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Winnipeg Free Press
6 days ago
- Entertainment
- Winnipeg Free Press
Winnipeg artist's collaborations with the hive mind proved sweet
Aganetha Dyck saw art in the everyday, the domestic, the small. Nowhere was that more evident than in her internationally recognized work with live honeybees. The Winnipeg-based artist would place found objects — china figurines, sports equipment, Barbie dolls, stiletto heels — in beehives, and the bees would cover them in honeycomb and wax, creating striking sculptural works that have been exhibited in Canada, the United States and Europe. WAYNE GLOWACKI / FREE PRESS FILES Aganetha Dyck poses with her pieces Wedding Guest Shoes (right) and Sports Night in Canada in 2007. WAYNE GLOWACKI / FREE PRESS FILES Aganetha Dyck poses with her pieces Wedding Guest Shoes (right) and Sports Night in Canada in 2007. Dyck always made sure to give credit to her millions of tiny, buzzing collaborators, because to her it was, indeed, a collaboration. 'They're all unionized,' she told the Free Press in 2007 after winning a Governor General's Award for visual and media arts, as well as the Arts Award of Distinction from the Manitoba Arts Council. 'I look after them well.' Dyck died on July 18. She was 87. 'As an artist, she was absolutely fearless,' says Shawna Dempsey, visual artist and co-executive director of MAWA (Mentoring Artists for Women's Art). 'She would work with any material in any way, even if no one had done it before, considered it before, or if those processes and materials were considered crafty or feminine, which, particularly in the '80s or '90s, was a real way to marginalize women artists. TOM HANSON / THE CANADIAN PRESS FILES Governor General Michaëlle Jean congratulates Aganetha Dyck after recieving the Governor General's award in visual and media arts at an awards ceremony in Ottawa in 2007. Governor General Michaëlle Jean congratulates Aganetha Dyck after recieving the Governor General's award in visual and media arts at an awards ceremony in Ottawa in 2007. 'But nonetheless, Aganetha was true to her instincts and her inner artistic voice, and so, she canned buttons in mason jars and she boiled sweaters and she put a wedding dress in a beehive.' 'There's lots of ways to describe her art, but for me, one of the ways I've been thinking about recently is that I think she reflects the rise of feminist art practice in Canada in the 1970s,' says Serena Keshavjee, a professor of art and architecture at the University of Winnipeg who has curated and written about Dyck's work. Dyck took the domestic processes of so-called 'women's work,' and elevated them to high art, but she also saw immense value in collaboration — whether it was with bees or people. 'Collaboration is a feminist methodology. She collaborated with everyone, very generously. Scientists loved her. Beekeepers loved her. Artists around town loved her. She collaborated with her son (artist Richard Dyck),' Keshavjee says. 'This is part of her personality, but it's also a methodology. She was generous and she shared and she wanted to make art with other people. So all of these things come together for me and saying she was this revolutionary feminist artist in the '70s.' Dyck, who was born in Marquette, came to art later in her life and was largely self-taught. Her artistic awakening came in her mid-30s when she was living in Prince Albert, Sask. Her husband, Peter, was transferred there in 1972. She was an executive's wife and a mother of three and thought she might do some volunteering. She chose the art gallery. But it was when she started taking drawing courses at the Prince Albert Community College that the seeds of her own artistic practice were planted. One of her teachers, George Glenn, told her to stop painting mountainscapes and start making art about her life. Dyck protested that she was a homemaker. Surely this man wasn't suggesting she make art about laundry. But, in a way, he was. 'Then make art from that,' came the reply. So she did. Her children, with whom she was very close throughout her life, started noticing a change in their mother. 'We had a kitchen that had this one blank wall,' recalls her middle daughter, Deborah Dyck. 'I came home and she was throwing plaster at the wall. I went, 'This is new.' She was so passionate about it. It was wonderful.' Their late father was also incredibly supportive of their mother, who saw the world as a canvas. 'There weren't very many surfaces that mom wouldn't start altering,' adds her eldest son, Richard Dyck. 