Some initial thoughts on Welland: nostalgia and rust

I spent part of my first morning in Welland, starting off the month long period I’ll be here connecting with artists and spaces in the Rose City, by visiting the Central Library and their local history section. Oftentimes I’ve been accused of talking too much about politics and history in my reviews and articles, but that kind of ignorance is really only worth mentioning for its foolishness, and to remind people of the intersecting spaces that art, history, politics and place all occupy.

A side project, while I’m in Welland, is to photograph and perhaps do a bit more research on the house that my maternal grandmother was born in, that my great grandfather (her father) built: this has been interesting already, as everyone knows that family histories are vague and volatile, and are a fine example of what Heather Hart talked about, with her Northern Oracle artwork, about how oral histories (especially important ones, like familial ones) are just as subject to editing and errors as written ones, and become just as ‘official’ – or ‘calcified’ – in the repetition, as others are in the reprinting.

There’s already been some confusion and errors, mixed up numbers and other family fog in play, on that front.

So, I found myself reading about the John Deere plant, the unexpected and brutal closures that kneecapped the community (under Harper‘s indifferent government of 2009 – when the current repackaged goods passing himself off as ‘moral’ was making over $100, 000 a year as “speaker”). I read about Atlas Steel, which, in a manner somewhat synchronous, was a site I photographed extensively when I last visited in December. Atlas, and its impact in the community, will inform an upcoming exhibition at the Welland Museum, they’re soliciting stories and remembrances from people in the community (two friends of mine, nearly half a century apart in age, both have family that worked there, I discovered recently. Both will be visiting me at AIH studios, and one, Sandy Fairbairn, has already offered some amazing information re: Welland, and how my family might intersect with that story).

When I last visited, I walked around a lot, as I like to acquaint myself with cities that way (I once almost got mugged in Kelowna, when I was there for an exhibition of my work, but discovering the Japanese Gardens balanced that out): in that respect I passed by not just the Atlas site, but many houses that struck me as solid, brick and firm bones, and yet abandoned, and I considered a line from Notes from Union Power: Solidarity and Struggle in Niagara (Carmelita Patrias and Larry Savage). The elimination of good, secure jobs – effects the community in various insidious ways. This acts as the inverse of the ‘trickledown’ mythology of privileging the wealthy to supposedly help those of us below (opposite, as well, as the former is proven, whereas even most economists – a group I’d compare to astrologists, but I have no wish to insult the latter – know the latter might be what Patrias and Savage described as a failure to lead economically or wilful mismanagement).

After all, I was still living in St. Catharines when Free Trade and then NAFTA took their toll, and the downtown was like the backdrop to a Springsteen video about how ‘those jobs are going, boys, and they ain’t coming back.’ Anna Szaflarski’s ‘A Man’s Job‘ has been in my mind, too, of late, with my anticipation of a residency spent in Welland, but also with recently reading Craig Davidson’s Cataract City. Both of those references – Szaflarski and Davidson – offer a more edged interpretation than the more ideologically ‘pure’ labour narrative. But if you’re reading this, you’ve read other pieces of mine, and know that I appreciate, and insist upon, the importance of contested narratives.

With Welland’s more industrial grounding (I enjoyed the basement area of the Welland Musuem, which made the social historian in me see I’m just scratching the surface, in thinking of Atlas Steel) perhaps, Joel’s Allentown is more fitting (Out in Bethlehem / they’re killing time / filling out forms / standing in line).

But returning to speaking of visual arts: one of the main goals of today was to visit Rod Dowling’s works near the Canal. I’d written on his work for a larger project, Art in the Open, about works in the public sphere from cenotaphs to murals, civic memorials to public art projects. This not only piqued my curiosity regarding history, and the history of art in Niagara, but also about the specific histories that we might think we know, or assume we know (I’ve tormented several friends with how the Battle of Lundy’s Lane, from the War of 1812, was bloody, brutal and in a graveyard as darkness fell, so let’s not pretend that war isn’t always all hell, and somehow fought by Marquess of Queensberry Rules ). Rod Dowling was a figure who’s works I’d surely encountered while growing up here, but had no recollection of that: but to steal a line from Elizabeth Chitty, when we were speakinig of our histories in St. Catharines, we ‘both broke a leg in a rush to get out of Niagara.’ (And yes, now both of us are deeply engaged with culture here, which amuses us both, I think).

