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This
Place and Some Other:
The Solitary Journey
of Landon Mackenzie
By Jack Liang
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The story is always partial
Partial to what, you ask.
To nothing;
a fragment,
merely a fragment.
Vera Frenkel, …from the Transit Bar
I was driving around the northwest corner of Algonquin
Park, circumventing it really, when the revelation
occurred. At the time it seemed quite momentous, though
six hours behind the wheel will tend to numb your critical
judgment. In retrospect, of course, I realize it wasn’t
much of a revelation at all. But you’ll forgive
a city boy from the banana belt of Ontario his thoughts
of discovering the “real country” when
he’s passing through this part of the world.
Surrounded as I was that day by those “Group
of Seven” landscapes – the rolling hills,
the jack pines – I found myself remarking to
my companion about the cultural significance of this
imagery, about its quintessential “Canadianness”.
My companion, having lived most of her life in this
part of the country, shrugged.
The reaction caught me by surprise, jolted me out
of my reverie. Here I thought everyone felt the same
visceral connection to the hinterland when along comes
my weary travel companion, bored to tears by the endless
scenery. Her indifference rattled my assumptions about
this stretch of the near-north being somehow more Canadian
than any other place in the country, about “as
Canadian as you can get,” as I recall saying.
As if one can prorate these things. Admittedly, my
sweeping remarks had no intellectual legs to stand
on. For to say that this place was more Canadian than
any other was arguably to conclude that my companion – having
hailed from these part – was more Canadian than
I. Which, of course, is ludicrous, but this is what
happens when you make monologic pronouncements.
I am torn, however; part of me still clinging to romantic
notions of the country while another part is mindful
of the need to question theses ideas. I hesitate to
follow those who would demystify the landscape for
me. But I know that the wilderness is not all that
defines us. Having grown up “across the river” from
the United States – literally in its shadow – the
view I saw had little in common with the hills of the
Ottawa Valley or the north shore of Lake Superior (or,
for that matter, the skyline of Toronto). Nevertheless
I was conditioned to regard those landscapes as part
of my identity. Just as I was taught that my founding
fathers were British and French, though I myself neither.
And so when I see a painter like Landon Mackenzie
showing me her vision of the northern tundra, or her
vision of Saskatchewan, two places I have never been,
I can still recognize that we both share the same vague
cultural references. That is, we are both Canadians
looking at paintings about Canada. And when she is
playing with these shared assumptions to reveal the
stories beneath the surface, to demythologize, so to
speak, our received ideas about place, again, I am
an ally to her project. And, moreover, that she can
speak of these received ideas and hidden stories in
paintings that are so exquisite, so beautiful to look
at, I am reminded that there are no absolutes, that
we can both revere and question, and that on approach
does not preclude the other.
We can talk about “place” when we talk
about Mackenzie’s work, place in its various
forms: myths of the Canadian landscape, physical and
emotional territories, question of geography and voice.
We can talk of place as marker, as a record of who
we are, or more to the point, who we’re supposed
to be. This, in a way, is Mackenzie’s motif,
the loose thread that binds her work. Mind you, it
has never been so much a conscious scheme for her as
it has been a series of the mind, where faulty memories
and altered truths reside.
Consider Mackenzie’s Lost River paintings
of the early 1980s. Here are pictures of landscapes
and creatures we know like the backs of our hands (or,
for that matter, like the back of our money), images
firmly entrenched in our Canadian ethos. Yet Mackenzie’s
version of things strikes us somewhat discordantly.
Neither “picture-book” nor heroic, Mackenzie’s
imagery is, rather, only strangely familiar – like
an acquaintance’s half-brother. The paintings,
with their fragile shapes, ruptured perspectives, dark
fields of “ever-twilight”, suggest that
something here is amiss. Simply put, the Lost River paintings
advise that the North is not the awe-inspiring wonder
of our lore and longing. Though it is this too, it
is other things. These paintings are Mackenzie’s
effort to deconstruct historic notions of the North;
not so much as to render them completely powerless,
but to position these mythical concepts against a backdrop
of other concerns.