'This increased gradually and then sometimes controversially. Flowers started showing up on my toolboxes and tools…' '…and a certain car,' her youngest son, Michael Dyck, adds. This was back in Manitoba, where the family returned in 1976. Aganetha was managing the Big Buffalo Resort at Falcon Lake, and Deborah came out one day to use the car. 'And all of a sudden, mom just popped up on the opposite side of the car, and she had felt markers in her hand,' Deborah recalls. She'd decorated it like a 1960s hippie van, using rust spots as the flowers' centres. She was fearlessly experimental, and sometimes just fearless, period. When she was working on her canned buttons project, she'd boil them in pots of boiling oil in the yard at Falcon Lake. 'It seems a little out of character when I reflect on it now because we always had fondues for Christmas dinner, and mom was always worried about the oil catching fire on the fondue, and here she was out at the lake putting these plastic buttons into pots of boiling oil,' Michael recalls. 'And it was like fireworks going off. Some of the buttons would explode, and these buttons would go flying 30, 40 feet up in the air.' 'Different rules for the dinner table,' Richard says. Dyck's art practice began taking off. She had started making sculptural works out of Salvation Army sweaters she'd taken home and purposely shrunk. 'I've seen these — the WAG has some — these miniature, shrunken, felted sweaters become very anthropomorphic. They actually become people. It's so compelling,' Keshavjee says. In Dyck's hands, buttons were reimagined as jeweled jars of preserves; cigarettes, wire and wool became sculptures. Dyck's work soon caught the eye of Carol A. Phillips, former executive director of the Winnipeg Arts Council and then a curator at the MacKenzie Art Gallery in Regina. Phillips gave Dyck her first solo show in 1976. Dyck was a huge believer in mentorship, as both a mentee and mentor. She is considered a 'founding foremother' of MAWA in 1985, and one of its original members. She was a mentor in the inaugural Foundation Mentorship Program that first year, and again in 1988, 1995, 2004, 2012 and 2014. 'Through MAWA, Aganetha provided years of formal mentorship, but she was so generous with her experience and so curious about and engaged with younger artists, she informally mentored countless more. And not just share her advice as an artist or her experience as an artist, she also was very open about her experience as a woman, as a parent, as a person in the world,' Dempsey says. MIKAELA MACKENZIE / FREE PRESS FILES Aganetha Dyck's work at an exhibition celebrating four decades of visual art education, community building, and peer support at Mentoring Artists for Womens Art (MAWA) in September 2024. Aganetha Dyck's work at an exhibition celebrating four decades of visual art education, community building, and peer support at Mentoring Artists for Womens Art (MAWA) in September 2024. Her mentorship spanned generations. Winnipeg painter Megan Krause, whose 1984 birth year puts her nearly 50 years younger than Dyck, was a mentee of Dyck's before becoming her studio assistant. Krause says that during her undergrad, her process was more rigid: she felt she needed a set theme and plan her canvasses ahead of time. 'Something I learned from her was just to play and see where it goes. I could get so paralyzed by not knowing where to start. She encouraged me to figure out the why later. Make a bunch of it and then, through that flow state, it will come,' Krause says. When they worked togther, Krause says, Dyck always prioritized the catch-up: 'First things first, we have to have coffee. We have to talk about life.' 'She was very humble, and so easy to talk to. She really was a really good friend of mine,' Krause says, her voice catching. Her kids remember her like this, too. A sounding board. They could tell her anything and be met with the same curiosity she brought to her art. 'There was no wall. I don't know how to explain it. It's just a very, very close connection,' Deborah says In the early 1990s, Dyck began her long collaborative relationship with the bees. She recognized that they were natural architects and wanted to work with them. WAYNE GLOWACKI / FREE PRESS FILES Souvenir Winnipeg Jets hockey stick and pucks covered in beeswax from Dyck's Sports Night in Canada. WAYNE GLOWACKI / FREE PRESS FILES Souvenir Winnipeg Jets hockey stick and pucks covered in beeswax from Dyck's Sports Night in Canada. She began working with Phil Veldhuis, a beekeeper and philosophy instructor whose Phil's Honey, a St. Norbert Farmers' Market staple, is based near Starbuck. Veildhuis recalls meeting the artist through the St. Norbert Arts Centre, where she was doing some work and he had been invited to keep some bees on the property. 