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"Landmarks" Landon
Mackenzie
by Sarah Hampson, article in Elm Street,
April 1998 |
I first met painter Landon Mackenzie in the fall of
1985, in her Toronto studio, a few months before she
moved to Vancouver to teach at the Emily Carr Institute
of Art and Design. At 30, she looked fresh as a country
girl. In one corner of her large studio, a newborn
(her second child) was asleep. In 1981, Mackenzie had
made a stunning debut by winning the top prize in the
prestigious Quebec Biennale of Painting for a series
on the Canadian North entitled Lost river -dark, moody
landscapes inhabited by imaginary wolf-caribou creatures.
The Art Gallery of Ontario had recently bought a second
one of her paintings. Perched on a stool, Mackenzie
talked animatedly about the paintings that she had
completed while pregnant "gestational" painting
she called some of them because they had big, womb-like
shapes in them. She laughed a lot, and when she spoke
she moved her hands in the air. I am three years younger
than Mackenzie, and I had just had my first child when
we met. I was impressed that motherhood seemed to invigorate
rather Than tire her - it had awakened powerful emotions
that she could pour into her art, "Landon is working
within the great tradition of landscape painting." says
Matthew Teitelbaum, chief curator at the Art Gallery
of Ontario, "but she invests it with personal
narrative which makes it distinctive." She is
clearly fascinated by the physical beauty of the land,
the colours and the terrain. But there is much more:
The Lost River series shows her deep concern for the
disturbance of the land's natural ecology, for the
real and troubling story beneath the much-mythologized
image of the North. I lost track of Mackenzie until
early 1996, when I came across a review of her most
recent series, the Saskatchewan paintings (1993-1997).
When I saw four of the paintings last fall in an exhibition
held at the Art Gallery of York University in Toronto,
I was mesmerized by their opulence. Nearly two by three
metres, they are rich, tactile, complex, with fragments
of painted text, some of it raised, some of it hinted
at beneath layers of paint; with sections of maps,
cartographic icons, grids, of bold colour and dark
ellipses she calls "black holes." Mackenzie
still lives in Vancouver, but every so often she leaves
her three children - Georgia, 8, Jeffryn, 12, and Cluny,
15 - and their father to lose herself in the wide open
prairie landscape. What emotions inform her work now,
I wondered? Why Saskatchewan? She is also writing poetry
now to accompany her art, and she reads at showings
of the Saskatchewan paintings. I was curious to know
how she had changed, how she was coping with the balancing
act of motherhood. Since we'd met, I too had become
a mother of three. I had read that She called herself
flaneuse, and an observer, who travels on the back
roads of Saskatchewan. I called her to see if I could
join her on such a trip.
Day 1
It's a blazing mid-August day a: noon when we meet
in the Regina Airport. Dressed like a teenager in a
shop: skirt, T-shirt, denim jacket and sandals. She
is 43 now, but hardly changed. She marches through
the arrivals gate, bustles through the crowd and hugs
me, Are walk out to the parking lot to my rented red
Lumina. The sun boils overhead, and there's little
breeze, "I'm so hot." Mackenzie sighs, "I
think I have to change." She takes some clothes
from her bag and leaps into the back seat, emerging
in orange and red cotton suppress. "My party dress," she
announces with a wide smile.
A car is grew: for an interview: The subject can't
escape. The writer can ask questions in no particular
order, even repeat herself. Mackenzie is an easy subject,
though. Casual and relaxed. "I ate too much this
summer," she announces as she whips down the short
side zipper of her dress. Driving west on the Trans-Canada
Highway, she talks about her life, her art, her background.
She is a sixth-generation Canadian. Michael Mackenzie,
her father, is an accountant, a former partner with
Clarkson Gordon in Toronto - he is now an executive-in-residence
at York University's business school. Her aunt and
namesake Landon (Mackenzie) Pearson is a member of
the Senate and well known social activist, married
to Geoff Pearson, son of Lester B. Pearson.
Mackenzie offers this as information, not to impress.
In fact, she appears mildly amused, and goes on, candidly,
to explain how her parents' separation when she was
11 caused her much distress. She tells me that the "black
holes" which punctuate the rich fibrous tapestry
of the Saskatchewan paintings might be her painful
feelings of abandonment, or, as Mackenzie says, "scary
black ice which you think you can cross but run the
risk of falling through."
