gale

.

26 PLANET OF THE ARTS: / FEBRUARY - MARCH 1996

Chris Woods

-Stations of the Cross
Diane Farris Gallery until Feb 10.

Having seen some of Chris
Woods earlier work, also at the Diane
Farris Gallery over the past few years,
| was surprised when | first learned of
the subject matter of his newest
works, Stations of the Cross. The
fourteen paintings, all eight by four-
teen inches, oil on panel, depict
scenes of the crucifixion of Christ.

The twenty-five year old
artist's earlier works centered around
“pop-culture sensibilities." On a much
larger scale, these earlier paintings
seemed to me to act as a critique of
a consumor society surrounded by
modern day testaments to fast food
and advertising.

Although Woods has used
Christian references in earlier work
(one painting, also now showing at
Diane Farris shows a man sitting with
pools of blood-like ketchup, into
which a woman dips her french fries),
his fourteen new panels lack the cri-
tique (perhaps a more subtle unease)
which accompanied such iconogra-
phy in the past. Given the fact, how-
ever, that the new works were
commissioned by a private patron for
St. David's Anglican Church in
Vancouver, such an omission is hardly
surprising.

Stations of the Cross con-
tinues Woods earlier use of what has
been called a "hyper-realistic" style.
Figure and backgrounds are carefully
modeled in descriptive and often
vibrant colour. Using tiny but visible
brush strokes the artist renders easily
recognizable subject matter in a style
that is, if not painterly, very obviously
painted. Woods takes pains with his
work, paying careful attention to
details (such as building the frames
to his own strict specifications), as
well as the more basic elements of
colour and composition.

Each individual piece is
carefully designed and constructed,
and the way the fourteen panels
interrelate in terms of story line and
composition has been given equal
consideration. Working largely in his
Chilliwack studio, Woods took well
over a year to complete the project.
Woods built a replica cross for
"Christ" to carry, and carefully chose
from family and friends to cast his
scenes.

The paintings, following
the directive of his patron, depict the
crucifixion of Christ in a modern day
setting. In this interpretation of the
Bible, Roman soldiers become secret
government agents or business types,
and Christ's mother, disciples and
supporters are folks you would bump
into at a family dinner or school.

The Stefan Bauer
Band

The Glass Slipper

photo by Kelsey Finlayson

Christ is nailed to the cross wearing
boxer shorts, and other characters
wear modern day clothes as well.
Scenes take place locally, in front of
the Vancouver Art Gallery, on
Georgia Street, and in front of the
Trade and Convention Centre, for
example.

Woods doesn't identify
himself as a Christian, but he does
write in his artist's statement that he
appreciated the opportunity to work
not just with Christian imagery, but
also for the Church: "I realized that |
was being given the opportunity to
experience something that was once
the cornerstone of the artist's trade -
creating images to illuminate the
stories of the Bible for daily use in an
established church.

Critics from the Globe and
Mail and the Georgia Straight have
praised Woods’ work on these pieces,
as well as his new "take" on
Christianity in modern times. But as
Woods himself points out in his
artist's statement, placing scenes
from the New Testament in current
times is hardly revolutionary. Artists
throughout time have done the same.

| find it unfortunate, given
his unique opportunity, that Woods
could not have had a truly new take
on the Christian Church and society
in his work. By giving the face of
intolerance and evil to big business
and government Woods effectively
ignores the painful and devastating
influence the Christian Church has
had on our community and world-
wide, both recently and for the past
1700 years.

In heroizing "everyman"
and demonizing big business/govern-
ment, he effectively removes any
suggestion of self-inquiry from the
ordinary viewer. Evil is seen as being
outside the realm of the ordinary
human being - it is synonymous with
the guys in suits. But should we not
all take responsibilities for the state
the world is in?

