beckett's blog

bicycle day

2012-01-07T14:46:00.001-08:00

remnants of snow
remain in the shadows
like winterin Santa Fe

2011-12-20T18:23:00.001-08:00

...

Blue Oysters

2011-12-20T15:54:00.000-08:00

"Blue Oyster" 2011 oil colour 48 x 66 in.

mycelium spreading
vast networks laced into black earth
ancient humus charged with
electic blue oyster light
S.D.

ARTS AND SCIENCE LAB

2011-12-19T18:05:00.000-08:00

Bioremediation Project:
As artists and environmentalists, we celebrate the beauty of the natural world and understand the necessity of its preservation. We see the need to move beyond simply drawing attention to environmental problems into focusing our creative energy on interdisciplinary problem solving. (see foot note 1.) Seeing ourselves as part of nature is a valuable perspective as we develop policies for sustainable living. The Arts and Science Lab will develop a model of human-sustainability based on our observations of nature's interconnected cycles. The project will benefit from “cross pollination” as it combines artistic vision, intuition and curiosity with the exploration and problem-solving methodology of the scientific perspective.

Product:
knowledge, experience and sustainable community revitalization. The project will bring together environmentally conscious people who have the wide spectrum of experience and the imagination required to rehabilitate the abandoned IMICO industrial site in Guelph 2. as a catalyst for community revitalization 3. using Bio-Remediation 4.

Method:
To deal with the various known toxins 6. the project will require a number of different remediation "biospheres" ranging from pond and wetland to forest floor and agricultural. How these biospheres are installed and interconnected will depend on the size, location and concentration of the toxic deposits. The installation will use the site’s topography as an element of functional landscape architecture. For example: watercourses will be established to distribute the contaminated ground-water to bio-accumulating plantings following the density separation of solvents. Existing concrete floors, foundations and asphalt roadways, when remediated, will provide aggregate for site development.

Economics:
We intend to demonstrate the cost savings and effectiveness of bioremediation as compared to current high carbon emitting methods of transporting soil to toxic waste dumps and/or incineration 4., 8. or handing the problem down to successive generations

Photovoltaics..."leapfrog"power:
If the installation of large tracking photovoltaic collectors proves to be a viable constituent, the project could be energy self-sufficient and to some degree, self funding. There are a number of benefits: The project could supply some of the cities growing clean power locally so the 50% line loss through transmission could be eliminated. The "green" power, would contribute to the cities goal to provide 25% of Guelph’s energy requirements using renewable sources within the next 15 years. The political pressure for a brownfield "quick fix" could be offset if the site becomes productive in energy and revenue while it is being bioremediated.

Green-tech “Incubator”
The innovative nature of the project will be used to attract the attention of environmentally conscious start-ups that can benefit from the proximity to the existing industrial zone. An “Art of Change” Design Center could showcase and market local innovation.

Multi-use Revitalization:
The Arts and Science Lab project intends to revitalize the live/work neighbourhood by adding green space as well as commercial and cultural activities. In the planning for integration and sustainability, energy use will be carefully considered. For example if the site’s art facilities were to include a glass shop and bronze foundry, their operation would be restricted to cold months and the residual heat would be used to heat adjacent buildings. A whole foods/grocery store and restaurant would be welcome additions to the neighborhood. Artist live/work and galley spaces would be architectural elements of a naturalizing landscape and would provide retail as well as cultural value.

The bio-remedation education centre:
The intention of the project, beyond cleaning up the site, is to develop a knowledge base that will have widespread application and commercial value. Walking trails will provide public access to the various biosphere installations as the site is transformed. An outdoor performance pavilion would add to the educational and cultural potential of the A&SL project.

Funding Potential:
In this "age of information" the bio-remediation research/ teaching center will have increasing value over the long term with innumerable commercial applications. An application for short term research funding has been granted by the University of Guelph. 7. As governments begin to see the benefit of low carbon solutions to our past mistakes, bioremediation expertise will become an increasingly valuable commodity (see "Pedagogy", footnote 7.) Since this project will have environmental, educational and economic benefits from the community level to the national and ultimately, global benefits, the project qualifies for funding through a wide range of agencies, both private and public.

References:
We have discussed the viability of this project with people from a variety of disciplines, organizations and the community. See a list below of committed participants to date. 5.

Office / Susan Detwiler: smdetwiler@hotmail.com 519 836 2534 18 Morris St. Guelph, Ontario, Canada N1E 5M2

Peter Beckett: peterbeckett11@gmail.com 519 826 4399

Beckett's Blog: beckettart.blogspot.com

Image: 1939 Ford Tractor, Niagara Escarpment Natural Area

-------------

Foot Notes:

1. Arts and Science Lab project: The History

The A&SL project began as a collaboration between artist/ environmentalist/ educators Susan Detwiler and Peter Beckett.

"If "necessity is the mother of invention, " What are the other essential components? Are they not; recognizing a need, imagining a solution and, through your own skills and determination, bringing forth the answer? What could be more satisfying! Imaginative problem solving and creativity, surprisingly enough, are two of the key ingredients of such highly regarded endeavors as scientific research and development as well as entrepreneurship. Yet the parallels are seldom drawn. If the thought processes of artistic endeavor, alone or in combination with more linear (empirical) methods, can bring a quicker solution to any of our society's problems, then the value of art is immeasurable. Don't worry, art education is no more likely to produce artists than math education will produce mathematicians. They are both valuable introductions to different and complimentary learning styles. Art stimulates the imagination and through art, languages expand so that new insights may be shared. Art has been integral to the fabric of society since the beginnings of civilization. From the cave paintings of Lasceaux to the architectural monuments of ancient Greece; from the multidisciplinary achievements of characters like Leonardo and Michelangelo to whatever achievements that future generations deem significant from this age, it's all interwoven "excerpt from "The Reason of Art" P.B.

Peter Beckett, McMaster, Hons B.A., Art and Art History
The catalogue for his most recent exhibition, "Being the Biosphere" co-written with Susan Detwiler is posted on the blog: beckettart.blogspot.com
"Beckett inhabits the landscape in the deepest sense, aware of the innumerable processes that are the pulse of the Niagara Escarpment biosphere where he lives and works. His paintings evoke the totality of a living breathing landscape that shifts and evolves around him."

Susan Detwiler, B.F.A. Nova Scotia Collage of Art and Design, M.F.A University of Guelph, B.Ed, University of Windsor
"In my recent works, “Green Cleaning House” and “Freitheitsflob” I constructed floating shelter-like structures that incorporated planted gardens. “Freiheitsflob”, installed in a pond in the Darmstadt Forest in Germany, contained edible, medicinal and ornamental plants, to draw attention to the nutritional and healing powers in addition to the beauty of the natural environment. “Green Cleaning House” was constructed using brooms and mops, to draw attention to the need to clean up the surrounding water. It was installed, to float in Cootes Paradise in Hamilton, Ont., Canada."
Detwiler has been teaching; most recently at the Dundas Valley School of Art and the University of Guelph.

--------------------------

2. IMICO The History
Brownfield Site: 200 Beverly St. Guelph, Ontario. (The 13 acre site is bounded by the Guelph Rail Junction on the north, Stevenson St. on the west and Beverly St. to the south.)
The International Malleable Iron Company opened its foundry on Beverley Street in 1912. The Guelph plant was a branch of the Illinois Malleable Iron Co, located in Chicago. IMICO was owned by the Carver family, who were originally from England, and for 75 years it remained in their possession.
IMICO specialized in producing malleable and cast iron pipe fittings. Products were shipped all over Canada, and throughout the British Commonwealth. During the earlier years, IMICO also produced castings for local agricultural and transportation industries.
The industrial site initially occupied 10 acres, and included a foundry and a machine shop. The foundry had two furnaces for melting air-refined malleable iron, as well as a cupola for grey iron. By 1927, the industry occupied 13 acres, employed 450 hands, and produced 6,000 tons of cast iron fittings and 3,000 tons of grey iron fittings per year. During the second world war IMICO produced munitions. In its peak years in the 1950’s, IMICO employed 575 people.
The foundry shut down in 1989 owing the city more than $1milion in unpaid property taxes, hydro payments and worker’s compensation premiums, plus a debt to the Bank of Montreal for another $million. IMICO also failed to clean the site of extensive pollution, preferring to leave the costs to community members. Creditor, BMO refused to take possession of the IMICO Site.

---------------------

3. The City Of Guelph's IMICO Property use study prepared by Barry Lyon Consultants 2003 names such use in their Preliminary Market Assessment Recommendations,i.e.
Light Intensity Business including
Artisan Workshops/Studios
Community Serving Uses: including
Art Centre,
Education and Training as well as
Live/Work Residential

----------------------

4. Bioremediation

Through natural processes, ancient plant and animal material buried within the sediment of the earth's crust have become the concentrated hydrocarbons that we extract as coal and oil. Since persistent organic pollutants, such as PCBs and DDT are composed by rearranging naturally occurring elements, certain natural environments have the ability to convert these toxic molecular arrangements back into their more benign constituents. The biological systems that decompose a fallen tree's lignin into soil for example will also break down complex persistent toxic hydrocarbons. The addition of wood compost is in effect bringing to the site a forest floor environment.
Successful studies of biological remediation of soil contaminated with crude oil (long chain hydrocarbons) involved the addition of a specific wood-chip and sawdust compost layer to support a biological system. Introducing microbial acclimated oyster mushroom spawn stimulated a cascade of activity by other organisms. A synergy between fungus, bacterium, plant and animal denatured the toxins in the adjacent substrate while turning the compost layer into nutrient rich soil. On-site bio remediation is less costly than soil removal and treatment. (US EPA, 2006) One study estimated a cost saving of 95% (“Mycelium Running,” Paul Stamets).

The natural aquatic environment also provides bioremediation possibilities re. metal. For example,"aquatic fern,(Azolla pinnata) was found to remove as much as 94% of Hg (mercury) from solution. Water hyacinth was found to accumulate Cr in it's shoots at 223 time the concentration in the water, and removed 84% of the Cr (chromium) and 95% of the Zn (zinc) from the water. While metals negatively affected the growth of the duck weed, (Lemna gibba), the plants were able to remove 90% of Cd (cadmium) from solution after 6 to 8 days" (Current Opinion in Biotechnology/Environmental 2010 pg1.)

------------------------

5. Supporting Associates:

Michelle Behar - Biochemist – McMaster
Seth Brouwers – B.Sc. Earth Science, MBET –Entrepreneurship & Technology
Kaj Devai – Architect
Jorgen Fleischer – P.Eng. Environmental Consultant
Neva Greig – Senior Research Technician - Plant Pathology, Agriculture Canada
Anna Kryzwdzinsky - Biotechnologist, Vineland Research and Innovation Centre.
Douglas Nadler --Musician/ Director: Georgian Triangle Earthday Celebration and Collingwood Music Festival
Michael Vertolli – Director Living Earth School

------------------------

6. The Toxicology of the IMICO Site in Guelph from 2 Reports:
1989 Proctor and RedFern
found elevated levels of cadmium chromium, molybdenum and zinc, PCBs on site 1990 Local residents/media concern about off site contamination led to study April 19,1990 Marius Marsh phytotoxicology section OME who reported on off site surface soil contamination in the vicinity.

