Taking in the Megalopolis show. Photo by Palma Berger.

MEGALOPOLIS

by Palma Berger

The young artist, Meghan Hildebrand, was “grown in Whitehorse”. In 1997 she relocated to Nelson B.C. to attend the Kootenay School of the Arts. After a year’s stint at the Nova Scotia College of Art and Design in Halifax, she returned to Nelson to complete her studies.

One would think she would be too appalled at the world of industrialization which she now inhabited to give it her attention. But she began to see the patterns and shapes of this new world. Colour also. This is what her show, “Megalopolis” which has just opened at the Odd Gallery depicts.

In her artist’s statement she says, “Webster’s dictionary defines “Megalopolis” as a vast, continuous panorama comprised of many regions ­ urban, rural and industrial”.

The industrial life is depicted by the chimneys spewing smoke to blend with gorgeous clouds in the sky. Cones of light from cars at night light up buildings or walks. One feels the pace of life in the long dark lines, or repeated small squares which might be windows seen as one zooms by, or the long splash of colour.

As Sharon Edmunds said, “When I think industrial I think of grey and drab monotony, not the wonderful colours Meghan has brought to her paintings.”

Yet nature is not completely ignored. Trees appear by a river. The river may appear to be coloured by the pollutants in it, but it still moves like a river.

How our life style is affected by industrialization can be seen in a painting with the photo of a rock star. Around him are several televisions. Trapped in each is a guinea pig, giving the impression that it is the rock star who has the freedom while we are the guinea pigs trapped inside our television sets.

As Mike Yuhasz said in his opening remarks, “Her work provides an insight into the human condition.”

Her paintings are done in acrylic on wood, with the occasional photo trapped in, and a glaze from oil paints spread over the painting afterwards, to give it a glowing effect.

This is not the first time her work has been shown in the Odd Gallery. At the exhibition at the opening Odd Gallery in 2000, and opened by the Governor General, Adrienne Clarkson, one of her paintings was in that exhibition. It was promptly snapped up by one of the Governor-General’s staff members.

Hildebrand speaks of industrialization as É “Fueled by greed,, it is a constantly accelerating machine fed with natural resources, translated in colour and pattern, it chugs, radiates and pollutes as it forms a complex, all encompassing pattern of earth , machine and sky.”

What draws her to paint these scenes which are largely industrial in scope, despite having lived in a number of beautiful natural settings? It is “the fear for the future and a sincere fascination with the construction and the very existence of these colossal man-made monuments to industry.”

Her show runs until March 14th.

They Sent It Back

By Palma Berger

“They” took the unique bird house from the home of Donna Close in Dawson eleven years ago. No one ever found out who “they” were. Donna Close was so upset, as this had been the bird house outside the home of her late mother, Mrs. Jean Cook, for most of its years. At the time it was stolen it had been in the family for 40 years.

As Sue Ward said in her article in the Sun on May 13, 1993, “Mrs Cook would plant her nasturtiums in all of her flower containers as an invitation to the precious birds.”

Mrs. Cook’s old home was opposite the school on Fifth Avenue and her colourful little house was a big attraction for tourists in the summer, but more especially the bird house.

The family was sad at losing it, but after eleven years they had given up hope.

But then Donna received a phone call from Marcia Laycock who had tracked her down to her new home in Whitehorse. Marcia used to live in Dawson and kept in touch with the comings and goings very well. She must have heard of this bird house “going” somewhere. On the phone, she told Donna, now residing in Whitehorse, that she knew the whereabouts of her bird house.

All she would tell Donna was that some fellows came down from Inuvik and did partake a bit too much of the spirits and were inspired to play a joke by taking the bird house. At the time hey really did intend to return it, Marcia assured Donna. They returned the bird house to their room at the Westminster, and hid it under the bed intending to arrange for its return while in Dawson. But a ride came and they had to leave suddenly. Perhaps they didn’t leave any instructions for anyone to return it, for fear of being found out. So they took it with them.

Eventually they and the bird house found their way to Alberta.

They and Marcia somehow came together in Alberta and the story was told.

Marcia assures Donna that the culprits told her they have felt guilty every time they looked at the bird house.

Marcia packed it up so well for the long bus trip back to Whitehorse that a delighted Donna was able to report that there was absolutely no damage done to it.

So it was a happy 51st birthday for the birdhouse to once again find itself with a member of its old family.