MAZES AND LABYRINTHS, PART I

A tangle of tunnels hiding a flesh-eating man-bull; a clever arrangement of hedges; a game involving a wooden tray and metal ball; David Bowie in tights: any or all of these images might spring to your mind when you hear the word “maze” or “labyrinth.”

Although many people use the two terms interchangeably, they have come to mean two distinct things. A maze is a series of pathways designed to confuse: there are many intersections, many possible ways to turn, and many possible ways to get lost. A labyrinth, on the other hand, is unicursal, meaning it has only one path. You can’t get lost in a labyrinth because there are no choices to make. You follow a single path, winding back and forth and up and down to the centre, and then you follow it out again.

While mazes, whether pen-and-paper, 3D, or digital, are usually intended as a puzzling diversion, labyrinths are used as tools for ritual and meditation. (The hospital where I had my son even had an indoor labyrinth for patients; I had visions of serenely walking this labyrinth to keep things moving during labour but was sorely deluded about the process. That’s another story.)

In Toronto, we are fortunate to have many public labyrinths scattered throughout the city, due in large part to the Labyrinth Community Network and labyrinth enthusiast and creator HiMY SYeD. One of my favourites, the High Park Labyrinth, is shown here.

The best thing about this labyrinth is that it is kind of a secret. Toronto Parks & Rec agreed to its construction as long as its presence was not advertised. For that reason, if you go to High Park in search of this labyrinth, you won’t find it on any of the park maps. Look for it in the black oak savannah, about half way between the baseball diamonds and the Grenadier restaurant. It’s getting a little faded these days but we hear there's a facelift in the works.

Text by Sara Goodchild

 

 

THE REAL McCOY

At the turn of the last century, when North America had a healthy and robust ceramic industry of its own (as opposed to the offshore imports dominating the market today), stoneware was the most common and affordable choice for everyday domestic wares.  Although for several years my primary interest has been Industrial-Revolution-era kitchen ceramics manufactured in Europe, my focus has recently expanded to include wares made by and for middle-class Americans during this same time period.  

In collecting and using these pieces made centuries before, I feel connected to a history and legacy of hardworking artists, craftspeople and labourers who invested their resources, spirit, energy and pride in manufacturing goods for themselves and their people.  The unique local designs and high quality of production both reflect and generate a communal sense of identity and shared values.  Unfortunately, industrial ceramic production has dropped to a minimum in America and Europe and has been non-existent in Canada for many years.

I picked up this beautiful pink McCoy bowl last Sunday at the market for $7, a total deal for a piece already well-priced at $15.  Heather and I are also passionate about the green glaze used on the other bowl.  I could go on about ceramic colour, but instead let's just say I'd rather chance the possible negative effects of lead and other heavy metals used in glaze recipes of the past in order to live with the beautiful, rich colours you can't achieve today with food-safe alternatives.   

Read here to learn about McCoy and here to learn about Haeger.

 

LANGILLE EVENING GOWN

Naomi was obsessed with this gown choice at a recent wedding.  She followed the guest around taking covert shots of the garment.  What luck! We got a chance to see it in the daylight but we've included a few snapshots for context.

1966 GILERA GIUBILEO 5V 124cc

Moto Gilera S.p.A. is one of the oldest motorcycle manufacturers in the world established in 1909 in the small village of Arcore, Italy by a then 22 year-old Giuseppe Gilera.  Gilera from its start made a wide range of motorcycles and was heavily involved in international racing right up into the 1990’s.  Just prior to the Second World War, Gilera fielded one of the most advanced race bikes at that time; a four-cylinder, double overhead camshaft, water-cooled and supercharged racer that made an incredible 90 horsepower from just 250cc displacement.  In the 1930’s most motorcycles, even premium race bikes, had conventional push-rod engines that were air-cooled, normally aspirated with only one or two cylinders; they usually made their power through much larger engine displacements (1000cc).

I acquired this particular Gilera 10 years ago from a fellow enthusiast who had come to look at a Lancia Beta coupe that I had for sale.  He didn’t buy the car, but I ended up adding this Gilera to my collection.  It’s a 1966 Gilera Giubileo 5V with a single cylinder (of 124 cc displacement), overhead valve engine and five-speed transmission (quite unusual for the time).  The motor produces only 10.5 horsepower but because of its light weight (93 kg) had a top speed of just over 120 kph.  The Gilera model  101 (it’s official model number) was made in a full range of styles from touring to off-road specials; the Gilera featured here (a 5V) was the sport model of the range with its clip-on handlebars and bum-stop seat.  This Gilera has never been restored or even seen any major cosmetic or mechanical work; it has all its original parts right down to the battery.

When this Gilera was manufactured, smaller displacement motorcycles were very popular around the globe; even Honda, one of the world’s most successful manufacturers, largest bike was only 350cc in size.  Unfortunately, Gileras were never officially imported into Canada (except for a brief attempt by Sears to bring some badge-engineered models in the late 1960’s).  If a rider wanted one, they would’ve needed to find a motorcycle shop owner who’d be willing to import one specifically for them.
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Text by William Yasui

 

 

SOJOURNER TRUTH PARSONS

Perhaps it is Sojourner Truth Parsons' unique manipulation of medium, colour and energy that makes her work so violently carnal, and tangibly ripe with the odour of forgotten magic and ritual.  Using cardboard, paper, wax and glue, Sojourner creates collages, costumes and installations, that are both intensely refined and effortlessly primitive. Her work brings me from the beginning of the universe, to the contemplation of the barbs of a feather, to the liminal spaces between history and make believe.  I crave to decode the spark that fuels these timeless works and follow the talismans to the darkness beyond. 

SPADINA HOUSE PART 2

In Part 1 of our Spadina House series we featured the unfinished 3rd floor.  With an unusually early spring/summer season upon us, we visited the historic gardens at Spadina Museum as the Father Hugo's rose was in full bloom.  This 5.7 acre city  property is decorated with an orchard, grape arbour, greenhouse, kitchen garden, and rambling display beds.  The museum site describes it thus:

Spadina today features more than 300 varieties of plants in an historic setting that is the result of archaeological studies on the grounds and painstaking research through family diaries, old drawings and photographs, journals, letters and stories told by members of the Austin family. Much original plant material can still be seen on the grounds; the magnificent white oaks, for instance, predate the house. Other plants still growing include the lilacs, peonies, daylilies and irises, as well as a rose identified as a Dorothy Perkins: "one of the best of the old ramblers," according to a garden writer of the Edwardian period.

I was told that the grounds have been kept by the same gardener since the 1970s when the Austin family still owned and resided at the estate.  It is undeniable that the property has been cultivated with love.  Taking a walk down winding paths and lounging on the lush lawns you can imagine yourself in a cotton voile gown hoping to hear the hoofstep of an anticipated visitor.  We've saved Part 3 and 4 to shoot later in the season as an excuse to visit the gardens when in full bloom.