This is not to say that the
life and death of Christ should neces-
sarily have been critiqued. On the
contrary, many of the teachings of
Jesus and the story of self-sacrifice
told by these fourteen paintings
clearly have relevance today. To me
though, the failure of these paintings
to deal with the larger story, of how
Christ's words have been (mis)inter-
preted in our society, leaves these
works following in the footsteps of
Christian art over the centuries: to
visually satisfy, but leave my heart
empty. @&

Reviewed by Selena Liss

Looking a little road-weary from touring across
Canada in the dead of winter, Stefan Bauer
(vibes), Bernie Senensky (piano), Jim Vivian
(bass), and Barry Romberg (drums) played to a
highly appreciative house at the Slipper this
January. More than a quartet of headcolds has
come from their journey, with "A Night At The
Legion”, an up-tempo piece with swinging vibes
and piano solos inspired, no doubt, by the
venues of Saskatchewan. However, if this show
was an example of this group's lower energy
gigs, their "on" nights must be incredible. Vibes
are played with double mallets, chordally, and
Bauer weaves his notes between those of his
bandmates, drawing them close and holding
them tight, before allowing them to fly away,
and then return to the swing. Jim Vivian danced
his bass through both sets, with the effortless
sounding Senensky on keys.

However, it was Romberg behind the drum kit
that blew everything sky high during "Blues
Tune", with intense solos that flew out of an
already richly patterned background. This was
the final night of their tour, and they seemed to
have saved the best for last; before heading
back to the studio to record a new cd featuring
Kenny Wheeler on trumpet and fluegelhorn.
Check Black Swan in a few months for.a sample
of some of Canada’s finest jazz musicians.

Francois Houle Trio
The Glass Slipper

For anyone who does not know it
already, The Glass Slipper, found
inside an old character home at

the corner of 12th @ Kingsway, is
“home” to some of the best jazz
ensembles in the city and beyond

on a nightly basis. On a frosty

night in December, the Slipper
welcomed local clarinetist

Francois Houle, guitarist Tony
Wilson and percussionist Dylan
Vanderscheff, with the warm
applause and open ears of a full
house. These three work together
like the good friends that they are,
with a receptiveness to the other's
part which enables the creation of
the whole. To call Vanderscheff a
drummer is to underdefine him;

for the ways in which he rhythmi-
cally coaxes sound from his
instruments could be likened to a
beautiful dance, alternating between
sticks and hands, brushes and then
hands again, pulling the different
sounds of this trio together. Where
as the drummer is often seen as the
supporting stucture, here it can be
found in Wilson's guitar. With a dri-
ving, trancelike rhythm that rises and
falls between the peaks and valleys
of clarinet and percussion. Then
there is Houle himself, a classically
trained musician who has turned to

People Playing Music

-Kelsey Finlayson

photo by Kelsey Finlayson

Town Pump

For anyone whose idea of a good
time is a seven piece slice of uncut
funk and a sweaty night shaking it
down on the floor, this local band is
dedicated to you. Feeling lost in the
age of standard wahwah pedal rants
and screams of angst at an unjust
world unwilling to give the living it
owes? Sighing wistfully at the
thought of a smokin horn section,
backing a sweet singing soul sister in
a silver dress? Oh, baby, hope is
around the corner, and it's called
People Playing Music. When these
cats get together, one thing's for cer-
tain- there's gonna be a funky good
time in the finest traditions of funk,
soul and reggae. Don't miss the next
show of the hardest working band in
Vancouver, or the opportunity to get
downdowndowndowndown....and _
check the indie section for their self
titled album.

-Kelsey Finlayson

photo by Kelsey Finlayson

the interpretive forms of jazz as an out-
let for creative expression. His clarinet
sings sweet, swings high to a wail, then
slips low; it really is the voice of this trio
and conveys an astonishing range of
emotion incapable of words. This music
is the sum of all of its parts, and what
parts they are indeed. Their new album is
due out soon, but until then you can be
more than satisfied with their first col-
laboration, Schizosphere. =@

26 raver oer ans: | reo - Mano 1996

Chris Woods

Stations of the Cross
Diane Farris Gallery until Feb 10.