The experiences of her childhood continue to play
themselves out in her art and poetry Mackenzie and
her three younger siblings remained with their mother
after their parents separation- and subsequent divorce
- in a Rosedale home. The family had been taking in
boarders to help with expenses, and her mother, much
to her chagrin "she couldn't cope with them," says
Landon - had to keep doing so. Her parents were close
to many people in Toronto's arts scene. It was the
early Sixties. Members of the Painters Eleven, an influential
group led by the flamboyant artist Harold Town, were
frequent visitors to the house. When Mackenzie decided
at 16 to leave Jarvis Collegiate before completing
high school to attend the Nova Scotia College of Art
and Design, her mother sent her to Town so he could
review her portfolio. He gave her a positive review
She studied painstaking there and later at Concordia
University in Montreal, where she completed a master's
in fine art working with artists Guido Molinari and
Irene Whittome. Town kept an interest in her career,
playfully pressing Molinari to convert her to painting
because he considered painstaking to be more of a complementary
art form. Mackenzie lovingly describes the people who
have influenced her. There were the artists in her
family: her spirited grandmother, Alice Sawtell MacKenzie,
a painter, designer and watercolourist; an uncle, Hugh
Mackenzie, a realist painter whose dishevelled appearance
at family gatherings impressed young Mackenzie, it
showed that artists were somehow exempt from the social
restraints posed on others; her great-uncle, George
Douglas, an early Canadian frontiersman who went on
mining expeditions in the Northwest Territories. Imagine:
a Victorian gentleman with a box camera. He paddled
up the Coppermine River in a Peterborough canoe - his
father had patented the collapsible canoe. Mackenzie
remembers as a child visiting George in his Wakefield,
Ont., home. He had long white hair and used an ear
horn to hear the questions the children would ask.
Women can move quickly to confessional friendships.
The highway stretches far and flat and straight ahead
of us. We are 40 kilometers or so west of Regina. The
sun is sinking in a pink sky. Our conversation has
dipped into and out of past and present. In between
Mackenzie's stories, I have told her about myself.
We have peeled our personalities like oranges. We have
talked about our children, about the joy they bring
and the sacrifices they require; about our understanding
partnered about our work. We have touched on juicy
stuff-former lovers, the difficulty of fidelity, a
woman's struggles to satisfy her need for independence
and "creative space" in the face of demands
as a mother and wife. We are speaking to each other,
but sometimes, with the windows rolled down, that vast,
silent landscape all around, it feels as though we're
telling secrets to the wind.
"I started coming to Saskatchewan in the early
Nineties to - well, drop out of my life," Mackenzie
says, "to find my opposite of suffocating in responsibility
and time schedules." She was then teaching full
time (and now part time) and her children were younger. "It's
affordable here, and I'd fit in a few days on the way
to and from lectures and shows in other provinces." The
sunset stretches itself out across endless fields,
and in such a sky, birds look pink as though transparent. "I
also felt," she adds, "that here I was travelling
over another planet." After completing three of
the Saskatchewan paintings (each one took almost a
year to do because she worked a little bit at a time,
adding layer upon layer of colour and images), she
applied for and received a Canada Council grant in
1994. After having taken a sabbatical from the school
in 1993, this grant allowed her to work half-time the
next couple of years.
"And your partner?" I ask.
"Donald and I have always had this I thing that we need to support whatever
the other person needs to do. Still, he does sometimes get upset.' She says
it softly, wrinkling her nose a bit, and I sense that her relationship with
her husband is loving - unconventional. Mackenzie has been with her partner,
Donald Macpherson, for 25 years. He was a fiddler when they met in Halifax.
The former director of the Carnegie Center, a social agency in Vancouver, he
is now a social planner.
"Late '30s, early '40s. It's a weird time," I offer.
"I heard some psychologist say it was the same as being a teenagery," Mackenzie
says. "The rebellion thing." We laugh, then fall silent for a moment.
Dark silhouettes of grain elevators stand out against the sky.
"See the land," she says suddenly. "That's
how other artists have painted it. As a big, open space.
I'm more interested in the ghostly bits.
"Ghostly bits?"