There are social and environmental issues at play
here, issues such as the disturbance of the northern
ecology or the poverty of northern communities – slippery
slopes for any artist to tackle, let alone one whom
some would consider an “outsider” to these
concerns. (Though it’s precisely the issue of
what constitutes “otherness” that seems
to be at the heart of Mackenzie’s ongoing work.)
Her paintings speak of our alienation from Nature.
That they do this without becoming maudlin is a tribute
to Mackenzie’s deft hand and her works’ subtle
emotional power. The paintings are built up in successive
layers of imagery, like a quasi-story which Mackenzie
makes up as she goes along. Other creatures, for example,
are painted in and then buried by subsequent layers.
The result is a dense and somber space as deceptively
complex as the themes that inform the work.
Small dramas appear to unfold, which is not to suggest
that the paintings are in anyway narrative. But the
visual economy is such that one tends to recognize implied temporalities,
a sense that we are happening upon an event at a heightened
moment of drama. Taken on its own, each Lost River
painting is like a single frame from a filmstrip, a
frozen moment which implicates itself in some story,
but on its own, can never reveal this story. So that
in a work like Lost River no. 12 (1981), and animal “captured” at
a water hole provides the element for some poignant
scene, a pregnant moment. Against the backdrop of an
icy tundra, a wolf-like creature dips its mouth into
the murky water and is frozen there. The sense of arrest
is punctuated by two bright concentric circles around
the animal’s mouth, ripples of water radiating
from the point of contact. But the rippling is stopped
prematurely. Though we know the circles should continue
radiating outward, they are forever stilled by the
inertness of paint.
The point is that something is “happening” in
this picture. What that something is remains to be
determined. For the situation, like the animals that
populate the Lost River paintings, is ambiguous.
Yet the iconography is not, that is, not really. Our
familiarity with the imagery of the North may stem
more from imagination than recall, but these ideas
are the reason something seems to be going on here.
That heroicism we see in, say, a Lawren Harris arctiv
scene is replaced by a darker, more distressed vision,
purporting to tell us that we’ve got it all wrong.
Strong triangular components repeat ever-upward toward
a solid ice field or an ominous white sky. (The distinction
is irrelevant since Mackenzie often, and purposefully,
disrupts perspective to heighten the sense of disturbance.)
It’s a stark geometry reminiscent of Harris’ arctic-scapes.
But if Mackenzie is quoting the Group of Seven artist,
she is doing so only to expose the other stories not
included in the Group’s mythmaking project. Mackenzie
depicts our connection with Nature in less-than-heroic
terms. It’s a vision of the land as a humble,
vulnerable entity.
In Lost River no. 14 (1981), the dark, jagged
field of the landscape presses down upon two
animals, one wounded or dead, the other only slightly
better. The pointed edge of the dark field encroaches
upon the head of the wounded creature, in a sense pinning
the animal to the ground. The second creature, itself
on the verge of collapse, is confined to a small patch
of land in the bottom corner of the painting. It isn’t
difficult to grasp the import of this imagery; its
allusions are quite clear. The sharp separations of
light and dark become a symbol of the realities of
northern life. The painting is at once an allegory
about our disturbance of the land, and a manifestation
of our idyllic myths colliding with the reality of
this region. Scars run across the surface of the painted
landscape, their serrated geometric pattern sitting
in contrast to the enervated creatures. These tracks
in the terrain call to mind a number of images: a barbed-wire
fence, surgical stitches, even a sketchy outline of
some razor-edged paper airplane. Implicit in the imagery
is the act of intrusion by industry into the ecology
of the North – the mines, for example, that hollow
out the earth and tear up the land. In these sharp
wedges of paint, these harsh geometries, Mackenzie
creates the evidence of this human interference. A
white path cuts its way across the dark fields of paint,
suggesting a paved road. Further up the painting, a
straight blue strip juts away from a larger ribbon
of blue, like a man-made canal diverging the water
from its natural course.