Method:
0-5 cm depth samples from 12 samples in foundry vicinity
and 3 control sites removed from IMICO vicinity.
2 samples at 5-15 cm depth
Samples tested at Toronto Lab for chemical analysis

Test Results:

Copper under uln 50/100
Nickel under uln 12/60
Lead under uln 250/500
+Zinc up to 3x uln
Iron under uln
+Manganese up to 1200/700 uln
Aluminum 1800/no uln
Arsenic one elevated site 37/20
Barium one elevated 200/ no uln
+Cadmium one elevated site 6/4 uln
Chloride up to 12/no uln
Chromium up to 30/50 uln
Fluoride up to 260/ no uln
Mercury up to 260/500 uln
Sodium up to 220/no uln
Antimony up to uln 8/8
+Selenium up to 4.6/2 uln
Strontium up to 81/ no uln
Vanadium up to 46/70
Cobalt up to 12/25 uln
Molybdenum up to 1.6/3 uln
Beryllium up to 83/no uln

uln: upper limit of normal concentration in soil
+ : contaminant concentrations above desirable levels

Observations:
Cadmium and Selenium at site 8 result of storage rather than emissions.
Limited downwind concentrations at site 11 of antimony, barium, copper, chromium, lead, and mercury.

High levels of zinc cannot be attributed to IMICO

Fluoride levels increase around foundry- foundry sand produced across Stevenson St., SW of IMICO cited as possible source.
-----------------------------------------------------------
IMICO, Guelph site
Soil and Ground Water
report: John Cooke

Deposits of contaminants that fall within section 18:
zinc in the soil 948 mg/kg to 2660 mg/kg. in 5 pits 4.5 m- 6m deep
in the southeast from galvanizing process.
decommissioning guidelines is 600 mg/kg

(Off site tests indicate high background levels of zinc in the area)

In one of these test pits, molybdenum was found at 60.1 mg/kg decommissioning guidelines recommend cleanup to 5 mg/kg for residential use of land or 40 mg/kg for commercial or industrial use. A test well in this area, shows groundwater contaminated with manganese at a level of 0.11 mg/l, which is more than twice the maximum desirable concentration of this substance in drinking water.
Residual soil and groundwater contamination from the former buried gasoline tank in the southeast portion of the property.

A sample of groundwater taken from OW4 at 3 metres below surface shows benzene, a carcinogenic component of gasoline, at 6.4 micrograms/litre
Soil and groundwater contamination from solvents and paint usage in the area of the former paint shop, near the north property boundary.
In test pit 12-1, xylene, ethylbenzene and toluene were found in the soil. In OW2, the groundwater contained toluene.
Corehole C-14, which was drilled inside the former paint shop shows oil and grease at 2.5 mg/kg, which exceeds the soil decommissioning guideline of 2 mg/kg. Xylene concentrations in this area exceed MENVIQ level B criteria by 1.8 times
Groundwater in OW 2, which is in this area, contains trichlorofluoromethane and toluene, although not in concentrations exceeding any standards or guidelines, as well as iron and manganese in concentrations that exceed drinking water.
Objectives
Soil contamination from improper oil storage practices at various locations about the exterior of the foundry building.
The I and J series of test pits contained oil and gas in concentrations of 2.65% and 8.9% respectively, both exceeding the guideline value of 2%.
Test pit LW23, by the zinc galvanizing area, north of the finishing and annealing area, and 12-1, adjacent to the paint shop, contained total petroleum hydrocarbons of 11,942 ppm, 3,984 ppm, and 3,712 ppm respectively. All exceeded the guideline value of 1,000 in the Ministry's guidelines for remediation of petroleum contaminated sites.
Residual PCB contamination on concrete floors at the former capacitor room: PCBs up to a maximum of 117,382 micrograms per square metre were found in this location. The guideline value is 1000 micrograms.

Samples from this core series also contained 393 mg/kg cobalt in the capacitor room (compared to the guideline value of 2 )
9950 mg/kg zinc in corehole C12 (compared to a guideline value of 80) total petroleum hydrocarbons of 6724% in corehole C6 (guideline value 1000).

----------------------------------------------------------------------------

7. Detwiler application for research funding: University of Guelph

Statement of Goals and Plan of Scholarly Activity
Arts and Science Lab

As a contemporary visual artist and educator, I plan to use the fellowship for an intensive period of research that will extend my practice into public education. The project will increase awareness of the necessity of urban environmental clean up. The research will focus on the methodology of biological detoxification of a long abandoned contaminated industrial site.
See note1.
Goals: Research and establish necessary permissions and funding from various levels of government and educational institutions and to seek corporate sponsors.
Set up pilot project to test the effectiveness of variations in remediation.

Draft plans/ drawings for structures that will incorporate living agents into sculptural, architectural and installation based formats.
Establish and maintain small, interconnected ecosystems that utilize the most
effective bioremediation (mushrooms, bacterium, microbes, plants and invertebrates) to detoxify particular concentrations of contaminants.
Devise educational programming for local students, who will learn by touring the site and/or through their participation in aspects of the remediation.

Direct site use to maintain and enhance its function as an example of what is possible, through a coordinated interdisciplinary effort, to detoxify a site using bioremediation.
Coordinate interested professionals to work together in the planning and implementation of the project, establishing a network that will attract interest from environmentally conscious and interested community members.
Establish land use policies based on the neighborhood requirements.

“Green Cleaning House”

In my recent works, “Green Cleaning House” and “Freitheitsflob” (below) I constructed floating shelter-like structures that incorporated planted gardens. “Freiheitsflob”, installed in a pond in the Darmstadt Forest in Germany, contained edible, medicinal and ornamental plants, to draw attention to the nutritional and healing powers in addition to the beauty of the natural environment. “Green Cleaning House” was constructed using brooms and mops, to draw attention to the need to clean up the surrounding water. It was installed, to float in Cootes Paradise in Hamilton, Ont., Canada.
Since making these installations I have felt the need to act on my beliefs and to move beyond pointing at the problems, into providing solutions.

“Freitheitsflob”

As an artist/environmentalist I am interested in developing a mechanism to allow the arts and sciences to creatively recombine their knowledge towards a holistic approach to solving our urgent environmental problems. The University, having introduced interdisciplinary studies has begun to move in this direction. This project is a mechanism for putting theory into practice.

I have discussed the viability of this project with my friends from a variety of disciplines. Some are so excited by the idea, and eager to participate that they have begun to recruit people who might also get involved. I have included a list below of committed participants to date.
See note 2.

By bringing the Arts and Sciences together this project will create an outdoor living laboratory. The structures involved will support and draw attention to the various natural processes. In natural environments there is no waste, the by-product of one process is the food for the next. Once the initial structures are in place and the biospheres are established the site will begin to transform itself. Seeing ourselves as part of the natural environment is a valuable perspective as we develop policies for environmentally sustainable living.

To deal with the various known toxins the project will require a number of different biospheres ranging from ponds and wetland to forest floor and stream. How these biospheres are installed and interconnected will depend on the size and location of the toxic deposits. The installation will consider natural geomorphology in its construction as functional architecture. Rainwater collection and gravity distribution for irrigation for example may allow for imaginative functional kinetic structures to distribute the water between the simulated natural environments.

Pedagogy

This project will introduce an approach to interdisciplinary learning that is modeled on the interconnectedness of natural processes. It will bring together the knowledge, energy and experience of people from a wide range of backgrounds to collaborate and work toward solving a common dilemma.

The project will provide satisfaction to participants and encourage them to see new possibilities, and to participate in, or initiate similar, hands-on, co-operative, educational initiatives themselves.

The project will provide an example of an alternative method of problem solving with a wide range of possible applications. It will demonstrate to younger students the rewards of curiosity, both within and outside the classroom as well as the benefits of life-long learning.

Through interaction in a co-operative environment, both students and teachers will become more comfortable asking questions and sharing ideas. Teachers may rediscover the joy of learning so that it might be shared with their students.

The project will provide an opportunity for students predisposed to learning through experience, to experience satisfaction through learning. i.e. students with different learning styles may become engaged.

The project will provide an opportunity for teachers to develop new models
of experience based problem-solving that addresses the needs of teaching in our rapidly changing society.

The project provides a cycle of learning by linking research and the classroom, to a hands-on living laboratory where participants can interact with people with a wide range of experience and expertise. Problems encountered in the field will require a return to research, reflecting something of the interconnections found in natural cycles.

The project is a model for linking education, politics, art and community action.

Footnotes:--------

1.The former IMICO site (13 acres) is bounded by the Guelph Rail Junction on the north, Stevenson St. on the west and Beverly St. to the south.

2. Bio Remediation

Through natural processes, ancient plant and animal material buried within the sediment of the earth's crust have become the concentrated hydrocarbons that we extract as coal and oil. Since persistent organic pollutants, such as PCBs and DDT are composed by rearranging naturally occurring elements, certain natural environments have the ability to convert these toxic molecular arrangements back into their more benign constituents. The biological systems that decompose a fallen tree's lignin into soil for example will also break down complex persistent toxic hydrocarbons. The addition of wood compost is in effect bringing to the site a forest floor environment.
Successful studies of biological remediation of soil contaminated with crude oil (long chain hydrocarbons) involved the addition of a specific wood-chip and sawdust compost layer to support a biological system. Introducing microbial acclimated oyster mushroom spawn stimulated a cascade of activity by other organisms. A synergy between fungus, bacterium, plant and animal denatured the toxins in the adjacent substrate while turning the compost layer into nutrient rich soil. On-site bio remediation is less costly than soil removal and treatment. (US EPA, 2006) One study estimated a cost saving of 95% (“Mycelium Running,” Paul Stamets).
The natural aquatic environment also provides bio remediation /phyto remediation possibilities in the accumulation of metal, for example,"aquatic fern,(Azolla pinnata) was found to remove as much as 94% of Hg (mercury) from solution. Water hyacinth was found to accumulate Cr in it's shoots at 223 time the concentration in the water, and removed 84% of the Cr (chromium) and 95% of the Zn (zinc) from the water. While metals negatively affected the growth of the duck weed, (Lemna gibba), the plants were able to remove 90% of Cd (cadmium) from solution after 6 to 8 days" (Current Opinion in Biotechnology/Environmental 2010)

Footnote
3. Supporting Associates

Peter Beckett – Artist/Environmentalist –Art and Art History, McMaster
Michelle Behar - Biochemist – McMaster
Seth Brouwers – B.Sc. Earth Science, MBET –Entrepreneurship & Technology
Kaj Devai – Architect
Jorgen Fleischer – P.Eng. Environmental Consultant
Neva Greig – Senior Research Technician - Plant Pathology, Agriculture Canada
Anna Kryzwdzinsky - Biotechnologist, Vineland Research and Innovation Centre.
Douglas Nadler --Musician/ Director: Georgian Triangle Earthday Celebration
Georgia Simms-- MA Geography, Modern Dance Artist