"Stories of people, of women pioneers and men,
of natives, the Metis - what lies hidden beneath documented
history." As part of her research on the Saskatchewan
series, Mackenzie dug into the provincial archives
to read accounts from early settlers and studied faded
photographs, charts of old trails, and the Dominion
Land Survey, the document of colonial settlement which
divided up the province, the only territory in Canada
with arbitrary, manmade borders, into neat little parcels
of land.
The text in Mackenzie's paintings meshes archival
material with entries from her journal, lines of her
poetry and lyrics from country music of which she is
a big fan. (For much of our road trip, listen to country
music.)
Suddenly a red flashing light appears behind us. Mackenzie
quickly zips up her dress. "shit," she says,
giggling. She pulls over to the side of the road. The
speed limit is 100 km/h. Only problem is, we were going
120.
A policewoman appears by the driver's side. Mackenzie
rolls down her window smiling girlishly She explains
we're from out of town and that, jeez, are we ever
sorry, we were talking and didn't notice our speed.
The officer isn't amused. Mackenzie is handed a $100
ticket. We move back onto the highway. The zipper goes
down again, and we slide slowly into Swift Current.
Day 2
The straight road we're on runs like sticky tape across
an enormous parcel of swaying wheat fields. We are
north of Swift Current, on our way to Sceptre, which
lies at the northern edge of the sparsely populated
Sand Hills. Many of the small communities have local
museums, where artifacts are displayed for anyone who
cares to stop by.
Mackenzie wants to visit Sceptre's Great Sand Hills
museum. When we arrive at the small one-storey building,
she equips herself with notebook and camera. We enter
the main room, which is lined with old maps and charts,
and along one wall, a glass cabinet holds sports trophies
and black-and-white pictures of old hockey teams going
back about 30 years. Mackenzie takes pictures of maps
showing the boundaries of the colonial territories,
of wind currents and studies of the shifting sand dunes.
There is a chart showing Palliser's Triangle, a triangular
area along the American border documenting the true
prairies, charted as inhabitable in about 1859 by Captain
John Palliser, who was one of the first explorers to
document areas in what is now known as Western Canada.
She looks closely at this and photographs it. She
tells me that she's always fascinated by the little
differences in maps she finds in the provincial archives
local museums. (One of the paintings in the Saskatchewan
series is called "Palliser's Triangle, 1997" The "black
hole" that appears in the middle is a series of
overlapping geometric shapes, each one different and
hand-drawn)
Later, I find Mackenzie in a room that is filled with
artifacts from a turn-of the-century barn. She is hunched
down, reading a poster fixed to the wall. Dated 1919,
it announces an auction of farm equipment.
"Look at the names of the equipment" Mackenzie
says excitedly. She reads them out, in a whisper. "One
jumper sleigh. One cockshut gang plow one moline sulky
plow" I bend down to have a better look. She is
writing the names in her notebook, quickly, like a
reporter, as though the past before her might grow
silent at any moment.
Day 3
We are climbing up to the top of a sand dune at 8 o'clock
in the morning. There is only one poorly marked road
that leads into the area. Environmentalists don't
want to encourage visitors, and the locals - well,
they have their own reasons for avoiding the place. "Some
guys went in there in a pickup truck" warned
Bonnie, the manager of the Leader Inn, yesterday
afternoon over beer stand they never came out."
But we would not be deterred. We owed it to our pride,
if nothing else. And the view is spectacular. "It's
so primeval," Mackenzie breathes, standing at
the top of the dune looking out across the barren landscape.
There is no sign of civilization. We stand side by
side for a moment, looking to the west, saying nothing.
Again last night in the hotel room we talked about
the secrets women keep from each other. Details about
abortions. The pain of childbirth that is never fully
disclosed. Our mothers.
Mackenzie is interested in the feminist movement,
but mostly as an observer. She agrees with its principles
and objectives, but has found that over time, the rhetoric
- as it pertains to the practice of painting - is quite
annoying. She was involved in discussions sponsored
by the Vancouver Art Gallery with feminist art scholar
Griselda Pollack, whose theories ask whether women
painters should even try to promote a feminist agenda
in a patriarchal art world whose historic paradigm
seems to dismiss them automatically as second-rate. "I
came away from those talks thinking, Whose time is
it to speak?" Mackenzie says. "Who had the
right to speak about whom? "Who could speak for
me?" The text in her paintings, she explained,
is many things: unheard voices of the past, inner monologue,
secrets that can't be spoken, the power that language
has to define us.