These paintings are the residue of Mackenzie’s
memories, gleamed from several extended trips to the
Yukon where she witnessed first-hand the effects of
mining and development on the North. Mackenzie presents
these visions to us with a restrained poeticism, relying
on the mood to convey the message. And, really, the
message has more to do with a personal, interior world
anyway, more than it does with any world we know or
imagine “out there.” These are the landscapes
of the mind: as much about our alienation from Nature
as our impact on it, as much about our “ideas” of
the wilderness as our depiction of it. “What
is natural is not always external,” as Margaret
Atwood pointed out in Survival, her thematic
study of Canadian literature. Attitudes toward Nature,
Atwood claimed, inevitably return to attitudes toward
our own bodies and toward sexuality. Underpinning the
Lost River paintings is such an autobiographical subtext,
one which bears the traumas of Mackenzie’s personal
life – her loves and her losses. These are veiled
references, of course, and we may be forgiven for overlooking
them. For Mackenzie is not offering us a confessional,
and we are not asking for one. What she does give us
is a shared space within which to consider the public
and private realms of Nature. These generic animals
are the surrogates for our collective notions of the
North, and the projections of a personal feeling of
loss for that world we’ve pushed into the realm
of legend.
The unassailable force of Nature is a persistent motif
whose long narrative history exists to this day in
the art and literature of our country. “Nature
and Monster,” against whose infinite powers we
struggle for our survival – it’s a theme
from the earliest pages of our colonial history, reinforced
in our collective consciousness by the hallowed paintings
of the Group and their contemporaries. Granted, few
of us wholly subscribe to this notion of the country
as some “untamed” wilderness. But in a
land where most of the population is confined to a
narrow strip along the southern border, where so much
of the terrain remains uninhabited, it’s hard
to deny the wilderness’ place within our cultural
identity (thus far). It’s part of our collective
consciousness though seldom part of our daily life.
It’s the other and us at the same time. So then
what are we to make of these motifs, these grand inventions
of a place and a country borne from the romantic canvases
of Tom Thomson or the Group of Seven? Do we, like Friedrich’s
Wanderer, stand before ineffable Nature – our
own ineffable Nature – pondering slack-jawed
at some mythical notion of the wilderness? Probably
not.
But these sentiments still have purchase within our
culture, which is why Mackenzie does what she does.
Here is a project that aims to reconcile the physical
and the psychological territories of our identity.
It’s an investigation which has taken her across
many terrains – geography, history, knowledge,
painting – to give voice to the hidden stories
that are buried in the wake of dominant narratives
and “official” histories, as if to show
that our identity consists of more than one jack pine
on a rocky crag. The paradox of Mackenzie’s art
is that, in an effort to shed light on these silent
stories, her paintings actually conceal more than they
could ever reveal. This paradox is none more evident
than in her recent body of work, the Saskatchewan
Paintings.
Here is landscape painting in its most abstract sense;
not so much about the landscape we see as the one we
don’t. Like the Lost River works, these
paintings are about the territories of the mind, about
what we imagine a place to be and how these notions
collide with what they really are. My knowledge of
Saskatchewan is slight, but in a way I am Mackenzie’s
model viewer. I come to these works with preconceived
visions of endless wheat fields and wide open spaces.
Though Saskatchewan is this, it is also other things.
And Mackenzie’s paintings show us that there
is this multiplicity of issues to consider. She does
this, mind you, not by revealing the specific issues
per se, but rather by depicting the complexity itself.
For these is only so much a painting can do. It can’t
tell you the whole story, but it can point you in the
right direction.
And complexity is the crux of these works. You see
it in the laboriously handwritten texts which cover
the surfaces of the paintings; in the way these texts
become concealed, rendered illegible by the layers
of imagery, paint, map tracings, dark voids and starry
lights that constitute these palimpsests of many ideas.