---------------------------------------------------

8. Local Press: conventional clean-up costs/ time-frames etc.

0. Tony Saxon Sat Aug 07 2010 Be the first to Comment 0 Recommend
More study recommended for former IMICO site as cleanup estimates climb

tsaxon@guelphmercury.com
GUELPH — Latest estimates put the cost of cleaning up the former IMICO site at between $4.4 million and $8.7 million.
That figure is only for the cleanup of the contaminated soil at the 13.5-acre location on Beverley Street. It does not include the cost of providing clean water to any future development or the more than $2 million the city has already spent to remove soil from the heavily contaminated site.
Soil contaminants have rendered most groundwater at the site unusable.
A city staff report going to council Monday recommends a “full scope risk assessment study” of the property. That would mean the site would continue in its current abandoned state until at least 2012.
“To sit and do nothing, and to say it’s not one of our priorities, is not acceptable. I’m a little upset,” Ward 1 Councillor Bob Bell said.
“I want something done. I’ve tried to move it up on the city’s priority list, but I guess it’s just not a very glamorous project.”
The former International Malleable Iron Company site has been owned by the city since 1997.
Six years ago, cleanup costs were tabbed at between $250,000 and $2.3 million.
The new study that is being recommended by staff will cost between $200,000 and $300,000, with $100,000 of that expected to be covered by federal grant money.
Jim Stokes, manager of realty services for the city, said all the reports done so far are cumulative and necessary to get to the end result.
“With a risk assessment, we’ll be looking at a variety of uses,” Stokes said of the new study being proposed. Those uses include residential, commercial and recreational.
“We’re not sure how much soil cleanup has to be done at this point. That’s the purpose of the risk assessment study — to limit the amount of soil that would have to be removed to make it workable,” Stokes said.
He said that after a risk assessment is done, the city will hopefully be able to take formal proposals for developing the contaminated site and everyone — including the city — will know what it is going to cost them to proceed with development.
The new staff report lists six parties that have expressed interest in the property since 2006. Three of those include building townhouses on the site, one would create a community park, one doesn’t indicate what use it would have and the sixth is from Family and Children’s Services, which would use five acres for new offices.
Stokes said the possibility of severing the property is also a possibility.
Lorraine Pagnan, who has watched the IMICO saga from her Ontario Street home since it began, said residents of the area just want to see something done.
“We’re still sitting here, in 2010, with a site that still needs to be dealt with,” said Pagnan, who has lived in the neighbourhood known as The Ward for 30 years.
“I don’t know how many more studies we have to do. It’s taken way too long. Something should have been done a long time ago.”
Monday’s report to council is based on information provided to the city about two years ago by consultants.
Stokes said the two-year delay in getting the report completed was due to a number of factors, including a heavy workload for his department and the creation of a new environmental engineer position. That person helped with the report.
“I’m not going to make excuses. My workload has been focused in other areas,” Stokes said.
The delay irks councillor Bell.
“This report could have been brought forward two years ago,” Bell said. “Staff had all the info. They just sit on it and leave it for the next council to fix it.”
City staff is also recommending the pursuit of additional government funds to help pay for further study and the cleanup of the site.

0. Scott Tracey, Mercury staff Fri Oct 08 2010 Be the first to Comment 0 Recommend
IMICo site has not been sold, as suggested during debate

GUELPH — While the City of Guelph would like to not own the former IMICo property on Stevenson Street, it has not been sold.
Viewers of a televised Ward 2 candidates debate this week heard otherwise.
Responding to a question about what should be done with the heavily-contaminated foundry lands, candidate Ray Ferraro suggested off-loading the property.
“We’ve got to get out of it,” Ferraro said. “Sell it for small business or factories.”
“It has been purchased,” incumbent Vicki Beard responded, adding she expects the owner to work with the city and local residents to shape the future of the 13-acre site.
Ferraro said in an interview Friday Beard’s revelation “was news to me.”
In fact, the property is still city-owned.
“If anyone was the slightest bit interested in buying it, I’d know,” said Ward 1 Coun. Bob Bell, who has identified remediation of the site as a top priority in his ward.
In August, the city’s finance committee voted to seek proposals from the private sector to redevelop the former International Malleable Iron Company site, which the city has owned for more than a decade.
The committee heard a consultant estimated soil remediation on the site will cost between $4.4 million and $8.7 million.
At the time, city realty manager Jim Stokes told the committee there had been several expressions of interest in the site, but when he began talking about the remediation required “those talks ended pretty abruptly.”
Bell said Friday the property can not be sold right now because it would cost more to clean it than it’s worth.
“You have to have a positive property value before anyone would be interested in buying it,” Bell said.
During the debate, several candidates expressed a desire to see housing on the site.
But Ferraro noted given the property’s location, along rail lines and adjacent other industrial uses, “why the hell would anyone build houses on it?”
Bell conceded using the IMICo site as a rail yard or similar use would require less remediation, but is not in the city’s interest.
“The rail yard use . . . is not a suitable use for the centre of town,” Bell said.
Beard could not be reached for comment Friday.

.

december two burner, hour and a half, local currie chicken

2011-12-10T16:13:00.000-08:00

tadique basmati rice,
once cooked
used for steaming 6 small frozen spring-rolls

the 6 chicken thighs were frozen so
that's where we begin...

soak /sepperate chicken in warm water... about 8 min.
add chicken to 1/4 cup water in big cast iron pan
medium heat
2 tbs shredded frozen ginger
1 stp finely shedded horse radish
4 cloves of garlic, crushed
1/2 tsp dried chilli flakes
1 tbp marsalla
4 medium onions, chunked
1/4 cup dried fall oyster mushrooms/ chopped
2 tbs coconut butter
1 1/2 tbs Padaks hot currie paste
1/4 cup beer (add is needed to keep miosture available to mushrooms))

when chicken is cooked -1 1/4 hours
add 1/4 cup apple sause
drizzle chicken with "memories of Thailand"

add 2 cups sherdded chinese cabbage to steam
6 min.

serve chicken over
rice and spring rolls

anthropology

2011-11-28T20:29:00.000-08:00

traveling
perspectives
anthropology
imagining
a distant village
and the distant time

november blue

2011-11-24T18:20:00.000-08:00

.

how much of the light that surrounds us
on a sunny afternoon in late november
is coming from the sun
as compared to that light that comes through reflection
and then, how much is coming from
the illumination of the atmosphere?

observation:
with the first snow cover
the reflected light component
looses it's colour
and the difference in the colour temperature
is a significant shift towards the blue /violet

15.5 x 15.5 in. oil on masonite

fire wood

2011-11-22T17:43:00.000-08:00

seasons change

2011-11-21T18:12:00.000-08:00

on the subject of
sustainability:
it's been all about wheels lately
...the tractor was leaking calcium from the
right rear
the tractor's rim needed
chipping and hours of grinding,
sand blasting and
welded in patches and
an epoxy layer to seal the inside of the rim

what could be more enjoyable?
pressure washing and wire-brushing
and painting
and it's been
below freezing out
the tractor tire was reassembled today.
the calcium/ loading was pumped from the other tire
and then there were three set of rims
to be cleaned, painted and oiled
and then
the truck's brakes needed attention
and then
cleaning the under-carriage of the truck
for "rustproofing"
but there was a sunny day in these days of
changing seasons

2011-11-20T10:12:00.000-08:00

maintenance, restoration and sustainability

2011-11-18T01:13:00.000-08:00

a meditation
on shifting perspectives to
appreciate the integrity
as a direction
perhaps more familiar
in the mater-of-fact
hand made dovetails
in an old cherry chest of drawers
or
to enjoy the work
of restoring some old
well-made thing
both for the satisfaction of
the achievement
but also as a connection to
the inventiveness and personality
from which it sprang
the 1939 Ford tractor for example
has an etched plate with a long list of
patent numbers including
one for the
three point hitch

from Walter’s Falls

2011-10-24T17:19:00.000-07:00

the wind is blowing
clouds streaming by
the maples seem to be holding on to
a few of the leaves that survived
the voracious caterpillars
the tractor is running and
we have a few scattered woodpiles
to bring in to the shed

the year of open canopy
promoted a tangle of under-growth
adding a new red and violet
to the autumn colours

shrimp and blue oysters

2011-10-24T16:52:00.000-07:00

on the way back from the mail box
around supper time
i took the shortcut through the woods
and found
blue oyster mushrooms
on a fallen maple

put on some basmati rice

start sauteing an onion with
a handful of sliced mushrooms
in butter and olive oil with a
touch of roasted sesame seed oil
on low heat

shave in some ginger and
1 clove garlic
add black pepper and
1 tsp. sesame seeds
1 tbs. teriyaki sauce
shrimp (optional)

turn up the heat

stir in 2 eggs beaten
add 2 handfuls
shredded chinese cabbage
turn
when egg is crispy

serve over rice with

teriyaki and hot sauce

Bioremediation

2011-10-24T16:02:00.000-07:00

sailing over the falls

2011-10-19T17:20:00.000-07:00

out into the night
of rain and wind
in the october woods
Into the boat shed
shuttering in the wind
and dry, and
to string another string of
warm-white LED Christmas lights
and to sail into an imaginary
moonlight
aboard

Studio Exhibition

2011-09-05T15:17:00.000-07:00

"Red Shift" 80 x 66 in.

Beckett Exhibition

Saturday and Sunday Sept. 24th-25th, 2011

10:00 am - 5:00 pm
Detwiler's Escarpment Studio
11497 Midway Lane
South East of Guelph

Directions:
from 401
take Guelph Line north
turn left on 15th Side Road
turn right on first line (at Dar's Delights)
turn left on 17th Side Road
turn right on Midway Lane

Arts & Science Lab

2011-09-05T14:55:00.000-07:00

PARTY: Saturday Sept. 24th

please join us to share ideas
about the A&SL bioremediation project 3:00 pm,
for dinner after 6:00 pm rsvp
feel free to bring musical instruments...
in case a party breaks out

for more information about the
Arts&Science Lab Bioremediation project : see previous blog entry
smdetwiler@hotmail.com 519 836 2534
peterbeckett11@gmail.com 519 794 2507

Arts and Science Lab

2011-08-28T18:54:00.000-07:00

"ARTS AND SCIENCE LAB" project
As artists, we see the necessity to move beyond drawing attention to
environmental problems into
creative, interdisciplinary problem-solving. (see foot note 1. )

Objective: To use natural processes and creativity to reclaim a toxic site.
The A&SL project will bring environmentally conscious people together with the wide spectrum of experience required to transform the abandoned IMICO industrial site in Guelph 2. into a naturalized landscape for art/ education/recreational use 3. using Bioremediation 4., and imagination.

We have discussed the viability of this project with friends from a variety of disciplines. Some are so excited by the idea, and eager to participate that they have begun to recruit people who might also get involved. I have included a list below of committed participants to date. 5.

Goals: The Arts and Science Lab will demonstrate a mechanism of human-sustainability based on observations of nature's interconnected cycles. The project will combine artistic vision, intuition and curiosity with the exploration and problem-solving methodology of the scientific perspective, because there are advantages to learning that involves both hemispheres of the brain.

Method: To deal with the various known toxins 6., the project will require a number of different "biospheres" ranging from ponds and wetland to forest floor and stream. How these biospheres are installed and interconnected will depend on the size, location and concentration of the toxic deposits. We will use nature as a model, i.e. the by-product of one process is the food for the next - producing no waste. The installation will consider natural geomorphology as an element of functional landscape architecture. Rainwater collection and gravity distribution for irrigation for example may allow for imaginative functional kinetic structures to distribute the water between the simulated natural environments. i.e. The shade provided by large, active photovoltaic arrays and the challenge of collecting water from a moving surface would provide fabulous opportunities for creative solutions- as well as economic returns. Once the initial structures are in place and the "biospheres" are established the site will begin to transform itself. Seeing ourselves as part of nature is a valuable perspective as we develop policies for sustainable living.