And in returning to Niagara, after time in other industrial spaces like Windsor / Detroit (oh Zug Island, and the abandoned urban wastelands, and the empty factories, all like indexical signs, remnants of past glory), and after my research and experiences on modernism, karaoke modernism™ and the faith, fraud and formalism (as I bluntly titled this piece) of such utopic ideas on the Prairies, Dowling‘s sculptures intrigued me. In some ways, they offered a challenge to some formal modernist thought; alternately, living outside the gallery space, they become part of a wider, less academic, conversation.

The three works (Listeners, The Aqueduct and The Knot) seemed to be extensions of the city, today (the oft repeated descriptor is that they ‘reference the industrial and shipping history of Welland’, in superficial formality, with nautical allusions and such): in the cold blowing snow and -15 temperatures this week, in a landscape of grey metal skeletons of stairwells, barriers and other infrastructure canalside, these tall slim installations seem less ‘art’ than abandoned relics of production, now still and inert. Perhaps they’re also raw sprouted appendages of Welland – bursting from the earth under the city, pushing shoving forcing upwards, like memories surfacing or truths rising to be visible. Do I push this analogy even further, and talk about how many people I know who’ve worked in industrial spaces and now suffer from illnesses that appeared later, coming to the surface long after the jobs are done? My Saskatchewan must show, for a moment and I’ll mention that the debate about who cleans up oil wells and pipelines is just another chapter in the conversation that sees Uranium City sit empty and dangerous in Saskatchewan, or about who cleans up the old GM site in St. Catharines? Sometimes the detritus of economic progress is fallow ground (the article I linked out to re: Modernism cites the hope and controversy, the legacies both positive and negative, of nuclear power, and perhaps a day trip to Niagara Falls to revisit that history is also in order….)

I’ve had several conversations with people in the Welland cultural community as to whether its a wasteland or simply needs to be excavated more compassionately, and of course, the opiate crisis has hit this city more harshly than other places. I walk by pawnbrokers and rub – and – tugs, and wonder if I’m seeing St. Catharines’ past, or its future, or just one aspect of a city, with others to share.

Stepping back to the shale sky and Dowling’s interventions: they’re vaguely industrial (unlike other pieces by Dowling that are brightly coloured, suggesting malleable children’s twist toys, oversized playthings with a hint of Oldenburg’s absurdity), with twists that are pipe like, or forms that imply a utilitarian focus, or shines, still on some pieces hinting at well maintained tools. Other parts rust and have lost their finish. I’m reminded of cheap used pipes from an emergency plumbing job that is all you can afford, but hinting back to better times….

In past cities I’ve lived in, public art works have been rotated from location to location: I wonder how Knot or The Listeners would work, in the empty field further down East Main Street, among the weeds and trash and detritus that was once intrinsic to a process, a place and a city, and now most can’t even name what it is – or was, to be exact.

To return to my comments re: Modernism, there is a sentiment in that ideology, in the hopeful manifestions of that progressive ideology post WWII, that promised ‘never before’ and saw only a rich incline in human welfare and work and Welland (as manifest in the Deere plant, for example), as an archetype of many similar cities in Canada and further.

That failed, as all utopias do, and now these fragments are shored against the ruins, to bastardize Eliot: perhaps I should avoid rereading The Wasteland and Other Poems, while I’m here.

All images shot by the writer (the scenes of the Atlas site are from December 2018), and these works by Rod Dowling can be seen along the Welland Canal, just past the Community Wellness Complex. Many more of his works can be seen across Niagara, and a visit to Art in the Open will offer a good beginning in exploring his work. Your intrepid #artcriticfromhell does offer the disclaimer that I may have been listening to Dido’s ‘White Flag’ on repeat while walking the city.

All the world’s a stage: de Montmollin’s Dreams, Delusions, and Other Traffic Circles

Gabrielle de Montmollin’s work exists on multiple levels of interpretation and appreciation. When I encountered the art she had in the latest incarnation of the Grimsby Public Art Gallery’s Biannual Exhibition, I laughed out loud. Another piece, in this series (Lizard Legs Mash-up) that I saw in the gallery / studio / living space in Welland (AIH Studios) she keeps with artist Tony Calzetta, was all sexydirtysilly, on first impression. But – as with Gold Bowl, Black Boots and Miss Pink and the Giraffes (from the GPAG show) – when I carried the images away in my mind and considered them later, they all became more disturbing, eerie and unsettling. All the works in the series Dreams, Delusions, and Other Traffic Circles are colourful and attractive, and although Montmollin is a prolific artist whose extensive history of images (exploring both aesthetic and politic concerns) can be seen at her site, this is the [doll’s] body of work that has garnered my attention, here.