The texts themselves are from a variety of sources – historical
records, cowboy songs, Mackenzie’s own prose-poetry.
It’s a desultory use of fragments which speaks
of a many-voiced, but oft-silent, history. These paintings
demand time from the viewer – time enough for
the hidden stories to filter to the surface, time enough
for the eyes to wander across the varied terrain. And
indeed these paintings are like terrain, with
the build-up of elements and the raised handwritten
text mimicking a physical topography and alluding to
a metaphorical one.
For Mackenzie, it’s been a peripatetic journey,
one which has taken her from sea to sea and north of
60. She has lived many parts of the country, “with
driver’s licences to prove it.” But Saskatchewan
is a place she has only visited. It is somewhere she
goes to become anonymous, to disappear for a while
in the coffee shops and bus depots to record her musings
about a region she has come to know intimately. A “flaneuse” on
her solitary journey. She has pored over maps and records
in the provincial archives, has taught herself about
the history – official and otherwise – of
this postage-stamp province with its arbitrary borders.
In some corners, she is branded an “outsider” for
dropping herself into a place to talk about issues
to which she has no claims. But Saskatchewan is, as
Mackenzie says, “a part of [her] identity by
its absence,” in the same way that the North
is a nationalist metaphor though few of us have actually
been there. Mackenzie is from this country but not
from all of its parts. And it’s this constant
need to define ourselves by where we are from that
informs her art.
As the Lost River works describe a fictional
territory, so too the Saskatchewan Paintings.
Within these canvases, matters of imagination meet
matters of record. Texts transcribed from historical
documents interweave with Mackenzie’s own prose,
everything floating in and (mostly) out of legibility.
The resulting polyphony of voices alludes to the many
narratives that go unrecognized in official accounts
or uninformed generalizations. There are political
and geographical themes which include the displacement
of native populations, the arbitrariness of borders,
the establishment of trade and travel routes, the history
of the Northwest Rebellion. There are also traces of
a personal quest – secret desires, encounters,
dilemmas of gender and painting. Any attempt to follow
one theme is inevitably interrupted by the appearance
of another.
Black voids punch through the surfaces of many of
these works. Like representations of the unrepresentable,
they are Mackenzie’s way of acknowledging marginalized
histories without pretending to know these histories.
In If I Loved A Cowboy…/Leaving Her Fingerprints
all over Everything She Does (1994), these black
spaces take the form of elliptical “rabbit holes”,
which seem to lead to some underground world. There
are traces of writing within the holes, suggesting
that the dark spaces ar not so much “voids” as
they are passageways to other viable places beneath
the (physical and metaphorical) surface, like journeying
through the thousands of years of history before the “official” colonial
one. Rabbits hover elusively around the holes – jots
of figuration in an abstract world, which (without
pushing it) might suggest Mackenzie’s willful
transgression of painting taboos (whatever they may
be).
There are desires here to follow the bunny down the
hole, a la Alice; to escape for a while from her responsibilities,
from her life in Vancouver, for a fling maybe with
some prairie cowboy. This is Saskatchewan for Mackenzie,
a place of longing, a place to “disappear off
the radar/between destinations…In New York,
but not…” Just to vanish for a while,
not forever. And, as if to reassure you of her intentions
to return, she’s leaving her fingerprints around
the hole, in case you ever do need to find her.
Quatrefoils replace the rabbit holes in Gabriel’s
Crossing to Humboldt (1994). Here, two dark
clover-shapes anchor the centre of the painting,
reminiscent of gothic windows but also of the patterns
formed by crop irrigation circles. The grid which
underlines this painting bears reference to the maps
of Saskatchewan produced in the last century by the
Dominion Land Survey. Indeed, the grid is a common
element in all the Saskatchewan Paintings,
evoking issues of land allotment, monolithic histories,
modernism. But these works in the Saskatchewan series – and Gabriel’s
Crossing is no exception – avoid being
pinned down to any single issue. They’re about
the multitude of voices, about making the smallest
detail equal to the weightiest. The title “Gabriel’s
Crossing to Humboldt”, which to me evokes grand
thoughts of the Archangel Gabriel, or perhaps some
other “epic” crossings in history (Washington
and the Potomac; Attila and the Alps), is in fact
lifted from an historical map detailing a ferry crossing
operated by Gabriel Dumont. It’s a small point
supposing the larger issue of the Metis rebellions.
