plant2 Documenting the west coast Nikkei experience [and beyond] from the viewpoint of a hapa Nikkei graphic designer, editor, photographer, taiko player & teacher.


Life & Death & Roy Kiyooka

Spent an hour and a half at the Cultch this afternoon (see previous post) listening to others remember Roy Kiyooka. A bunch of poets, writers, artists. Folks who knew him mostly. Someone read from some pieces that he had given her before he died. It was powerful writing – timeless, as good writing is. [...]

Roy Kiyooka Continues to Inspire

When Roy Kiyooka died suddenly and unexpectedly in February 1994, he left behind a legacy of creativity fuelled by a lifelong passion for making art, in all its various guises. Born in Moose Jaw, Saskatchewan in 1926, he grew up in Calgary, Alberta, where he began his studies at the Provincial Institute of Technology and Art (now the Southern Alberta Institute of Technology and Art). Over the course of his career, he was known as a painter, photographer, musician, film-maker, poet and teacher. He taught at several universities during his career, retiring from the University of British Columbia in 1991.

February 20 – 23 2008, 8pm
re-visioning Roy Kiyooka
Vancouver East Cultural Centre, 1895 Venables Street

Tickets $24 + surcharges from Ticketmaster
Winner of the 2008 Alcan Performing Arts Award, Marginalia wishes to create an opportunity for the public to consider aspects and values of art making, Kiyooka’s multiple practice and the inspiration stemming from its richness and diversity. The idea of referring to different works by Kiyooka, consists then of composing a form in which these layered differences can become a practical piece. Simultaneity, polycentricity and overlapping points of view will be the characteristic elements of Marginalia. BC composers Jocelyn Morlock, Stefan Smulovitz, Stefan Udell and Hildegard Westerkamp will be the commissioned artists who will be writing the four new works within a strong relationship to Kiyooka’s works. The new compositions will take cues and motivations from specific characters, ideas and passages in Kiyooka’s works and will become an organic stimulus for an inner dialogue between Kiyooka, his displayed works, the composers, the performing musicians and the audience. Like a musical palimpsest the dialogue among the various components of Marginalia will not be just an echo of Kiyooka’s work, not simply a response; it will have a life of its own in the interactive relation between the composers and Kiyooka, his cross-cultural and polymorphic artistic approach and his inner dialogue and research.

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