'I think we had coffee and she told me what she wanted to do; I said it sounded like a ton of fun, and the rest is history,' he says. JULIE OLIVER / OTTAWA CITIZEN FILES Hive Scan by Aganetha and Richard Dyck appeared in the National Art Gallery of Canada's exhibition Flora and Fauna in 2012. JULIE OLIVER / OTTAWA CITIZEN FILES Hive Scan by Aganetha and Richard Dyck appeared in the National Art Gallery of Canada's exhibition Flora and Fauna in 2012. Dyck's work with the bees spanned decades, and led to residencies with beekeepers and entomologists in Europe; it was featured on David Suzuki's The Nature of Things TV series. But in 2009, her collaboration came to an end. Dyck had a strong reaction to a bee sting and returned to working with felt, but the legacy of her honeycomb-filigreed works is long-lasting, and has taken on added resonance as bee populations become more threatened. Dyck had an influence on Veldhuis, too. 'She got me to think about my bees in a very constructive way. I grew up in a beekeeping family and so, you know, bees are kind of just another day to us. To have someone come in and work who was so excited by it all was very stimulating to me,' he says. 'I'll never forget her excitement about opening a hive and watching the bees work.' Last year, Winnipeg visual artist Diana Thorneycroft posted on Facebook. 'There is a rumour circulating that Aganetha Dyck has passed away. When I told her about it, she couldn't stop laughing. Then she beat me at arm wrestling…' Thorneycroft and fellow artist Reva Stone were studio mates of Dyck's for decades. Stone was one of her first mentees. Her laugh is one of the things both are going to miss the most about her. That, and her eye — her discerning, out-of-the-box eye. Stone recalls taking a flight to New York with Dyck. 'We're on the plane. She looks out the window and says, 'Aren't those clouds beautiful?' And I say, 'Yeah, they really are.' She says, 'Wouldn't they look gorgeous on a doily?'' Thorneycroft also benefited from Dyck's eye. She was trying to make a sculpture using a plastic horse and Sculpey, a polymer clay, in her oven at home. 'Sculpey is supposed to harden at 250 degrees, but plastic melts at a much lower temperature, so one of the horses just collapsed and fell apart, and the Sculpey kind of broke. And I thought, 'Oh God, what a mess. What a mess.'' Thorneycroft brought the mess to her studio, and later found a note from Dyck: 'You've had a breakthrough.' 'We just loved her,' Thorneycroft says. 'It was easy. She's so easy to love.' Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. Jen ZorattiColumnist Jen Zoratti is a columnist and feature writer working in the Arts & Life department, as well as the author of the weekly newsletter NEXT. A National Newspaper Award finalist for arts and entertainment writing, Jen is a graduate of the Creative Communications program at RRC Polytech and was a music writer before joining the Free Press in 2013. Read more about Jen. Every piece of reporting Jen produces is reviewed by an editing team before it is posted online or published in print – part of the Free Press's tradition, since 1872, of producing reliable independent journalism. Read more about Free Press's history and mandate, and learn how our newsroom operates. Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Hamilton Spectator
12-06-2025
- Entertainment
- Hamilton Spectator
Back to the drawing board: Cartoons, cartoonists and Hamilton
It's where word, story and visual art come together to work and play, in a popular way. Popular as in, of the people, not the salon. And it's visual art often in its basic form of deliberately creative markings on surfaces, howsoever unpolished, but, just as often, sophisticated. Let's just call it cartoons/comics. But do call it, Ivan Kocmarek urges. Call it to the table of memory, respect, cultural appreciation and art history. Kocmarek doesn't just respect comics/cartoon art but actively promotes the preservation and recognition of the products and producers of these graphic arts. He does so with various initiatives and endeavours. Perhaps the biggest and certainly the most timely of them is Saturday, June 14's third annual Cartoon Foundry 10 a.m. to 4 p.m. event at the Hamilton Public Library, 55 York Blvd. Kocmarek has many talents as an author, champion Hamilton chess player and teacher (retired, after 23 years at Sir John A. Macdonald Secondary School, now closed), but he freely admits that he doesn't have a gift for making art. But, since he was a boy, he found himself drawn into an infatuation with comic books. It was comic books to start with, but it spread from there to many forms of related arts, such as graphic novels. It's a big umbrella, a roomy tent, whichever metaphor you want, but as widespread and eclectic as the art represented at Cartoon Foundry 2025 is, it typically gets neither the curatorial/archival attention nor the living support it deserves. Comic/cartoon/illustration art, say Kocmarek, is too often considered disposable. 