Economics:
We intend to demonstrate the cost savings and effectiveness of Bioremediation as compared to current methods of transporting soil to toxic waste dumps and/or incineration 4., 8. (and/or handing the problem down to successive generations of administration ) If the installation of photovoltaics proves to be a viable constituent,
the project could be energy self-sufficient and to some degree, self funding.
The intention is to use this project as an on-going Bioremediation learning/ teaching platform that will continue to expand and will have applications both locally and internationally. (see "Pedagogy", footnote 7. pg. 3)
An application for short term research funding has been made to the University of Gueplh. 7.

If you have any questions or
would like more information
please contact me or
Susan Detwiler.

Sincerely:
Peter Beckett

peterbeckett11@gmail,com
beckettart.blogspot.com
RR#5 Chatsworth, Ontario N0H1G0 519 794 2507

Susan Detwiler: smdetwiler@hotmail .com
RR#1 Moffat, Ontario L0P1J0 519 836 2534

Question: how common is a white cone flower?

---------------------Footnotes------------

1. Arts and Science Lab project: The History

The A&SL project began as a collaboration between artist/ environmentalist/ educators Susan Detwiler and Peter Beckett.

"If "necessity is the mother of invention, " What are the other essential components? Are they not; recognizing a need, imagining a solution and, through your own skills and determination, bringing forth the answer? What could be more satisfying! Imaginative problem solving and creativity, surprisingly enough, are two of the key ingredients of such highly regarded endeavors as scientific research and development as well as entrepreneurship. Yet the parallels are seldom drawn. If the thought processes of artistic endeavor, alone or in combination with more linear (empirical) methods, can bring a quicker solution to any of our society's problems, then the value of art is immeasurable. Don't worry, art education is no more likely to produce artists than math education will produce mathematicians. They are both valuable introductions to different and complimentary learning styles. Art stimulates the imagination and through art, languages expand so that new insights may be shared. Art has been integral to the fabric of society since the beginnings of civilization. From the cave paintings of Lasceaux to the architectural monuments of ancient Greece; from the multidisciplinary achievements of characters like Leonardo and Michelangelo to what ever achievements future generations deem significant from this age, it's all interwoven " excerpt from "The Reason of Art" P.B.

Peter Beckett, McMaster, Hons B.A., Art and Art History
The catalogue for his most recent exhibition, "Being the Biosphere" co-written with Susan Detwiler is is posted on the blog: beckettart.blogspot.com
"Beckett inhabits the landscape in the deepest sense, aware of the innumerable processes that are the pulse of the Niagara Escarpment biosphere where he lives and works. His paintings evoke the totality of a living breathing landscape that shifts and evolves around him."

Susan Detwiler, B.F.A. Nova Scota Collage of Art and Design
M.F.A University of Guelph
B.Ed. University of Windsor
"In my recent works, “Green Cleaning House” and “Freitheitsflob” I constructed floating shelter-like structures that incorporated planted gardens. “Freiheitsflob”, installed in a pond in the Darmstadt Forest in Germany, contained edible, medicinal and ornamental plants, to draw attention to the nutritional and healing powers in addition to the beauty of the natural environment. “Green Cleaning House” was constructed using brooms and mops, to draw attention to the need to clean up the surrounding water. It was installed, to float in Cootes Paradise in Hamilton, Ont., Canada."
Detwiler has been teaching; most recently at the Dundas Valley School of Art and the University of Guelph.

--------------------------

2. IMICO The History
Brownfield Site: 200 Beverly St. Guelph, Ontario. (The 13 acre site is bounded by the Guelph Rail Junction on the north, Stevenson St. on the west and Beverly St. to the south.)
The International Malleable Iron Company opened its foundry on Beverley Street in 1912. The Guelph plant was a branch of the Illinois Malleable Iron Co, located in Chicago. IMICO was owned by the Carver family, who were originally from England, and for 75 years it remained in their possession.
IMICO specialized in producing malleable and cast iron pipe fittings. Products were shipped all over Canada, and throughout the British Commonwealth. During the earlier years, IMICO also produced castings for local agricultural and transportation industries.
The industrial site initially occupied 10 acres, and included a foundry and a machine shop. The foundry had two furnaces for melting air-refined malleable iron, as well as a cupola for grey iron. By 1927, the industry occupied 13 acres, employed 450 hands, and produced 6,000 tons of cast iron fittings and 3,000 tons of grey iron fittings per year. During the second world war IMICO produced munitions. In its peak years in the 1950’s, IMICO employed 575 people.
The foundry shut down in 1989 owing the city more than $1milion in unpaid property taxes, hydro payments and worker’s compensation premiums, plus a debt to the Bank of Montreal for another $1million. IMICO also failed to clean the site of extensive pollution, preferring to leave the costs to community members. Creditor, BMO refused to take possession of the IMICO Site.

---------------------

3. The City Of Guelph's IMICO Property use study prepared by
N Barry Lyon Consultants 2003 names such use
in their Preliminary Market Assessment Recommendations,
i.e.
Light Intensity Business including
Artisan Workshops/Studios
Community Serving Uses: including
Art Centre,
Education and Training as well as
Live/Work Residential

----------------------

4. Bioremediation

Through natural processes, ancient plant and animal material buried within the sediment of the earth's crust have become the concentrated hydrocarbons that we extract as coal and oil. Since persistent organic pollutants, such as PCBs and DDT are composed by rearranging naturally occurring elements, certain natural environments have the ability to convert these toxic molecular arrangements back into their more benign constituents. The biological systems that decompose a fallen tree's lignin into soil for example will also break down complex persistent toxic hydrocarbons. The addition of wood compost is in effect bringing to the site a forest floor environment.
Successful studies of biological remediation of soil contaminated with crude oil (long chain hydrocarbons) involved the addition of a specific wood-chip and sawdust compost layer to support a biological system. Introducing microbial acclimated oyster mushroom spawn stimulated a cascade of activity by other organisms. A synergy between fungus, bacterium, plant and animal denatured the toxins in the adjacent substrate while turning the compost layer into nutrient rich soil. On-site bioremediation is less costly than soil removal and treatment. (US EPA, 2006) One study estimated a cost saving of 95% (“Mycelium Running,” Paul Stamets).

The natural aquatic environment also provides Bioremediation
possibilities re. metal. For example,"aquatic fern,(Azolla pinnata) was found to remove as much as 94% of Hg (mercury) from solution. Water hyacinth was found to accumulate Cr(chromium) in it's shoots at 223 times the concentration in the water, and removed 84% of the Cr and 95% of the Zn (zinc) from the water. While metals negatively affected the growth of the duck weed, (Lemna gibba), the plants were able to remove 90% of Cd (cadmium) from solution after 6 to 8 days" (Current Opinion in Biotechnology/Environmental 2010 pg1.)

------------------------

5. Supporting Associates:

Michelle Behar - Biochemist – McMaster
Seth Brouwers – B.Sc. Earth Science, MBET –Entreneurship & Technology
Kaj Devai – Architect
Jorgen Fleischer – P.Eng. Environmental Consultant
Neva Greig – Senior Research Technician - Plant Pathology, Agriculture Canada
Anna Kryzwdzinsky - Biotechnologist, Vineland Research and Innovation Centre.
Douglas Nadler --Musician/ Director: Georgian Triangle Earthday Celebration and Collingwood Music Festival
Michael Vertolli B.Sc., R.H. Program Director- Living Earth School
------------------------

6. The Toxicology of the IMICO Site in Guelph
from 2 Reports:

1989 Proctor and RedFern
found elevated levels of cadmium chromium, molybdenum,
and zinc, PCBs on site

1990 Local residents/media concern about off site contamination led to study April 19,1990 Marius Marsh phytotoxicology section OME
who reported on off site surface soil contamination in the vicinity.

Method:
0-5 cm depth samples from 12 samples in foundry vicinity
and 3 control sites removed from IMICO vicinity.
2 samples at 5-15 cm depth
Samples tested at Toronto Lab for chemical analysis

Test Results:

Copper under uln 50/100
Nickel under uln 12/60
Lead under uln 250/500
+Zinc up to 3x uln
Iron under uln
+Manganese up to 1200/700 uln
Aluminum 1800/no uln
Arsenic one elevated site 37/20
Barium one elevated 200/ no uln
+Cadmium one elevated site 6/4 uln
Chloride up to 12/no uln
Chromium up to 30/50 uln
Fluoride up to 260/ no uln
Mercury up to 260/500 uln
Sodium up to 220/no uln
Antimony up to uln 8/8
+Selenium up to 4.6/2 uln
Strontium up to 81/ no uln
Vanadium up to 46/70
Cobalt up to 12/25 uln
Molybdenum up to 1.6/3 uln
Beryllium up to 83/no uln

uln: upper limit of normal concentration in soil
+ : contaminant concentrations above desirable levels

Observations:
Cadmium and Selenium at site 8 result of storage rather than emissions.
Limited down wind concentrations at site 11 of antimony, barium, copper, chromium, lead, and mercury.

High levels of zinc can not be attributed to IMICO

Fluoride levels increase around foundry- foundry sand produced across Stevenson St., SW of IMICO cited as possible source.

-------------

IMICO, Guelph site
Soil and Ground Water
report: John Cooke

Deposits of contaminants that fall within section 18:
zinc in the soil 948 mg/kg to 2660 mg/kg. in 5 pits 4.5 m- 6m deep
in the south-east from galvanizing process.
decommissioning guidelines is 600 mg/kg

(Off site tests indicate high background levels of zinc in the area)

In one of these test pits, molybdenum was found at 60.1 mg/kg
decommissioning guidelines recommend cleanup to 5 mg/kg for residential use of land or
40 mg/kg for commercial or industrial use

a test well in this area, shows groundwater contaminated with manganese at a level of 0.11 mg/l, which is more than twice the maximum desirable concentration of this substance in drinking water

Residual soil and groundwater contamination from the former buried gasoline tank in the southeast portion of the property.

A sample of groundwater taken from OW4 at 3 metres below surface shows benzene, a carcinogenic component of gasoline, at 6.4 micrograms/litre

Soil and groundwater contamination from solvents and paint usage in the area of the former paint shop, near the north property boundary.
In test pit 12-1, xylene, ethylbenzene and toluene were found in the soil. In OW2, the groundwater contained toluene.

Corehole C-14, which was drilled inside the former paint shop shows oil and grease at 2.5 mg/kg, which exceeds the soil decommissioning guideline of 2 mg/kg. Xylene concentrations in this area exceed MENVIQ level B criteria by 1.8 times
Groundwater in OW 2, which is in this area, contains trichlorofluoromethane and toluene, although not in concentrations exceeding any standards or guidelines, as well as iron and manganese in concentrations that exceed drinking water
objectives.

Soil contamination from improper oil storage practices at various locations about the exterior of the foundry building.
The I and J series of test pits contained oil and gas in concentrations of 2.65% and 8.9%
respectively, both exceeding the guideline value of 2%.
Test pit LW23, by the zinc galvanizing area, north of the finishing and annealing area, and 12-1, adjacent to the paint shop, contained total petroleum hydrocarbons of 11,942 ppm, 3,984 ppm, and 3,712 ppm respectively. All exceeded the guideline value of 1,000 in the Ministry's guidelines for remediation of petroleum contaminated sites.