Her words: “Dreams, Delusions, and Other Traffic Circles is a series of contemporary surrealist still lifes…[perhaps] more surrealist than they are still lifes. The photographs…are narratives of objects in ambiguous relationships, weird juxtapositions and disconcerting non sequiturs. The ‘wallpaper’ is the element that runs throughout. [It indicates] that everything happens on a set, it is theatre….There is no obvious or hidden relationship between the players on the set and the wallpaper. Max Ernst defined the structure of the surrealist painting as “A linking of two realities that by all appearances have nothing to link them, in a setting that by all appearances does not fit them.” I am not a painter but this is a good description of my photographs.”

This irreverence, this dramatic (perhaps of the theatre of the absurd) staging of scenes by Montmollin is an excellent repository for the viewer to construct stories, or invest their own experience. Tomato Wedding, for example, was the inspiration for an entertaining conversation between the artist, myself, and several others when the three person exhibition Now Here was on display in Welland. The wedding couple dolls face a surfeit of tomatoes (as someone who grew up half Italian, and have found that heritage – in a real sense, in an artificial sense – can be like being cornered by a bunch of tomatoes, like muggers in an alley, like a swarm of hegemony, this piece is (again) superficially funny but scratch that glossy veneer and its more disconcerting). Or maybe I was reminded of all the cherry tomatoes I’ve been picking these past few years, more for my parents than I.

Clementine Coven, with its tiny delicate high heels, or Ménage à trois, which is not what you’re thinking, at all (even through there’s a duck in this tableaux and I was thinking of Leda and Zeus. If that piques your interest, you can visit the AIH Studios in Welland, to see that to which I allude, for yourself).

At their feet has an amusing ‘pop your heads off your dolls’ referent, but knowing Montmollin’s work and having spoken to her on numerous occasions, about her art, my writing, and the larger art / social worlds we exist within (or against), I get a bit of Judith and Holofernes here, or maybe a bit of Salome and the Head of John the Baptist. In considering the repetition of the wallpaper, the scenes being “staged” in the same “space”, there’s not just a theatrical context to consider, but perhaps also how different ‘classics’ can be remounted in different ways (I think of a version of King Lear I saw staged as a British military drama, replete with uniforms, or how I’ve played Puck in a contemporary restaging of A Midsummer Night’s Dream, where Titania, Hippolyta and Helena were all (simply fabulous, ahem) drag queens). We reinterpret stories to keep them alive, or to make them real, to ourselves and others.

There’s a sensibility here reminiscent of Barbara Gowdy‘s writings, especially the short stories in We So Seldom Look on Love: deathly (murderously, in at least one story) serious but also (in)appropriately ribald. Sadman, Muscleman and Flamenco à trois suggest horror, inanity and rom – com farce (with nudity, so perhaps more R than PG13, and that young fellow in the foreground does look like a very young Peter Sellers), respectively. Blessing of the zebras is frantically joyous, although you may find it takes a bit of effort to find the “blesser”, amidst the harem of zebras (that is the proper name for a group of said animals…which, considering Jesus’ relationship to supposed “fallen” women, illustrates the intersecting ideas at play in Montmollin’s Dreams, Delusions, and Other Traffic Circles. To return to a piece I mentioned at the beginning of this article: Lizard Legs Mash-up has a bawdy, perhaps Rabelaisian, quality. Perhaps its a fittingly twisted take on ‘Reptilian Theory’, popularized by that wingnut David Icke. Research at your own risk, ahem, and no offence to Montmollin by that association). Gabrielle’s words: “..my art is based on imagination; I am interested in telling stories, play and mystery.” As well, “[besides] personal imaginings she works to find visual expression for her feelings about social justice issues and politics.”

Her career / practice is extensive and I offer you here only the most recent glimpse of what she’s done: she “began her career in television and film before switching her interest to still photography. For many years she worked exclusively with black and white film photographing throwaway plastic toys and dolls arranged in constructed, fantasy settings. She developed darkroom manipulations using extreme bleaching and painting and drawing on paper negatives. Since realizing that digital photography did not provide her with the same creative possibilities she has been working with mixed media blending painting, drawing and montage elements with digital prints.” She’s exhibited in many solo and group exhibitions in Canada, the United States, Belgium, Italy, France and The Netherlands. The website for AIH Studios (also known as Art is Hell Studios) offers many examples of past works, and I encourage you to visit it, as well as their gallery space, in Welland.