'Several times in my life I've been pressured to throw away my comic books,' he says, starting when he was a boy whose parents considered his pile of them not an incipient collection, but junk, which was so often the case. He had the ultimate vindication, though, as parts of his collection — which at times was more than 20,000 volumes strong — grew very valuable. Graeme MacKay, political cartoonist for The Hamilton Spectator, one of very few full-time newspaper political cartoonists left in Canada, shares the frustration. 'So much of the original art for political cartoons has been lost; it's hard to get institutions to commit to saving it' as valuable cultural property, says MacKay, who is a panellist at Saturday's Cartoon Foundry event. He is one of many guests, panellists and presenters who will be talking about what they do — the challenges, the rewards, the history and future of it. Hamilton has such a rich history in the genre, says Kocmarek. There are the current Hamilton standouts like graphic novelist Joe Ollman, whose 'Fictional Father' novel was shortlisted for a Governor General's Award in 2021; legendary alternative cartoonist David Collier, who writes comic book 'essays,' and book writer/McMaster University professor Sylvia Nickerson. Dave Collier, left, Ivan Kocmarek and Joe Ollmann. Their achievements stand on a strata of previous distinction in comic book and graphic arts by Hamiltonians such as Doug Wright and, earlier, Aram Alexanian, one of the many Canadian comic book artists featured in Kocmarek's book 'Heroes of the Homefront.' These were cartoonist/comic book artists who created heroes like Johnny Canuck, Speed Savage and Nitro during the Second World War, when American comics were not available in Canada. These subjects — the history of our cartoon and comic art — as well as topics related to the current practice of these arts, in Canada and more specifically in Hamilton, will be deeply explored at Cartoon Foundy 2025. 'In Europe,' says Kocmarek, 'there is much greater emphasis on honouring, respecting and preserving the history of these arts.' One of the fringe benefits of the event this year is the production of 'A Hamilton Comic (Steel City Sutra),' by Kocmarek, with design by John Farr. The 25-page comic book features work by Kevin Mutch, Allan Barnard, Joan Stacey, David Collier, Art Cooper, Darrell Epp, Jaleen Grove, Matt McInnes, Greg Hyland, J. Collier, Steve LeBlanc, James Waley, Graeme MacKay, Inkfingers, Joe Ollmann, Gord Pullar, John Terpstra, Ira Alexanian and Anita Wang. It's a wonderful volume, full of often quirky renderings of bits of Hamilton life, history and scenery as well as snapshots of our city's graphics/comics past. McInnes, for instance, contributes a striking centrefold of the Jamesville (James Street North) social housing complex, developed through urban renewal initiatives in the '60s and '70s and now utterly abandoned and grown over. Ivan Glassco served as an editorial cartoonist for The Hamilton Spectator from 1934 to 1940. And MacKay has a fascinating take on Ivan Glassco, an editorial cartoonist for The Hamilton Spectator from 1934 to 1940, during which time he won acclaim for blending social critique and humour around topics such as the Depression and the rise of fascism. He died tragically at 38 from an accidental discharge of his service revolver during training after he enlisted in the Royal Canadian Air Force. Spectator cartoonist Graeme MacKay has a fascinating take on Ivan Glassco, an editorial cartoonist for The Hamilton Spectator from 1934 to 1940. The cover is a fond Joe Ollmann tableau of the Book Villa storefront downtown and passersby in bell bottoms and radio to ear. If you remember the Book Villa, such a landmark, you will smile. 'A Hamilton Comic' is a preview, in a way, of what will be covered during Cartoon Foundry 2025. There will be workshops and panels: As in the past, Cartoon Foundry 2025 will, of course, feature Artists Alley, where visitors can see the work of and meet many exciting Hamilton artists. Participants include many of the artists featured in 'A Hamilton Comic' as well as many others. The event is free, open to all and, says Kocmarek, welcoming to all, especially marginalized communities.