Residual PCB contamination on concrete floors at the former capacitor room: PCBs up to a maximum of 117,382 micrograms per square metre were found in this location. The guideline value is 1000 micrograms.

Samples from this core series also contained 393 mg/kg cobalt in the capacitor room (compared to the guideline value of 2 )
9950 mg/kg zinc in corehole C12 (compared to a guideline value of
80) total petroleum hydrocarbons of 6724% in corehole C6 (guideline value 1000).

-------------

7. Detwiler application for research funding: University of Guelph

Statement of Goals and Plan of Scholarly Activity
Arts and Science Lab

As a contemporary visual artist and educator, I plan to use the fellowship for an intensive period of research that will extend my practice into public education. The project will increase awareness of the necessity of urban environmental clean up. The research will focus on the methodology of biological detoxification of a long abandoned contaminated industrial site.
See note1.
Goals:

Research and establish necessary permissions and funding from various levels of government and educational institutions and to seek corporate sponsors.

Set up pilot project to test the effectiveness of variations in remediation.

Draft plans/ drawings for structures that will incorporate living agents into sculptural, architectural and installation based formats.

Establish and maintain small, interconnected ecosystems that utilize the most
effective bio remediation (mushrooms, bacterium, microbes, plants and invertebrates) to detoxify particular concentrations of contaminants.

Devise educational programming for local students, who will learn by touring the site and/or through their participation in aspects of the remediation.

Direct site use to maintain and enhance its function as an example of what is possible, through a co-ordinated interdisciplinary effort, to detoxify a site using bio remediation.

Co-ordinate interested professionals to work together in the planning and implementation of the project, establishing a network that will attract interest from environmentally conscious and interested community members.
Establish land use policies based on the neighborhood requirements.

“Green Cleaning House”

In my recent works, “Green Cleaning House” and “Freitheitsflob”(see image) I constructed floating shelter-like structures that incorporated planted gardens. “Freiheitsflob”, installed in a pond in the Darmstadt Forest in Germany, contained edible, medicinal and ornamental plants, to draw attention to the nutritional and healing powers in addition to the beauty of the natural environment. “Green Cleaning House” was constructed using brooms and mops, to draw attention to the need to clean up the surrounding water. It was installed, to float in Cootes Paradise in Hamilton, Ont., Canada.

Since making these installations I have felt the need to act on my beliefs and to move beyond pointing at the problems, into providing solutions.

As an artist/environmentalist I am interested in developing a mechanism to allow the arts and sciences to creatively recombine their knowledge towards a holistic approach to solving our urgent environmental problems. The University, having introduced interdisciplinary studies has begun to move in this direction. This project is a mechanism for putting theory into practice.
I have discussed the viability of this project with my friends from a variety of disciplines. Some are so excited by the idea, and eager to participate that they have begun to recruit people who might also get involved. I have included a list below of committed participants to date.
See note 2.

By bringing the Arts and Sciences together this project will create an outdoor living laboratory. The structures involved will support and draw attention to the various natural processes. In natural environments there is no waste, the by-product of one process is the food for the next. Once the initial structures are in place and the biospheres are established the site will begin to transform itself. Seeing ourselves as part of the natural environment is a valuable perspective as we develop policies for environmentally sustainable living.

To deal with the various known toxins the project will require a number of different biospheres ranging from ponds and wetland to forest floor and stream. How these biospheres are installed and interconnected will depend on the size and location of the toxic deposits. The installation will consider natural geomorphology in its construction as functional architecture. Rainwater collection and gravity distribution for irrigation for example may allow for imaginative functional kinetic structures to distribute the water between the simulated natural environments.

Pedagogy

This project will introduce an approach to interdisciplinary learning that is modeled on the interconnectedness of natural processes. It will bring together the knowledge, energy and experience of people from a wide range of backgrounds to collaborate and work toward solving a common dilemma.

The project will provide satisfaction to participants and encourage them to see new possibilities, and to participate in, or initiate similar, hands-on, co-operative, educational initiatives themselves.

The project will provide an example of an alternative method of problem solving with a wide range of possible applications. It will demonstrate to younger students the rewards of curiosity, both within and outside the classroom as well as the benefits of life-long learning.

Through interaction in a co-operative environment, both students and teachers will become more comfortable asking questions and sharing ideas. Teachers may rediscover the joy of learning so that it might be shared with their students.

The project will provide an opportunity for students predisposed to learning through experience, to experience satisfaction through learning. i.e. students with different learning styles may become engaged.

The project will provide an opportunity for teachers to develop new models
of experience based problem-solving that addresses the needs of teaching in our rapidly changing society.

The project provides a cycle of learning by linking research and the classroom, to a hands-on living laboratory where participants can interact with people with a wide range of experience and expertise. Problems encountered in the field will require a return to research, reflecting something of the interconnections found in natural cycles.

The project is a model for linking education, politics, art and community action.

Footnotes
1.The former IMICO site (13 acres) is bounded by the Guelph Rail Junction on the north, Stevenson St. on the west and Beverly St. to the south.

2. Bio Remediation

Through natural processes, ancient plant and animal material buried within the sediment of the earth's crust have become the concentrated hydrocarbons that we extract as coal and oil. Since persistent organic pollutants, such as PCBs and DDT are composed by rearranging naturally occurring elements, certain natural environments have the ability to convert these toxic molecular arrangements back into their more benign constituents. The biological systems that decompose a fallen tree's lignin into soil for example will also break down complex persistent toxic hydrocarbons. The addition of wood compost is in effect bringing to the site a forest floor environment.
Successful studies of biological remediation of soil contaminated with crude oil (long chain hydrocarbons) involved the addition of a specific wood-chip and sawdust compost layer to support a biological system. Introducing microbial acclimated oyster mushroom spawn stimulated a cascade of activity by other organisms. A synergy between fungus, bacterium, plant and animal denatured the toxins in the adjacent substrate while turning the compost layer into nutrient rich soil. On-site bio remediation is less costly than soil removal and treatment. (US EPA, 2006) One study estimated a cost saving of 95% (“Mycelium Running,” Paul Stamets).
The natural aquatic environment also provides bio remediation /phyto remediation possibilities in the accumulation of metal, for example,"aquatic fern,(Azolla pinnata) was found to remove as much as 94% of Hg (mercury) from solution. Water hyacinth was found to accumulate Cr in it's shoots at 223 time the concentration in the water, and removed 84% of the Cr (chromium) and 95% of the Zn (zinc) from the water. While metals negatively affected the growth of the duck weed, (Lemna gibba), the plants were able to remove 90% of Cd (cadmium) from solution after 6 to 8 days" (Current Opinion in Biotechnology/Environmental 2010)

Footnote
3. Supporting Associates

Peter Beckett – Artist/Environmentalist –Art and Art History, McMaster
Michelle Behar - Biochemist – McMaster
Seth Brouwers – B.Sc. Earth Science, MBET –Entreneurship & Technology
Kaj Devai – Architect
Jorgen Fleischer – P.Eng. Environmental Consultant
Neva Greig – Senior Research Technician - Plant Pathology, Agriculture Canada
Anna Kryzwdzinsky - Biotechnologist, Vineland Research and Innovation Centre.
Douglas Nadler --Musician/ Director: Georgian Triangle Earthday Celebration
Georgia Simms-- MA Geography, Modern Dance Artist
Diane Thistle – BSc., ND

4

------------

8. Local Press: conventional clean-up costs/ time-frames etc.

detwiler susan
To pbeckett@auracom.com, peterbeckett11@gmail.com

0. Tony Saxon Sat Aug 07 2010 Be the first to Comment 0 Recommend
More study recommended for former IMICO site as cleanup estimates climb

tsaxon@guelphmercury.com
GUELPH — Latest estimates put the cost of cleaning up the former IMICO site at between $4.4 million and $8.7 million.
That figure is only for the cleanup of the contaminated soil at the 13.5-acre location on Beverley Street. It does not include the cost of providing clean water to any future development or the more than $2 million the city has already spent to remove soil from the heavily contaminated site.
Soil contaminants have rendered most groundwater at the site unusable.
A city staff report going to council Monday recommends a “full scope risk assessment study” of the property. That would mean the site would continue in its current abandoned state until at least 2012.
“To sit and do nothing, and to say it’s not one of our priorities, is not acceptable. I’m a little upset,” Ward 1 Councillor Bob Bell said.
“I want something done. I’ve tried to move it up on the city’s priority list, but I guess it’s just not a very glamorous project.”
The former International Malleable Iron Company site has been owned by the city since 1997.
Six years ago, cleanup costs were tabbed at between $250,000 and $2.3 million.
The new study that is being recommended by staff will cost between $200,000 and $300,000, with $100,000 of that expected to be covered by federal grant money.
Jim Stokes, manager of realty services for the city, said all the reports done so far are cumulative and necessary to get to the end result.
“With a risk assessment, we’ll be looking at a variety of uses,” Stokes said of the new study being proposed. Those uses include residential, commercial and recreational.
“We’re not sure how much soil cleanup has to be done at this point. That’s the purpose of the risk assessment study — to limit the amount of soil that would have to be removed to make it workable,” Stokes said.
He said that after a risk assessment is done, the city will hopefully be able to take formal proposals for developing the contaminated site and everyone — including the city — will know what it is going to cost them to proceed with development.
The new staff report lists six parties that have expressed interest in the property since 2006. Three of those include building townhouses on the site, one would create a community park, one doesn’t indicate what use it would have and the sixth is from Family and Children’s Services, which would use five acres for new offices.
Stokes said the possibility of severing the property is also a possibility.
Lorraine Pagnan, who has watched the IMICO saga from her Ontario Street home since it began, said residents of the area just want to see something done.
“We’re still sitting here, in 2010, with a site that still needs to be dealt with,” said Pagnan, who has lived in the neighbourhood known as The Ward for 30 years.
“I don’t know how many more studies we have to do. It’s taken way too long. Something should have been done a long time ago.”
Monday’s report to council is based on information provided to the city about two years ago by consultants.
Stokes said the two-year delay in getting the report completed was due to a number of factors, including a heavy workload for his department and the creation of a new environmental engineer position. That person helped with the report.
“I’m not going to make excuses. My workload has been focused in other areas,” Stokes said.
The delay irks councillor Bell.
“This report could have been brought forward two years ago,” Bell said. “Staff had all the info. They just sit on it and leave it for the next council to fix it.”
City staff is also recommending the pursuit of additional government funds to help pay for further study and the cleanup of the site.

