BASEMENT(A kaleidoscope)
Decades of painting left tangible footprints, collected and stored in our basement.
Surrender & catch. Paintings bubble up; don’t want to be forgotten.
His work is listening, just listening. Dreams people tell unfold what so far has been unspeakable, unthinkable. She creates images, exposing more than can be fathomed. Words can point beyond. Poetry. Words can deceive, destroy, obfuscate, cover up, or enslave. Words can reveal, liberate, and illuminate. One takes one’s chances. Kaleidoscope: 1817, lit. "observer of beautiful forms," coined by its inventor, Sir David Brewster (1781-1868), from Gk. kalos "beautiful" + eidos "shape" (see -oidFigurative meaning "constantly changing pattern" is first attested 1819 in Lord Byron, whose publisher had sent him one. |
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Meredith King Minogue Feldmár
Born South Porcupine, Ontario, Canada, 19/9/39 At the age of 6, due to comparison and ridicule, I gave up my dream of being an artist and immersed myself in the rigours and thrills of dancing, [ballet, toe-dancing, tap-dancing]. After coming to Vancouver in 1969 with Andrew and giving birth in 1970, living at Crescent Beach, I was encouraged to take drawing classes with Lilian Broca after having studied ceramics with Fred Owen at Douglas College [1972-1974]. To connect with the world through my hand and eyes without veils of fear and doubt and see it come alive on an empty page was an utmost thrill and awakening. I drew constantly and I felt connected and vital. During 1974/75 I spent a year in England accompanying my husband during this important time of his career-building and managed to find opportunities to study dance and ceramics during the time I wasn’t busy with childcare [3 1/2 yr old son and 1 yr old daughter], and home management. After settling in Vancouver in 1975, I was involved with dancing [Paula Ross] and worked on my ceramics at a home studio containing wheel and kiln in the basement. When the children became involved in school, I applied and was accepted to the four year program at the art school. It was a rigorous 4 years of feeling like I was living in two worlds; the responsibility to the children and my husband, total house and family care and personal availability on the one hand, and the responsibility to my vocation which demanded total immersion and commitment and ‘networking’ to insure any possibility of career success. I attended the Emily Carr Institute of Art and Design,Vancouver, B.C. [1977-1981] and graduated with honours in drawing and painting after which I set up a studio with friends at 901 Main Street. I participated in group shows: Helen Pitt Gallery [1978-1981], Robson Media Centre [1981, 1982], Women in Focus Gallery [1981], Women’s Festival Promotion [1982], Agrodome; West Coast Women [1982], 901 Main Street Studio with Jo Cook and Dan Giroux [1983] -Art Perry review in the Province, Yaletown Warehouse October Show [1983], Sunshine Coast Art Centre with Vicky Marshall, Allyson Clay and Phillipe Raphanel [1984], Beatty Street Warehouse [1984], Caravan Theatre [20 x 9 foot mural] [1984]. The studio rental responsibility and the necessity to move house resulted in my making a studio in the home garage [1985] thus connecting and balancing my two spheres of work. I continued to paint; had work in the Pitt International Gallery [1985, 1987], had a private showing of my work at my husband’s huge office-space in 1987 with my son and his band providing the music, had a portrait of R. D. Laing in the documentary film ‘Did You Used to be R. D. Laing’ [1989], showed at Richmond Art Gallery with Scott Plear including a slide show and talk about my work, and a news video interview [1990]. I took an Emily Carr Univ. of Art and Design night-school course in lithography [1991] and continued my print-making experience in Florence with Patrick Aubert making etchings, chin collé and monoprints[1995]. I also showed my work at Proprioception Books [Dominion Bldg.] [1992], Octavia Gallery group show [1995], Octavia Gallery solo show [1996], Queen Elizabeth Theatre Mezzanine Gallery-Emily Carr Univ. of Art and Design- 80th Anniv. Grad Show [adjunct] [2005 ], Cortes Island, Suzanne’s Café, on going-exhibition of still lives [1998-2001], had shows at my home [Magdalena and still lives 2001], [Elsie Hedz – 32 portraits of Elsie during 5 years [2007], Cortes Schoolhouse Gallery Portrait Shows [2008,’10.’11] and had drawings and paintings published in magazines and zines [1983-1995]. Painting is my way of living, my means of knowing myself and creating visual realities of my experience of the life I live. I feel that I am working within a tradition, that I rely on direct experience and intuition, that I am very vulnerable, filled with doubts and limitations. I surprise myself through discovery, through continually letting go of received notions and through recovery of my joy. This collaboration provides an opportunity for my work to be seen through the technology and network of the computer and provides a fascinating possibility for a creative working connection with my husband. Quote from Martha Graham “There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. If you block it, it will never exist through any other medium. It will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable it is, nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.” |
Andrew Feldmár
Born Budapest, Hungary, 28/10/40 I am a psychotherapist living and working in Vancouver. Born in Hungary during WWII, I immigrated to Canada at the age of 16. I hold a BA in mathematics, physics and chemistry from the University of Toronto, as well as a MA in psychology from the University of Western Ontario. In 1972, I enrolled in the psychology PhD program at SFU, however, due to disagreements with my thesis advisor, I left SFU in 1976 without completing my thesis. From January 1, 2006 on, I have refused to register in the College of Psychologists of British Columbia, which, I thought, was mismanaged and autocratic. I have been registered there since the formation of the College in 1979. I remain, however, an Honorary Life Member of the Canadian Psychological Association. During 1974/75, I was also intensively studying and training in the practice of psychotherapy under renowned and controversial Scottish psychiatrist, Dr. R.D. Laing. I now sit as an advisor to the Society for Laingian Studies, as well as serve as a faculty member at the International R.D. Laing Institute. I have taught, lectured and lead workshops at SFU, UBC, Emily Carr and Douglas College. I have also worked extensively overseas, mainly in Hungary. In 1989, I was a guest on a 3-part CBC Ideas radio series entitled R.D. Laing Today. I have also worked as a consultant in both television and film. Most recently (2001 & 2002) I consulted for Showcase's Kink series. Other career highlights include work with the United Nations; founding the Integra Households Association, a non profit charity working with those in extreme mental distress; as well as Third Mind Productions, a film production company that went on to turn out the 1987 film, Did You Used to be R.D. Laing? I was about 12 when I sent in some of my poetry to a children’s radio show, only to receive a note from the host, suggesting that I leave writing to others, but certainly, please, spare him of further samples! Defying the fatherly advice, I kept writing, was Poet of the Month on Toronto’s CHQM radio around 1965, read my poetry at the Vancouver Art Gallery around 1970, published a book of haiku (in English and in Hungarian) illustrating photographs, in 2007. For many years, I wrote two columns for the Vancouver Mental Patients’ Association’s publication, In a Nutshell, one called, Minute Particulars, the other Bookworm. My wife is an artist, my son a musician/writer, my daughter a poet/philosopher – I earn my living through words. I also like to play with words. | |
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