"Shall we?" Mackenzie says to me as we trudge
through the powdery sand. She tugs at her shirt.
"Why not."
Now were marching across the top of the sand dune
in our bras. On our last night, we stay in a dingy
motel, on Route 13, just outside Shaunovan, which is
about a half-hour east of Eastend, home of Tyrannosaurus
rex. Guys from oil and gas survey teams are in every
other room. We can hear beery laughs, shouts, loud
TV's.
Mackenzie is stretched lengthwise across her bed,
wearing a prim white nightie. Propped up on one elbow,
she works on small abstract watercolors paintings.
A water glass balances on the bed. She is telling me
about the many rabbits in her large Saskatchewan painting "If
I Loved A Cowboy../Leaving Her Fingerprints A11 Over
Everything She Does (1994)." In that painting,
rabbits appear around the edges of the three dark ellipses. "Rabbits
take you down to the underworld," she says, touching
her brush to the water in the wobbly glass and then
onto a palette of dried colours. She goes on: "Or
think of the rabbit in Alice in Wonderland... that
rabbit went through a hole, and the question is which
reality is reality...." She is speaking in a soft,
dreamy voice. "There are lots of bunnies on the
prairie of course...." - and she cranes her head
the other way --and there's Carrot River that runs
south of the main branch of the Saskatchewan river..." She
dabs the brush in water. "In Joseph Beuys' work
(a German arsis: influential in the Seventies and Eighriesn-
the hare is a symbol of the quick passage of time and
the thighs of 1ife,..,"
I am lying on the other bed, but now I sit up and
begin to make notes, "And that's just the beginning." she
says, "I am not interested if a painting works
on only one level." I realize now that the three
days with her have, unexpectedly, put me at a disadvantage
rather than an advantage in writing about her, In a
one-hour interview, she would have mentioned a few
influences - the archival material, say, or her interest
in the social and historic texture of a landscape -
but over the course of our trip, she has explained
so much: too much, weirdly, to make sense of her paintings
are repositories offer feelings and thoughts, which
she has gathered and layered into her work over long
periods of time, In them, she has mapped her personal
mindscapes: Ideas about love and childhood, marriage,
separation and secrets reside in these works, landscapes
that have been formed, eroded and heaved up in places
by powerful forces.
Have I learned something from her? Yes. The shifts
in emotion we feel throughout our lives should be embraced,
not feared. I look at her, with her blond head bent
over her watercolour. It's such a fine scene. The painter
in her nightie, the hideous yellow brick walls, the
brown carpet with an ugly pattern of green swirls,
the braying of the guys who surround us, Mackenzie
is oblivious, though. She doesn't even notice I'm watching
her.
Past yellow fields strewn with bales of hay, rolled
up like giant sleeping bags. We are travelling the
back roads. We stop at an abandoned farmhouse. The
door hangs open. The small living room is littered
with mouldy newspapers, an old shoe, an iron kettle.
We carefully ascend the creaking staircase, step gingerly
on weakened floorboards down the narrow hall and enter
a bedroom at the back, I touch the yellowed wallpaper,
and the layer beneath that, and the layer beneath that.
What are we looking for? Maybe just the feel of a life
and of abandonment. We find school notebooks, textbooks
and magazines from the late Thirties. In neat and graceful
handwriting, someone has transcribed' poems and lists
of local flowers and herbs. Mackenzie has done this
before in ocher old houses, and I can see why. It's
as though we had passed' through an invisible wall
into the past,
We zip north on Route 2. I am driving now, I lean
back in my seat, holding the rep of the steering wheel
with one hand, we pass what's known as Old Wives Lake,
which dried out years ago, I steal a glance at Mackenzie.
She is looking out the window at the open land, stilled
by its beauty. Landscape provokes and subdues its observers.
Thoughts play inside the head. Passages of inner monologue,
fragments of memory, rise and fall, leap forward and
then hide - like the text on her paintings. I am thinking
about this when, suddenly, we emerge from the mystical
sub-life onto the hard, wide pavement of the Trans-Canada,
hurtling toward the Regina Airport, where a tidily
uniformed Avis lady will ask us how far we have traveled. |