0. Scott Tracey, Mercury staff Fri Oct 08 2010 Be the first to Comment 0 Recommend
IMICo site has not been sold, as suggested during debate

GUELPH — While the City of Guelph would like to not own the former IMICo property on Stevenson Street, it has not been sold.
Viewers of a televised Ward 2 candidates debate this week heard otherwise.
Responding to a question about what should be done with the heavily-contaminated foundry lands, candidate Ray Ferraro suggested off-loading the property.
“We’ve got to get out of it,” Ferraro said. “Sell it for small business or factories.”
“It has been purchased,” incumbent Vicki Beard responded, adding she expects the owner to work with the city and local residents to shape the future of the 13-acre site.
Ferraro said in an interview Friday Beard’s revelation “was news to me.”
In fact, the property is still city-owned.
“If anyone was the slightest bit interested in buying it, I’d know,” said Ward 1 Coun. Bob Bell, who has identified remediation of the site as a top priority in his ward.
In August, the city’s finance committee voted to seek proposals from the private sector to redevelop the former International Malleable Iron Company site, which the city has owned for more than a decade.
The committee heard a consultant estimated soil remediation on the site will cost between $4.4 million and $8.7 million.
At the time, city realty manager Jim Stokes told the committee there had been several expressions of interest in the site, but when he began talking about the remediation required “those talks ended pretty abruptly.”
Bell said Friday the property can not be sold right now because it would cost more to clean it than it’s worth.
“You have to have a positive property value before anyone would be interested in buying it,” Bell said.
During the debate, several candidates expressed a desire to see housing on the site.
But Ferraro noted given the property’s location, along rail lines and adjacent other industrial uses, “why the hell would anyone build houses on it?”
Bell conceded using the IMICo site as a rail yard or similar use would require less remediation, but is not in the city’s interest.
“The railyard use . . . is not a suitable use for the centre of town,” Bell said.
Beard could not be reached for comment Friday.

freejazzecho

2011-08-07T19:18:00.000-07:00

48 x 66 in. "freejazzecho"

Extending the Moment

Echo, in the sense of sound bouncing back,
but different.
Different than what one usually thinks of as an echo
because a couple of years have passed since the
sound and painting came into being.

The painting's illusion of space, a stand-in for the illusion of time.
The painting connecting to and reverberating from that place and that "now"
through recollection and experience into another now -
a now in this case of the theatrical and
of the a mid-summers afternoon out-doors
in the forest.

The painting was one of the "beginnings" of a late winter afternoon
when I had the Gallery in Flesherton.
It was an afternoon of painting in collaborative improvisation
with Roger Martindill on bass and
Kenny Baldwin on Saxophones.

O b s e r v s a t i o n

Peter
That painting really is three dimensional
Kudos my friend.
There is enough depth there to warrant an 'echo'.
Would it be inappropriate to say I also see a woman there?

Wendell
Good morning from the maple forest-
which is enjoying intermittent showers.
Do you know where "jewel weed" gets it's name?

Thanks and
since improvization comes from the intuitive,
and since you and the perpetrators are male,
it shouldn't be too surprising that a woman
might be emerging out of the mist.

I'll have to go and have a look at the painting.
Do you suppose we'll be seeing
the same woman?

from, "Beauty Will Save the World" by Aleksandr Solzhenitsyn

Who is there so bold as to proclaim that he has defined art? That he has enumerated all its facets? Yet perhaps in ages past someone did comprehend and define it for us, but we grew impatient: we listened in passing and paid no heed and discarded it ... and in our eternal haste to replace even the very best with something else just because it is new! And then later on, when the old is restated, we forgot that we had heard it before...
The artist is only given to sense more keenly than others the harmony of the world and all the beauty and savagery of man's contribution to it- and to communicate this poignantly ... even in the midst of failure and down at the lowest depths of existence the sensation of a stable harmony will never leave him....
Through the instrumentality of art we are sometimes sent—vaguely, briefly—insights which logical processes of thought cannot attain...
One can construct a political speech... or philosophical system , so that in appearance it is smooth, well structured, and yet it is built upon a mistake, a lie; and the hidden element, the distortion, will not immediately become visible. However, It is vain to affirm that which the heart does not confirm. In contrast, a work of art bears within itself its own confirmation: there is a special quality in the essence of beauty, a special quality in the status of art: the conviction carried by a genuine work of art is absolutely indisputable...

Works steeped in truth and presenting it to us vividly alive will take hold of us, will attract us to themselves with great power- and no one, ever, even in a later age, will presume to negate them. And so perhaps that old trinity of Truth and Good and Beauty is not just the formal worn-out formula it used to seem to us during our heady, materialistic youth. If the crests... of Truth and Good are crushed or amputated and cannot reach the light, perhaps the whimsical, branches of Beauty will make their way through and soar up to that very place and in this way perform the work of all three.

In that case it was not a slip of the tongue for Dostoyevsky to say that “Beauty will save the world,” but a prophecy. After all, he was given the gift of seeing ...
and consequently perhaps art can in actual fact help save the world of today.

stepping into darkness

2011-06-12T18:19:00.000-07:00

fireflies inhabit margins
the sound surrounds
summer's first
listening upward
the margins between
rest and sleep
between forest and pasture
between earth and sky
in the vocal abundance
of a midsummer's night
of tree-top's rustle
and northern lights
in that intoxicatingly
luxuriant atmosphere

to the studo tour

2011-05-26T20:02:00.000-07:00

follow the arrows

2011-05-26T20:00:00.000-07:00

morels

2011-05-26T19:56:00.000-07:00

Architecture and Intuition

2011-05-18T05:38:00.000-07:00

Beckett Studio Tour at
Detwiler's Escarpment Studio ( south East of Guelph )

May 27- 29, 2011

Friday 7 pm- 10 pm
Saturday 11 am - 4 pm
Sunday 12 noon - 4 pm

Is there a common language spoken between these paintings?
Does the installation bring something of the architecture of
the forest to the interior space?
Is there an architecture of intuition?

Catalogue Available

Directions:
from 401
take Guelph Line north
turn left on 15th Side Road
turn right on First Line (at Dar's Delights)
turn left on 17th Side Road
turn right on Midway Lane

the Studio is behind 11497 Midway Lane,
drive to the left of the garage and follow the lane back

For more information or
to make an appointment to see the exhibition at another time

Detwiler; email: smdetwiler@hotmail.com
phone: 519 836 2534
Beckett; peterbeckett11@gmail.com

the Noble White Pine

2011-05-17T15:56:00.000-07:00

Detail -- oil colour on white pine-- aprox. 10 x 36 in.

I have some old wood that I save for special occasions. There's some old-growth white pine that was cut originally for the timber frame barns of Ontario at a time when the select stock was being used for the top-masts of British warships. The deep golden colour of oxidization has penetrated the thickness of the timber in the century since it was cut. It was a pleasure using a hand plane to transform a rough sawn knee brace that I salvaged thirty years ago into an architectural detail. The plane producing long fragrant curls of translucent history.

In contrast, I was hanging a new "pine" door the other day and was dismayed to find, under a thin veneer of white pine, some knotty brittle pine that had grain like fir and was nearly impossible to work with even the sharpest hand tools.

A short piece of white pine "barn board" that had been propped against the studio wall took on a new significance. As I watched this particular pine board respond to linseed oil, turintine and damar varnish - the mediums for oil colour, the word "nobility" came to mind.

Being the Biosphere

2011-03-11T11:44:00.000-08:00

text by Susan Detwiler and Peter Beckett

Peter Beckett stands beneath the shifting
forms of forest and sky, light filtering
through the canopy and across the varied
surface of forest floor, his feet rooted to the
earth. Beckett inhabits the landscape in the
deepest sense, observing and aware of the
innumerable processes that are the pulse of
the Niagara Escarpment biosphere where he
lives and works. His paintings evoke the
totality of a living, breathing landscape that
shifts and evolves around him.

Beckett keeps a journal in a variety of forms.
Although he paints with oils and uses a
fountain pen, his journaling has expanded
to include a blog. The blog allows him to
post photographs of his surroundings and
paintings interwoven with words.

The words often reflect something that has been discovered
through the painting…
“the painting being both the vehicle of exploration
as well as the record of discovery.”

The combination of these elements seen
within the blog creates a free flowing narrative
that reveals something of his process. Beckett
often paints outdoors, not in the traditional sense
of making a sketch to later complete in the studio
but as a way to work with the thing that he paints,
or the thing that paints through him. The paintings
palette, gesture and surface embody aspects of his
relationship to the surrounding landscape. When
he paints he’s not working directly from observation
or memory but bringing forth an emotive
physical gesture that corresponds to his experience.

The Dance Begins Again

From the heaviness of objects long since gone
The dance begins again as centuries of dust
drift and scatter a mirage into being
A thin skin of forest barely anchored
‘til a black wing fans the
smell of wild things
back into place

What one sees is dependent on ones perspective.
For information to become knowledge, we need
to go beyond the practice of learning through
naming alone. Formal education tends to name
and differentiate things into categories, rather than
looking for continuity and connection in a holistic
sense. If the “naming” were the beginning of looking,
rather than the end, the ongoing observations would
reveal richer complexities and a better understanding
of the interconnectedness of all things.

Painting on the shore of Georgian Bay with Kenny Baldwin
playing saxophone.

He begins by painting an intuitive
mark or gesture, the paint drips or
splashes, the brush drags, it skips
across the surface, indirectly
making something of nothing.
He works simultaneously on multiple
paintings, exploring both the various
facets of his curiosity and the
expressive potential of the paint
itself. The painting may go through
multiple variations as it erases, restores,
explores and questions a world of
possibility, open ended, infinite. It
becomes, as it must, seeking form from
an intuited visionary place.

Posing breathlessly
they lean against each other
amidst studio debris

In looking at these paintings there
can be a moment of recognition,
as if something familiar yet
impossible is occurring. It’s not a
literal discovery but more a felt
relation to what lies beneath the
surface. The paintings provide a
place where our physical bodies
can’t go, yet as in sleep and dreaming
we are able to negotiate the terrain,
to transcend our perceived limits and
to explore on our own terms. While
dreaming allows only a momentary
glimpse, the paintings provide an
opportunity to hold the image, to
consider and reflect.

.
Beckett says he often paints images
that seem unnatural, only to find later
that they do exist, as if the paintings are
pointing to things unnoticed or what’s
yet to come. He hangs his laundry
outdoors mid winter, the frozen fabric
taking a week to dry through sublimation.
He photographed the laundry in a rare
moment of late afternoon sunlight to put
on the blog. When he looked at the
photo, he noticed that the forest shadows
on the snow and stiff clothing had the
same complementary colour scheme as
an earlier painting, a painting that he
had been thinking was odd or unlikely
in colour.

Beckett cuts and burns firewood to heat his home.
This requires working in the woods in the early spring.
He is witness to a spectacular transition as flora and
fauna unfold.

He notes and expresses aspects
of the living beauty around him in
a variety of forms that may surface
immediately as bits of text, a series
of photographs or even years later
as paintings. Beckett harvests the
dying butternut trees becoming an
active participant in the architecture
of the forest, encouraging its health
for future generations and making
stretchers from the milled lumber.
There’s a level of visual attention that
causes him to pause while looking at
a wall of hand split firewood drying in
the woodshed or while bringing in wood,
to reflect on a particular tree. At times
he finds pieces of firewood too
beautiful to burn.

Nocturne
Some things barely tangible
exist only in relation to another.
When their fragile grasp fails
allowing them to slide into
death’s grip, they sing
with all their frail beauty
as they expire.

Although Beckett may be seen as an
abstract painter I’d argue he functions
more as a contemporary shaman in his
capacity to act as a conduit between the
natural world and the culture his painting
speaks to. Beckett’s paintings assist us in
breaking down our constructed identities
by luring us into an alternate reality, where
we wander attentive, intuitively sensing.