Having seen some of Chris
‘Woods ear work, also atthe Diane
Farris Gallery ove the past few years,
|iwas surprised when I first learned of
the subject matter of his newest
works, Stations ofthe Cross. The
fourteen paintings all eight by four-
teen inches, ol on panel, depict
scenes of the crucifixion of Christ

The twenty-five year old
antistsealer works centered around
“pop-culture sensibilities” On a much
larger scale, these earlier paintings
seemed to me to act asa eritque of
‘2 consumor society surrounded by
moder day tetaments to fastfood
and advertising

‘Although Woods has used
Christian references in earlier work
(one panting, also now showing at
Diane Faris shows a man siting with
pools of blood Ketchup, into
which a woman dps her french fies),
his fourteen new panels lack the er-
tique (perhaps a more subtle unease)
which accompanied such iconogra-
phy in the past. Given the fact, how=
ever, that the new works were
commissioned by a private patron for
St Dave's Anglican Church in
Vancouver, such an omission is hardly
surprising,

‘Stations of the Cross con-
tinues Woods earir use of what has
been called a *hyper-ealistic” style.
Figure and backgrounds are carefully
modeled in descriptive and often
vibrant colour Using tny bu visible
brushstrokes the artist renders easly
recognizable subject matter in a style
that's, if nt pantery, very obviously
painted, Woods takes pains with his
work, paying careful attention to
detals (uch as building the frames
to his own strict specifications), as.
well as the moce basic elements of
colour and composition

Each individual pece is
carefully designed and constructed,
and the way the fourteen panels
Interelate in terms of story line and
composition has been given equal
consideration. Working largely in his
Chiiwack studi, Woods took well
cover a year to complete the project.
Woods built a replica cross for
“Christ to cary, and carefully chose
from family and fiends to cast his

‘The paintings following
the directive of his patron, depict the
‘crucifixion of Christ in a modern day
‘setting. In this interpretation of the
Bible, Roman solders become secret
‘government agents or business types,
‘and Christ's mothe, disciples and
‘supporters ae folks you would bump
into at a family

The Stefan Bauer
Band

The Glass Slipper

moto Tete on

Christi nailed tothe cross wearing
boxer shorts, and other characters
‘wear modern day clothes as well
Scenes take place locally, in font of
‘the Vancouver Art Gallery, on
Georgia Street, and in front ofthe
Trade and Convention Centre, for
example.

Woods doesn't identify
himself asa Christian, but he does
wre in his artist's statement that he
appreciated the opportuity to work
not just with Christin imagery, but
‘also fr the Church: "I realize that |
was being given the opportunity to
experience something that was once
the comerstone ofthe ats’ trade
‘creating images toiluminate the
Stories of the Bible for daly use in an
‘established church,

(tics from the Globe and
Mail and the Georgia Stroigt have
praised Woods’ work on these pieces,
as well a his new "take" on
Christianity in modern times. But a5.
Woods himself points out in his
artists statement, pacing scenes
from the New Testament in current
times is hardly revolutionary. Artists
‘throughout time have done the same.

find it unfortunate, given
bis unique opporturity, that Woods
could not have had a tly new take
fon the Chistian Church and society
in his work. By giving the face of
Intolerance and evil to big business
and government Woods effectively
ignores the painful and devastating
influence the Christan Church has
had on our community and worl
wide, bth recently and for the past
1700 years.

In herozing "everyman"
and demonizing big businss/govern-
iment, he effectively removes any
suggestion of self-nguity from the
‘ordinary viewer. Ei is seen as being
‘outside the realm ofthe ordinary
human being - its synonymous with
the guys in suits. But should we not
all take responsibilities forthe state
the world sin?

This is not to say that the
life and death of Crist should neces-
sarily have been eitiqued. On the
contrary, many of the teachings of
Jesus and the story of sf-sacifce
told by these fourteen paintings
clearly have relevance today. To me
though, the failure ofthese paintings
to deal with the larger story, of how
Christ's words have been (mislinter-
preted in our society, leaves these
works following in the footsteps of
Chistian art over the centuries: to
visualy satisfy but leave my heart
empty.

