Title
Map for "Behind the Lines"
Artist's Statement
This work covers many themes, but I realize that it's also biographical, because letter writing has been part of my life for many years. I wrote my first letter to a politician - the late Mayor Jean Drapeau of Montréal - when I was in grade 10, to complain about pollution in the St. Lawrence River. From 1981-1983 I was the Central America Coordinator for Amnesty International groups in Canada. This experience taught me a lot about the potential impact of letter-writing, as well as its limitations. I continue to write to politicians, as well as a bimonthly Arts column for the Quesnel Cariboo Observer.
"Behind the Lines" is based on responses to letters I've written to Members of Parliament. I silkscreen their replies as symbolic curtains or boxes which reveal images that contradict political language. This offers a way to depict layers of reality: what is the truth behind words? What is the fiction? What does propaganda look like?
To increase the sense of irony for the viewer, I like to use materials associated with the topic of the letter. Pieces dealing with free trade, such as "Pinstripes" and "Grey Flannel Softwood Dispute Panel" are printed on businessmen's pants that hang in front of the logos of corporations that are literally "behind" Free Trade. "Lacrosse Rules" and "Constitutional Wrap" are about the Oka crisis and Burnt Church, and use camouflage fabric, an astroturf golf course, butcher wrap, and birch bark to resonate with these important events involving First Nations people.
Some of these materials present special challenges for printmaking, but the new textures, colours and combinations that they bring to the series recharge me and lead to new ideas. So the process of making the pieces for "Behind the Lines" alternates between research, reflection, and synthesis.
I'm basically an optimistic person. I draw a lot of inspiration from things like the Peoples' Summit in Québec City, the Durban conference in South Africa on racism, and the thoughtful reflection of many who used the terrible events of September 11 to reexamine their world view and communities. Noam Chomsky's relentless and courageous exposure of political and economic truths remains a model for how citizens can act.
At the same time, our governments are busy axing social programs or giving up more and more of Canada's sovereignty to the United States and to multinational corporations, while the national media parrot official lines as if nothing is wrong. There's so much information, so much technology, wealth, and opportunity for peace and justice in the world, yet our society can't seem to break its addiction to greed and destruction. Working on "Behind the Lines" is one way I can integrate my art with my activism, and make sense of what's happening around us.
I discourage viewers from trying to read every letter - they'll get a headache! But I hope they will enjoy the humour in the pieces, and perhaps even be inspired to write a letter about something important to them. When the mainstream media barrage us with cynicism and despair, let's never forget that simple actions can make a difference, as Amnesty International has demonstrated again and again.
"Behind the Lines" is at the
Nanaimo Art Gallery until Feb. 9, 2002. 10 - 5, Mon - Sat.
Acknowledgements
Many people have helped and inspired me to do this work. The Canadian Centre for Policy Alternatives, Polaris Institute, the Council of Canadians, and Linda McQuaig have been among my best sources for accurate economic and political information. David Macfarlane suggested I write Jean Drapeau in the first place. Oliver Kelhammer, Joyce Majiski, Rafe Churchill and Sophia Isajiw helped with concepts, printing and construction at the Banff Centre. Linden MacNielson, Elaine Briere and Brenda Hemsing kindly gave permission to use their photographs. Thanks also to Lois Herrick, Yoly Garcia, Paul Gelok, Dennis Siemens and Jim Close for material help, to Claire Kujundzic, Beth Holden, Sima Elizabeth Shefrin, Lisa Kokin, Paulette Seymour, Paul Unruh, Annerose Georgeson, Sandy Bunce, David Whittaker and Paula Scott for solid advice and support. Claire and Beth were instrumental in editing and selecting the monoprints shown in Nanaimo, and I couldn't have done any of this without Claire.