Global News
23-05-2025
- Business
- Global News
Lethbridge Polytechnic celebrates 1st convocation since rebrand
As hats flew into the air and cheers echoed in the room, the next generation of graduates made history as the first class of Lethbridge Polytechnic. Formerly Lethbridge College, the institution rebranded in 2024 to showcase the programs on offer. 'I think it means that we're differentiating ourselves a little bit from out past. We're proud of our past being a community college, but we've evolved since and the polytechnic reflects what we do,' said Marco Hilgersom, registrar at Lethbridge Polytechnic. 2:01 Lethbridge College to become polytechnic institution Those graduating couldn't help but smile when awarded with their first-of-a-kind diplomas. Story continues below advertisement 'It's a cool opportunity to be the first convocation class of Lethbridge Polytechnic. I know the polytechnic has a long standing place here in southern Alberta,' said Governor General's Academic Award recipient, Jaydon Haustein. Get breaking National news For news impacting Canada and around the world, sign up for breaking news alerts delivered directly to you when they happen. Sign up for breaking National newsletter Sign Up By providing your email address, you have read and agree to Global News' Terms and Conditions and Privacy Policy He, along with valedictorian Abigayle Terrill, led the way academically this year. Both stand-out students are graduates of the agriculture sciences program. 'It's a very, almost unique circumstance, to have both the valedictorian and the Governor General's Award recipient out of the exact same program,' Haustein said. 'I think that's a great sign for agriculture, I think that means students and especially ag students, are really taking their role seriously.' Tweet This Click to share quote on Twitter: "I think that's a great sign for agriculture, I think that means students and especially ag students, are really taking their role seriously." Haustein says the days of taking over the family farm straight out of high school are over and higher education is a must. 'By taking our education seriously and trying our best and excelling and really putting our minds towards 'Okay, how do we make ourselves more efficient or more profitable or use better economic practices and ecological practices, socially acceptable practices?' It's really important,' he said. 'There cannot be an uneducated farmer anymore and still make a profit.' Tweet This Click to share quote on Twitter: "There cannot be an uneducated farmer anymore and still make a profit." The efforts of these two and the entire graduating class is something the Polytechnic says is encouraging for the future. Story continues below advertisement 'It's an exciting time for Lethbridge because I think we're on the cusp of something,' said Hilgersom.
Vancouver Sun
09-05-2025
- Entertainment
- Vancouver Sun
Anger looms large in entertaining new novel from Family Law showrunner
Susin Nielsen 's move from novels for readers aged eight to 12 to adults began with a not-so-great interaction with a child. Well over a decade ago Vancouver's Nielsen , who at the time had written for the TV shows Robson Arms and Degrassi, was in Toronto speaking to a gym full of kids about writing for TV versus writing books. During the talk, the author of seven middle-grade-aged novels including The Reluctant Journal of Henry K. Larsen (2012), winner of the Governor General's Award for English-language children's literature and the Canadian Library Association Book of the Year for Children Award, showed a picture of a large group of people in order to show the team that it takes to make a TV show. Then, she moved on to showing the team that it takes to write a novel at home. The picture she presented was a snapshot of her cat. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. At the end of her presentation, the floor was opened for questions. One Grade 7 boy put up his hand and, thinking he was funny, asked an inappropriate question about the cat photograph. You can probably guess the basic gist of his sexual innuendo query. 'His friends were goading him, giggling and laughing,' said Nielsen, who is the creator and showrunner of the Vancouver-shot TV series Family Law . 'I just saw black; it was just fury. I was mortified.' Nielsen wrapped up the presentation and right after a teacher made a 'beeline' toward her. 'I thought, 'OK, thank God she's going to tell me they're going to deal with that little s–t,' ' said Nielsen. 'And you know what she said to me? She said, 'You worked on Degrassi, did you meet Drake?' ' Nielsen hadn't met Drake. But, that day, she did meet that disruptive kid when she waded into the crowd and read him the riot act about his lewd and disrespectful questions. The child whimpered an apology and Nielsen left angry. And inspired. 