Reviewed by Selena Liss

Looking alittle road-weary from touring across
‘Canada inthe dead of winter, Stefan Bauer
(vibes), Bernie Senensty (piano), Jim Vivian
(bass), and Barry Romberg (drums) played to a
highly appreciative house atthe Sliper this
January. More than a quartet of headcolds has
come from thet journey, with “A Night At The
Legion’ an up-tempo piece with swinging vibes
and piano solos inspired, no doubt, by the
‘venues of Saskatchewan. However, if this show
was an example ofthis group's lower energy
gs, their “on” nights must be incredible. Vibes.
ate played with double mallets, chordally, and
Bauer weaves his notes between those of his
‘bandmates, drawing them close and holding
them tight, before allowing them to fy away
and then retun to the swing. Jim Vivian danced
his bass through both sets, with the effortless
sounding Senensty on keys

However, it was Romberg behind the drum kit
that blew everything sky high durin "Blues
Tune", with intense solos that flew out of an
already richly patterned background, This was
the final night oftheir tour, and they seemed to
have saved the best for last; before heading
back to the studio to record a new ed featuring
Kenny Wheeler on trumpet and fluegelhorn
(Check Black Swan in afew month fora sample
of some of Canada’ finest jazz musicians,

Francois Houle Trio

‘The Glass Slipper

For anyone who does not know it
already The Glass Slipper, found
inside an old character home at

the comer of 12th @ Kingsway, is
home" to some ofthe bes azz
ensembles inthe city and beyond

on a nightly bass. Ona frosty

night in December, the Slipper
welcomed local carnetst

Francois Houle, guitarist Tony
Wilson and percussionist Dylan
\Vanderscheff, with the warm
applause and open ears ofa full
hhouse These three work together
like the good friends that they are,
with a receptiveness tothe others
pat which enables the creation of
the whole. To call Vanderscheff a
‘drummer is to underdefine him;
forthe ways in which he rhythmi-
cally coaxes sound from his
instruments could be likened to 3
‘beautiful dance, alternating between
sticks and hands, brushes and then
hands again, pulling the afferent
‘sounds of this trio together. Where
2 the drummers often seen as the
‘supporting stuctue, ere it can be
‘ound in Wilson's guitar With a dri-
ving trancelike rhythm that rises and
falls between the peaks and valleys
‘of clarinet and percussion. Then
there is Houle himself a classically
trained musician who has turned to

People Playing Music
Town Pump
For anyone whose idea of a good
time is a seven piece sie of uncut
funk and a sweaty night shaking it
‘own on the foo, this local band is
dedicated to you. Feeing lost inthe
age of standard wahwah pedal rants
and screams of angst at an unjust
‘world unwilng to give te tvng it
‘owes? Sighing wistfully atthe
‘thought of a smokin hor section,
backing a sweet singing soul sister in
2 Silver dress? Oh, baby, hope is
“round the commer, andi called
People Playing Music. When these
cats gt together, one thing's for cer
tain= there's gonna be a funky good
time inthe finest traditions of funk,
Soul and reggae. Don't miss the next
show ofthe hardest workin band in
Vancouver, or the opportunity to get
downdowndowndowndown.2nd

‘check the indie section for their elt
titled album

Kelsey Finlayson

(obo by Kesey avon

the interpretive forms of jazz as an out=
let for creative expression. His clarinet
‘sings sweet, swings high toa wal, then
‘lips low; it realy is the voice of ths trio
‘and conveys an astonishing range of
‘emotion incapable of word. This music
isthe sum of al ofits parts, and what
pats they ae indeed. Their new album is
‘due out soon, but until then you can be
‘more than satisfied with ther fist col-
laboration, Schizosphere.

Kesey Finlayson