Other paintings too explore this theme. A hangman’s
gallows in Palliser’s Triangle (1997)
evokes the execution of Louis Riel. Maps with train
routes call to mind the Canadian Pacific Railway,
so instrumental in quelling the rebellion in 1885.
If all that I have said thus far seems rather unfocussed,
it’s because Mackenzie wants it that way. Nothing
is clear in these paintings; nothing, that is, but
the clarity which comes from knowing that the waters are indeed
muddy, and that to admit otherwise is at best naïve
and at worst historical hood-winking. The paintings
are vast – like the prairies that inspired them – and
nothing less would seem appropriate for such ambitious
work. These are not haikus, with a sparse
clarity. These are densely woven narratives with multiple
themes and points of reference. I have only touched
upon a few of these themes. There are others – ideas
about the dilemma of painting, about gender and the
body, about mapping, writing, and personal pains and
struggles. But Mackenzie isn’t expecting you
to “get” all of this. You can’t anyway.
What she does ask, though, is that you stay a while,
linger among the voices, wander the painted terrain,
take some time.
To look at these paintings is to look from many vantage
points – like standing in the middle of a wheat
field, gazing up at a 360 sky, seeing all at once the
beginning, middle and end of a coming rainstorm. It
is like that, but also like perching yourself up high,
looking down upon the scene as one does upon a map.
And so, when you think you’ve figured out the
map, when you think you know exactly where you are,
you end up someplace completely different.
Given the intellectual rigour of Mackenzie’s
project, it’s sometimes easy to forget just how
beautiful her paintings look. At least, it
is when you’re writing about the work; standing
in front of one of these canvases, it’s the first
thing you notice. Like a guilty pleasure, I would suspect.
The paintings are, perhaps, “too generous,” as
a dealer recently said to her. But then what is the
matter with that? For all the musings about mythical
notions of place – be they imaginary Norths or
prairies of the mind – it is, in the end, the frisson of
sheer visual experience that is most poignant here.
And why should we be denied this direct engagement
with the beauty of these paintings? As if there were
some inverse relation between how they look and how
much they mean. Beneath the layers of paint, text and
imagery, beneath the dense velvety sheens or tapestry-like
surfaces, there are, I know, timely issues at hand.
And I am intrigued by this complex agenda,
by Mackenzie’s moves through the cultural and
critical minefields of the latter third of the twentieth
century. But there is, I’ll admit, a part of
me that just wants to stare at the sheer gorgeousness
of her work, to hide out, too, in the rabbit holes.
Almost fifteen years separate the Lost River Series
and the Saskatchewan Paintings. And during
that time Mackenzie has shifted back and forth between
figuration and abstraction, text and colour, lightness
and depth. Though the two bodies of work may seem to
anchor opposite ends of the painting spectrum, they
are in fact remarkably similar. With the Saskatchewan
Paintings, Mackenzie has, in a sense, come full circle.
She is back to the lush, stratified surfaces of her
early work, to the layering imagery seen in, but also
predating, the Lost River paintings. She is
back to the poetic search for fictional territories – and
the real ones that inspire them. She is again addressing
the pressing need to recover what we’ve lost
of have purposefully buried.
Mackenzie’s art suits a time where nothing is
absolute and everything is open to question. She knows
well that this mix of facts and fictions we call “today” is
but a temporary state, which the clear(er) light of
tomorrow will replace with another provisional set
of truths. And if the grounds on which she stakes her
claim are shifting, well, haven’t they always
been? Painted boundaries and drawn borders are never
quite clear, are always changing. Like faraway starts
on a summer night. Like that, but not. |