'I remember I was so upset, but I also remember thinking, 'You know, this could be a really funny opening of a book,' ' said Nielsen 'He did give me a gift, weirdly.' He also gave her an apology in the form of a letter. Flash-forward and Nielsen's first adult novel, the funny and thought-provoking Snap, opens with 55-year-old Frances, a writer of popular Y/A novels who is emotionally wrecked after her marriage ends. During a talk at a school library, Frances is repeatedly interrupted by a rude boy. Frances snaps and grabs the boy and shakes him. Because it's today and everyone has a camera, the incident is recorded and shared, turning Frances's world upside down. By law she is required to attend anger management classes and there she meets Parker, a 23-year-old wardrobe assistant on a hit TV show, and 41-year-old Geraint, a mechanic and family man. Both also snapped and lashed out. The three quickly become friends as they try to move forward with the help of each other and a couple of nice doses of what Nielsen calls 'authorial vengeance.' While the incident with the kid in Toronto was the early seed of Nielsen's idea for an adult novel, the plan really took root while she was writing her last Y/A novel, 2021's Tremendous Things. '(I) remember feeling as I was writing that I was aware that I may start repeating myself and that was a bit of a terrifying feeling. I thought I just don't want to start churning out the same thing,' said Nielsen. Nielsen was further inspired to age up through her work as a TV writer. 'I was doing Family Law for a number of years and I was in this world where I was writing predominantly grown-up characters,' said Nielsen about her work on the show. 'I loved it, and I loved writing for Abby (main character in the series played by Jewel Staite). And I've done that before in television, where I've written for adults, but I found Abby's voice, so compelling … I just thought, 'Well, what the hell, why not try?' 'I'm not trying to be the next Margaret Atwood or Ann-Marie MacDonald, but I wanted to write a light, funny, hopefully sometimes poignant book. And I just thought, 'F–k it. I'm gonna try.' ' While Nielsen has left the children behind for now, she hasn't changed her approach to storytelling, which always utilizes humour. In Snap, she has Francis coming home from a disastrous online date and settling in with her daughter and a drink. The pair switch on the TV and watch Family Law reruns so 'Frances could have a laugh and be soothed by the presence of Victor Garber.' 'Isn't that terrible?' said Nielsen, laughing about the self-promotional nod to her TV show, which stars the Canadian icon Garber. 'My husband says I'm the queen of laughing at my own jokes. So yeah, I do think it made me laugh when I wrote it.' While there are plenty of funny moments in Snap, the storylines of the three main characters grow out of very serious situations. 'I can't write anything that doesn't have humour. I feel like that's been my saving grace in life,' said Nielsen. With the move into more adult-themed stories, Nielsen, who is currently working on another adult novel, hopes readers who discovered her novels when they were kids will now, as adults, continue to seek out her work. 'I know that's what my agent and publisher hope,' said Nielsen, with a laugh. 'Maybe some of (my young readers) will follow me into this world. I would love it.' Dgee@
National Post
01-05-2025
- Entertainment
- National Post
Governor General's Award and Scotiabank Giller Prize winner Madeleine Thien is back with new novel
Vancouver native Madeleine Thien will be marking the publication of her latest novel The Book of Records, out May 6, with a special Vancouver Writers Fest event on May 8. Article content Thien, whose book Do Not Say We Have Nothing won the Governor General's Award for English-language fiction, the Scotiabank Giller Prize and was shortlisted for the Booker Prize, will take to the Annex stage (823 Seymour St.) for a conversation with Vancouver author David Chariandy. Article content Article content Answer: The Book of Records is set in a building made of time. It is about the ideas that transform us, the lives we imagine for ourselves and others, and the hopes we carry. It is about a father who knows that his time is limited, and who wants to give his daughter an inner world that will sustain her after he is gone. Article content Q: In your book The Sea is a large complex that houses migrants. What makes The Sea different in terms of what we generally perceive as migrant centres? Article content A: In fact, The Sea is not a migrant camp or a detention centre. It's an abandoned enclave that, physically, echoes the now demolished Kowloon Walled City. People who have been displaced by war, by the rising sea, by conflict, by dwindling resources, pass through it; The Sea is just one stop on their search for home. Only a very few remain there, often because something prevents them from moving on. Article content Article content A: My novel — which, I think it's fair to say, is a strange work — is itself, metaphorically, a building, a place that shelters different philosophies across time; it houses people who are grappling with questions about free will, ethics, and what it means to live a good life. In The Sea, ideas migrate, take on new life, are misunderstood, revised, and sometimes reimagined in the hope that they might guide us when all else seems lost. Article content Article content Of course, ideas are not made of air. They are carried by human beings across space and time, across borders. My heart breaks because I do not know a time when migration, displacement, homelessness, and the search for safety were not part of our world.