So we come full circle. Faced with the
question of how we see and relate to the
natural world we’re reminded through
Beckett's paintings that what’s missing
is not the other but our knowing of it.
It’s here that the paintings right the
balance as they return us to a sense of
wonder, beauty and profundity, reminding
us of a place rich in varied textures,
smells, forms and sounds, a place that
communicates to the totality of our sense
perceptions, a sensuous world that feeds
our blood and bone bodies. The forest and
its creatures speak, they run wild before
our slumbering senses, urging us to wake
up before it’s too late, imploring us to
return home.

you me gallery

2011-03-02T00:16:00.000-08:00

the paintings and photographs of

P e t e r B e c k e t t

330 James St. N. Hamilton. Ontario, Canada
opening reception; friday march 11, 2011
art crawl 7-11 pm appetizers by W i l d O r c h i d

B e i n g t h e B i o s p h e r e
What one sees is dependent on one's perspective

the outdoor studio with new paintings
and interwoven slideshow
beckettart.blogspot.com
Gallery Hours: Wed-Sun 12/5
exhibition continues to sunday april 3,
(905) 523-7754
http://www.youmegallery.ca/ ONTARIO ARTS COUNCIL

.

spacetime obsevations

2011-02-22T13:38:00.000-08:00

can you see the mouse?
can you hear the mouse?

at -7ºc at 1:00 in the afternoon
under a clear blue sky
water is dripping from
a west-facing gambrel roof
clad in ivory coloured steel.

in the dusting of new snow
over the crust of recent
record high temperatures,
the tracks of
what i suspect are
deer mice

the framing of paintings
to allow them to be seen
on exhibition in a
slightly bigger box
is still on the list of
things to do

i wonder if the mice
are out in broad daylight?
i wonder if the crows
are spreading the news?

2011-02-22T13:28:00.000-08:00

the parallel universes are visible.
it's not that time doesn't exist as much as
time is not singular.
it may exist more as in space-time.
using existing language,
which is only an approximation
of an existing perspective
to describe an new perspective
requires some creativity.

this "reality" is one perspective
seeing the reality of any of the
parallel universes requires
seeing from a different perspective
which requires ''looking'' differently.

the membrane between dimensions is real.
it is flexible and transparent and
you can lean on it.
moving trough it requires
courage, curiosity and knowing
the answer to a question such as,
'' how do you call yourself? ''
which seems to contain the question,
''from which perspective do you look?''

show time

2011-02-16T15:54:00.000-08:00

exhibition preparation underway:
framing, painting edges,
writing and rewriting
selecting photos
for print and
a slide show

2011-02-02T21:44:00.000-08:00

sublimation 36 x 60 in.

the sublime

2011-01-27T21:28:00.000-08:00

in sublimation,
the states do change,
but not in the order
that we have come to expect.
rather,
water changes from solid dierectly to vapour...
yes, it does take a week in the winter
but the clothes do to dry
on the line

in learning too
there are occasionally,
insights that occur
out of order.
wisdom may be gained
directly through observation
with-out the intermediate steps
wherein information becomes knowledge
in the transition.

seeing: response translated into words

2011-01-19T08:50:00.000-08:00

if I could,
I would pin myself upon
the celestial realm,
shake free my earth body
and let it drop.
I would ride a red rocket
and map criss cross adventures in space
burning my passage into the ether
a trace for you to follow

if you slip behind
what's obviously form
beneath the thin blue skin of death
another world appears
in the distance
a carnival of the unknown
blisters and marks places
yet to be reached

S.D.

seeing

2011-01-17T15:02:00.000-08:00

seeing,
our primary sense:
seeing as investigation, rather than seeing to name alone.

if we shifted things around, we could learn so much more
by seeing.
if the naming became the beginning of
seeing rather than the end,
the why and how of things could be reattached.

when our primary sense is attached to curiosity
there is a huge potential for learning for exploration, whereas
in so much of our eduction, the seeing ends at the naming.

2011-01-13T08:13:00.000-08:00

itchy, bob and lou went up the hill
to fetch a pail of water
but when they got there,
they looked at each other
and wondered who,
bears or otherwise
would go up a hill looking for water?
luckily there was a tour bus there-
idling, so they got distracted.
being somewhat interested in the environment,
itchy went up to the bus to see if the driver would mind
turning off the engine while he waited for the sightseers to come
back with their picnics and cameras. but just then itchy got a good idea

2011-01-12T19:52:00.000-08:00

response to green canada: 36 x 32 in.

reflections become solid objects
as one dimension confuses with another
and space siphoned through gravity,
flattens out to lift upwards
hurling the inside out,
the upside down and
the flat into deep

or maybe this....

its impossible
the existance of reflection
without a home or surface to rest on
a mirror image projected outward seeks form
and is trapped as substance for a moment
before it falls apart and slides over and into space
like a liquid memory of itself
form and ghost exchange glances
S.D.

.

magic food

2011-01-12T19:33:00.000-08:00

1/2 cup basmati rice with butter

boil in 1/2 cup water:
1 sweet potato, sliced, cooked to mush
two parts cauliflower- less cooked

white sauce
tsb butter
milk
flour
sliced ginger root, 1 thumb
1 tin salmon
juice of 1/2 lemon
the water from the vegetables
1 tsp curry powder

in cast fry pan with olive oil and butter
add the boiled vegetables
and slice in 1 onion
1-2 tbs madras curry paste

when the sliced onion is al-dente

add to the creamed sauce
1 handful of snow peas, cut in 1/2
2 green onions, chopped

serve when the
snow peas
change colour

garnish: lemon slice, 3 snow peas, chopped green onion

2011-01-12T19:16:00.000-08:00

canada green
oil on canvas board
36 x 32 in.

looking

2011-01-10T08:10:00.000-08:00

imagine a small green painting

2011-01-10T07:07:00.000-08:00

what?
you may well ask. does green
have to do with this winter picture?

what plus what else makes green?

sure it's a bit of a stretch
but if "stretchy" isn't part of
your imagination,
it's time you down-loaded
an imagination up-date

yesterday, imagine

2011-01-10T05:26:00.000-08:00

in the golden afternoon sunshine,
the blue shadows
cast by the forest maples
rise from blanket over undulating topography.
the frigid calm night big crystal snow
that accumulated on the
upper branches over night
begins to cascade as the wind picks up.
a series of sparking airborne avalanches
give three dimensional definition to
the wedges of radiant sunlight
flooding into the
alternating shadows
illuminated by a
winter-blue sky

2010-12-27T18:29:00.000-08:00

objectivity

2010-12-27T08:43:00.001-08:00

objectivity requires
forgetting

anybody out their?

2010-12-26T18:14:00.001-08:00

take me to your leader

2010-12-26T17:47:00.000-08:00

decay

2010-12-26T17:32:00.000-08:00

decay of orbits
decay of remnants of
what was once
either alive
or functional

if this was an image,
what might it look like?

i may have painted that
last week
i'll have to go look

-12ºC outside

the bitches

2010-12-26T17:29:00.000-08:00

the bitches
the bitches
with whom i had
the pleasure of spending
a good part of the morning
took me on a tour
of their favorite places
the sniffing around the piles
of old rail-way ties places
and the skidding on ice
and that magic sound
that crusted-over-snow makes
and in return,
unintentionally
i led them to a frozen
still -born calf
left in the woods
to feed coyotes
quite the party
and on the way back
the sun came out
with crystal snow
into blue sky

thanks for asking

you?

2010-12-14T23:00:00.000-08:00

.

do the words notice
when what they describe
no longer fits the discription?

2010-12-14T21:22:00.000-08:00

hello, were you looking for snow?

wondering if there's any future for silent paintings? . . . P.B.

the true meaning of "believe" is, to be what one lives, and that requires perception.
. . . A.R.A

glimpses

2010-12-14T19:36:00.000-08:00

.......What is the real world?
Something based on perspective,
so it changes?
... S.D.

has to be, but
do all the perspectives
have to see
the earth. . . P.B.?

....they dont feel connected to it
they can be like aliens already
thats another perspective
like it or not.....S.D.

well and good

2010-12-09T21:05:00.000-08:00

sure,
rebellion and innovation are all well and good
but once the constraints and
constants have
been eroded,
and we find ourselves
the establishment
to whom do hand the torch
if no one shows up? P.B.

responce:
someone always shows up
its the function of the gene pool
to provide those odd elements
that startle and jog
things into the future S.D.

language

2010-12-09T20:45:00.000-08:00

words clatter
like sun bleached bone
but with effort one can construct
the skeleton of the thing

in order to better understand
one begins to listen
in the foreign accent

so the paintings
take on the accents
of their neighbours
even though
they may be speaking
up side down or
in another
language

2010-12-08T00:13:00.000-08:00

dance

2010-12-07T22:30:00.000-08:00

into the sequence of time
in the sequence of paintings
the ones in the wings
forever,
for a reason
only they
could know, they
step forward and then
the dance
begins
again

what's it like when somebody likes your children?
it must be strange from the outside to
find someone nurturing inanimate objects...

are they a bit like ghosts? P.B.

responce:
not ghosts but ephemera materialized
or the multiplexed layers of being captured
yeah maybe thats like a ghost S.D.

2010-12-03T22:55:00.000-08:00

2010-12-02T22:12:00.000-08:00

the pleasure of exploring
the versatility of oil paint
can not be understood
from behind the line.
the solid colour
transparent pools
pouring into gravity and
do the colours dance
in the space between words
when no-one's there to see

2010-12-02T21:49:00.000-08:00

when painting emerges
through body memory,
experience is transformed
into intuition-
the wider the experience,
the more likely the landing
in a leap of faith

the boat's string mop
is good for releasing avalanches
from inside the boat shed

2010-12-02T19:48:00.001-08:00

2010-12-02T19:42:00.000-08:00

in the sequence of time
in the sequence of paintings
the ones in the wings
forever,
for a reason
only they
could know, they
step forward and
the dance
begins
again

painting out-doors
is a winter sport
like ice fishing

it raised some
eyebrows
on the Vineyard,
where there were two horses
watching from across the fence,
curious about what i was doing

beauty elephant speaks

2010-12-02T19:35:00.000-08:00

i hung an ancient wooden door,
original latch and cast hinges,
white porcelain knobs

plumb
on two intersecting
floating
sprung spruce arcs
curved threshold in
persistent red elm

the compliant artists agree
to discredit the pursuit
of beauty and banish
the word itself

the speaking
might remind us
what's at stake

no info here

2010-11-30T22:06:00.000-08:00

so,
what ever this is....
something specific
it's that split second before
recognition
that innocent moment
this
out of the fog

Revisiting "Charlotte"
painted one winter on Martha's Vineyard
it migh have something to do with the G&B boaryard
there's real red lead bottom paint in the painting
thanks to Nat, who took me out for
an afternoon sail this summer,
now the painting has another chapter

no, i don't know what it is

2010-11-29T20:42:00.000-08:00

painting
hazy transitions or
sudden shifts in perception through
time
space
experience
premonition
and recollection
into an abstract dream state
of superimposed viewpoints
and different dialects
reverberating
simultaneously
watching gravity
viscosity and
transparency
working colour into
experience

2010-11-29T20:37:00.000-08:00

deep sea trawler

2010-11-29T20:24:00.000-08:00

let it become
with out
naming it

48 x 66 in. oil on wood and canvas 2008- 2010

observation:
"so you paint the sounds and wetness and smell of salt marshes
the splash of water as minor beasts slip breifly above the surface
you paint the bodies inhabitation of said place
a mental cleansing of rigid description... " S.D.
.

painted two summers ago
here, outside
it was of shoreline light
i thought i could add a chapter
and in the process of
painting
i reached out
and picked up
a cedar shingle
violet green orange,
to see where orange might fit
and that was it.
the painting, i had explained
was in that place in a chord progression
characterized by 11ths and 13ths,
the place of longing
anticipation
building towards
the unexpected

the shingle was one
that i painted while
breaking-in a solar painting studio
on Martha's Vineyard
in the winter

intuitive reaching out
or
intuition reaching back?

marking territory

2010-11-22T15:59:00.000-08:00

as i walk barefoot
across flagstone toward
the woodshed
i mark summers end
in snails trails,
sparkling
like frost

in the extreme case
the minimum requirement of art is
that it is better than it's maker
the art is the teacher
the maker
is the follower

i am reminded
of the spider's art
discovered
one summer day
drifting gently
in a shaft of morning light
against the shadows
of the woodshed

at a distance,
curious about
what appeared to be
a small, animated cloud
closer inspection revealed
a loosly woven
semi-spherical web
that was being alternately
inverted on up-drafts

the filaments in sunlight
seemed to be coloured.
engineered perhaps
to attract the attention
of flying insects
(the photo below is a detail from the spider web photos)

.

2010-11-21T20:57:00.000-08:00

as i move around my outdoor "studio"
there are, of course nature's companions
the song birds who disappear quietly
but are all a-flutter if
i haven't got their
nesting boxes cleaned out
by the time they get back
flycatchers and wrens
are replaced by chickadees
as company for the winter
a lone crow, curious
flying low
just above the tree-tops
who spoke in raven voice
may have been over to
bid a seasonal fair-well

2010-11-21T20:40:00.000-08:00

the tipping zone
between hope and
greed
where an outstretched hand
a verse
a musical collaboration
is the difference
between life and death

we enter the zone arms flailing and
disbelief suspended
throw in belief and
in free fall
we empty tubes of colour into paint pots
in case there just may be
a future
what choice do we have
but to gift wrap treasure
when we are alone

woods pool
48 x 66 in. oil
private collection
toronto

the painting above reminded me of
looking through the clear water of early spring
gliding
suspended by magic
above the lake-bed
seeing the autumn leaves preserved
where they came to rest

the painting
preceded
the paddling

a small iceberg

2010-11-21T14:50:00.000-08:00

2010-11-21T14:46:00.000-08:00

-----

2010-11-21T00:33:00.000-08:00

-.--.- -..--.-.--.-
....-.---.. //-/----/--/
//.../../../ ///./.././...../../--------

--oo---o-----oooo------..-.-.------

. . .

2010-11-21T00:05:00.000-08:00

call it stage fright

2010-11-20T23:52:00.000-08:00

the tangible explanation
of the mystic
does resist replication... but
when the paintings speak to each other
it's my place to listen-in
to notice
what a painting must leave behind
in order to take the next step
noticing the longing
in the colours,
the unresolved harmonics.
letting the future past
and the present conditional
come in to play

while fussing with
the intersecting arches
towards the discoveries of sailing
by the light of day
one lone violet shutters
at the coming snow
the painting's nocturnal longing
reaches out to recollections
painted on cedar shingles
pulled from the burn pile
painted on the shore
of a sandy shoal

watching tides
for revelation
both emerging
and arriving
exploring salt-marshes
i found a perfect shell
of a horseshoe crab
an ancient
amongst the reeds

.

having emerged

2010-11-18T23:08:00.000-08:00

.

having emerged
from under summer's canopy
the moss
frolics in the diminishing light
of frosty days

the play's the thing

2010-11-17T17:33:00.000-08:00

musing

2010-11-16T17:52:00.000-08:00

the universe is either breathing in
or breathing out.
as the quickening proceeds,
eventually
the expansion will reach a velocity
and energy that all particles will be set free-
and suddenly it will be
all energy
and just as suddenly,
curiosity,
and the particles will to begin
to condense again.
leap years will be different
when the universe is
contracting.
the dark matter is
the power grid

2010-11-11T10:53:00.002-08:00

lest we

2010-11-11T10:53:00.001-08:00

remembering

2010-11-11T10:52:00.000-08:00

into a family tree
a series of
moments of discovery
beginning as a duet
with Kenny Baldwin.
winter jazz afternoon
in the gallery.
revisited while getting the boat enclosure
ready for this approaching winter.
the structure spilling into the painting
as if through conductivity.

the "moments in time"
fuse
linking one experience with another
somewhere out there, near where
intuition and the interconnectedness
of all things shake hands

a portal
or a simple doorway into
an invitation to remember

painting : 66 x 48 in. oil

2010-11-07T17:30:00.001-08:00

depth perception

2010-11-07T17:21:00.000-08:00

depth perception
from the human perspective
that is,
two eyes on the horizontal plane
and colour vision.
In the forest of sugar maple
the vertical trunks
are much easier to see
in the third dimension
when you are moving

skiing through the woods
head mounted video camera
looking sideways
the near trees move by
more quickly.
it's the same
as looking out
the window
of a train

2010-11-06T22:44:00.001-07:00

2010-11-06T21:17:00.000-07:00

2010-11-06T21:10:00.001-07:00

. . .

necessity relinquishing
intention
on the path to
invention-
extending the moment
into the confluence.
the painting seen
from many perspectives
in translucence,
simultaneously...
as if time lapsed.
images woven together,
in day and nightlight
from a sandy island
to a rocky hillside.
the vapors condense into
possibility

... 16 x 16 in. oil on masonite

broccolification of the arts

2010-11-06T21:05:00.000-07:00

not of the
individual,
of disire
but towards
the dictates
of fashion.
the art of
the passion
of the politically correct.
as adventurous
as any project
funded by the
canada food guide.
when destinations
and the route
are predetermined
and followed in
lock-step
where is play?
serendipity?
and the exploration
of meanderings
along the way?

colour vision

2010-11-06T20:49:00.000-07:00

2010-11-06T20:09:00.000-07:00

note to self

2010-11-03T12:00:00.001-07:00

With the leaves changing colour,
and raining down, it's difficult to notice
what else is happening on the forest floor.
The forest canopy seems to protect the
forest floor from the early frost.
Then the newly fallen leaves do bury everything.
note to self:
attach flags to things outside
that you think you might need
before spring

2010-11-03T12:00:00.000-07:00

The hillside's forest edge opens to the west so as the sun sets from across a wide valley, there is something unusual about the angle of the sun. At sunset, the hillside trees are illuminated from beneath the canopy.

The jewel weed, this year luxuriant,
neck deep in yellow flower
over most of the hillside.
The stems; succulent and hollow.
When wading into the summer sea of Jewelweed,
if the time is right
you may hear the sound of falling rain-
but the sound is bursting seed pods not raindrops.
Rain drops play into the name, "jewelweed."
Water beads on the leaves, so when the sun emerges after the rain
the water droplets look like jewels.
With the heavy frost of October, while other plants survive
this succulent suddenly disappears,
and in a sense, it has returned to vapour.

The sudden spike in sunlight does not go unnoticed by the rest of the biosphere-here on the forest floor. As the blowing leaves settle into the hollows, the ferns and moss emerge from the summer eclipse.

A few years back, during one spectacular sunset, (the kind where the sky opens at the horizon beneath a solid violet-black bank of clouds), i was looking up the hillside. Looking at some big chunks of moss-covered-limstone when i saw something weird. something i couldn't understand so I went out and investigated....

It was early spring, the other season that the moss can soak up some sun. i.e. When skiing around the bush in the early spring- in a t shirt, you can lean back on those big moss draped rocks and feel the sloar gain... Anyway, it had snowed a little. What appeared above the big rocks was a phlorescent lime-green cloud, hovering above the new dusting of snow.

The moss had sent up spore heads... transluscent green, shaped like the head of a flamingo, a bit smaller than an alfalfa sprout.
Only the spore heads were protruding through the layer of snow
and they were being illuminated with a golden light from below.

2010-11-03T08:23:00.000-07:00

abstract surrealism

2010-10-29T22:01:00.000-07:00

...if you're referring to the painting which you sent asking 'where did it take you?' it felt stopped and closed in as opposed to the other one which was swift and sure motion. reproductions of paintings, especially on the internet, are so different from standing looking at a painting. a different animal really. hmmm 'abstract surrealism'. way out there as opposed to only half way. the [other] image you sent took me to an underground hole with leaves and screen across the opening or that's what i remember having looked at it briefly a few minutes ago.
s.

painting above: "MVRV" oil on ply 48 x 32 in.

painting below: "not as titled" oil on canvas 66 x 80 in.

which is which?

what do you see?... there's no wrong answer

dead reckoning

2010-10-26T21:13:00.000-07:00

2010-10-26T20:34:00.000-07:00

dead reckoning is the process of estimating one's current position based upon a previous position and advancing that position based upon known or estimated speeds over elapsed time, and course. A disadvantage of dead reckoning is that since new positions are calculated solely from previous positions, the errors of the process are cumulative.

to blog or not to blog?

2010-10-21T23:15:00.001-07:00

be it painting or ballet
it is not the art-form
that is dead...
as declared routinely,
it's the audience
chanting the money mantra
fingers in their ears
eyes closed.
now that there's dozens
of elephants in the room
it seems a bit pointless
choosing just one
to ignore

building

2010-10-21T23:07:00.000-07:00

as the first snow
prompts raking leaves and
collecting from the forest floor
broken limestone to
build a retaining wall
bone white within
black earth skin
and now in the
second sun-season
the moss sprawls
luxuriant

the gothic arch
from forest maples
to gather light
soon to shed the snow
the structure to tarp the end
convex against the wind
a spinnaker in reverse.
will i be refitting for the ocean?
or will the sea be at my door
by the time i'm done

sailing

2010-09-23T23:58:00.000-07:00

i stepped out
into a warm and windy
foggy moon-lit night
i took the oil lamp
heading into the west wind
to sit at anchor
in the woods

perhaps

2010-09-16T23:19:00.000-07:00

perhaps it is normal
to be reversing the order of
the first and third verse-
or paragraphs
towards the easiest flow from
one idea to the next
on the airwaves
of imagination
the steps of logic
behind
blind
leaps of
intuition

painting
a number of canvases
simultaneously
in different directions
allows one to explore
the "what ifs?"
with-in
an expanding
context

painting
exploring
gravity and
viscosity
transparency
weaving a space
through intuition
explored
in the space
of curiosity-
the energy
of particle
consciousness
moving toward
complexity or
reversing
into
simplicity
we explore
the limits of
our potential
expanding and
collapsing
cycles
are real
where-as
years
measure
in only one
direction
from wherever
you
happen to be.

degrees

2010-09-09T22:15:00.001-07:00

If time fails on it's subjectivity
if painting is out-side time
forever simultaneous,
simultaneous views
from different perspectives.
then how could art be otherwise?

of futility of moral cerainty in this age of denial

2010-09-09T22:04:00.000-07:00

2010-09-06T21:41:00.000-07:00

the age of denial

2010-08-22T00:05:00.000-07:00

what did one big fat Nile croc say to the other
as they lay basking in the sun?
....Ahh, there's no place like da Nile