The Moment In Between

16 October 2021 – It has just rained and it will soon rain again, but, meanwhile, there is this moment in between.

I walk back east, in this moment.

A burst of nature’s own autumnal colour blocking on West 8th, climbing the Whole Foods wall near Cambie …

and a cryptic message, one block farther east.

It’s a study in contrasting response to the rain: the paper lies limp & sodden, literally washed out, while the leaves and pavement dazzle & dance in glowing colour.

Over at Alberta St. I angle myself off 8th Avenue, pivoting S/E around this blue-mural’ed building (artist Debra Sparrow, VMF 2020)…

into the alley.

I’d forgotten the march of murals down this alley, discover them again. Right here at the corner, Reclaimed, a 2020 VMF work by Carole Mathys.

There’s more than murals, marching down this alley! I salute the H-frames

and, out at the corner of Manitoba St., take in yet more colour blocking. Red/orange tree; grey building with golden window frames; bright blue utility bin; and a whole swatch of very angry black on the wall beside me.

You’re gone, graffiti! Though I suspect all that black makes a tempting canvas for a new round of aerosol cans.

Just east of Manitoba, a mural style I’ve seen elsewhere (notably around the Native Education College) but so far without an identifying artist name.

This is the alley that keeps on giving.

Approaching Ontario, here’s the back door to a doggie spa, with a so-cute cartoon on the wall and a real live client showing off his latest trim. Just groomed, his owner tells me, and very pleased with himself.

Opposite that, the antithesis of grooming.

Nearing Quebec St. by now, and I finally learn the ID of the artist for this powerful mural just past the Raven Song Community Health Centre parking lot. It’s the VMF 2017 work of “Morik,” as in Russia-born Marat Danilyan.

Out of the alley onto Quebec, pivot N/E past all this ivy, flaming with the impact of fall weather…

onto East 8th, where weather has no impact on the pace of construction. (Though it makes the ground a lot soggier.)

You often see their hard hats among clients at my own favourite café, just a few doors farther east on 8th.

I slide in for a latte.

Herewith an unabashed plug for Melo Patisserie: the refinement of Melo’s French culinary training, with the warmth of his Brazilian heritage. Plus a posy of fresh freesia on every table every day, and a trio of teddy bears in the window.

Thankful

11 October 2021 – This Thanksgiving Day, I walk down the street in breezy sunlight and, as I approach a corner, memory suddenly tugs. Am I right? Is this the corner with that poem about birds spray-painted on the S/E building wall?

And even if I’m right, spray-paint comes & goes. Will the poem still be there?

I peer eastward around the corner.

I am thankful that I remembered to look, that the poem is still here — and that I still enjoy it. (Revisiting old delights is sometimes a bad idea.)

Later, walking my “Cambie Loop,” I find myself looking for birds above power lines. Not obsessively, you understand, but as part of paying attention to the here-&-now of my walk.

And yes, just past my turning point, just down that spiral staircase from the Cambie Bridge to the south side of False Creek, I do indeed pause in the shade of a tree and look up to watch the dance of birds and power lines.

Only two birds. Not very dramatically criss-crossing anything much.

Ordinary.

But, perhaps because of that poem and the title of this holiday, I think about John O’Donohue’s “eucharist of the ordinary” and I am thankful for these birds and for everything else I have just experienced, these last five kilometres: lots of ordinary people doing a whole range of ordinary things on the paths and on the water, walking/dog-walking/child-walking/hand-holding/bench-sitting/jogging/dawdling/cycling/kayaking/ferry-riding.

All that activity! And all of it in peace and safety.

Oh yes, I am thankful.

On the Other Hand (take 2)

(What you should have received)

28 September 2021 – On the other hand, we live in a both/and world.

Both the realities lamented by Yeats

and other realities as well.

Realities in the Camosun Bog, for example, where three perfect fungi climb the tree trunk immediately behind your boardwalk bench …

and the bog itself spreads wide before your eyes, a whole ecosystem, quietly breathing.

Or realities in Dude Chilling Park, where the natural ecosystem welcomes a continuing succession of social ecosystems, each one its own celebration of connection and community.

This drizzly evening, dozens of geocachers have gathered (fully compliant with BC virus regulations) to share stories, trinkets and know-how. I don’t know how and I’m not even trying to learn how, I’m just along for the ride, but all around me veterans and newbies are deep in conversation about their hobby, with its twin attractions of high tech and boots-on-ground.

Then the shout goes up: “Group photo, everybody!” People pile in under some sheltering tree branches, with one late arrival (over there on the right) doing a bum-plant in her haste.

Nobody has just one interest in life, and so this gathering is shot through with the textures of sub-gatherings, as people discover what else they have in common.

I am shown some painted rocks, newly tucked into the boundary of the adjacent community garden, and learn something of the back-story.

They have become a birthday symbol for the young boy who helped paint this latest crop, because one year ago, when COVID lock-down prevented any birthday party, his friends each painted a rock and placed it in front of his house, for him to admire from the required distance.

And I am introduced to Deirdre Pinnock, whose name means exactly nothing at all to me — but whose work I know and have on occasion shared with you. She’s our resident Yarn Artist! The person who adorns chain-link fences with crocheted hearts and other symbols of love, support and community.

I gaze at her in awe, and then tug her hand like an eager puppy dog. “Let me take your picture,” I beg. “Choose one of your works here in the park. Whichever.” She chooses the pole.

I walk back home significantly more cheerful than I was a couple of days ago. I am reminded that, Yeats to the contrary, society’s bad guys do not have a lock on passionate intensity. It exists among the good guys as well, in all kinds of wonderful, affirming ways and places.

Take heart. (Crocheted, or otherwise.)

“Passionate Intensity…”

25 September 2021 – An old poem, with new signifiance.

Turning and turning in the widening gyre   

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere   

The ceremony of innocence is drowned;

The best lack all conviction, while the worst   

Are full of passionate intensity.

The Second Coming, first stanza, by W.B. Yeats, 1919

Reference texts note that Yeats wrote this poem in the immediate aftermath of a global war.

We may today instead note that he wrote it in the middle of a global pandemic.

Along the Spine

11 September 2021 – “Yes,” we decide, studying the print-out of a Mural Festival neighbourhood map, “Strathcona’s a good choice. Nice cluster of murals along that Cordova/East Hastings spine between Heatley and Campbell.”

We each have some familiarity with this east-of-East-Van neighbourhood, my friend much more than I, but it’s the first time we’ve come here focused on murals. Not that we care that much — it’s good walking territory, no matter what.

But, oh yes, there are murals!

We stand on Campbell, laughing with delight as we stare westward down the alley between East Hastings and Cordova.

Flowers to the left of us …

dancing aerosole cans to the right …[

after that a three-storey building painted top to bottom, side to side …

and just a little farther along, this bold triptych, its cheerful style in stark contrast to the fencing and razor wire that protect it.

Strathcona is a decidedly mixed neighbourhood, with problems as well as gaiety. All the more reason to admire and salute everything they do so well, while dealing with their other realities.

Same alley block, yet more charm. This time an ocean-to-mountains-to-ocean mural, starting at this end with a leaping whale and (off the lower-right corner of the window, by the downpipes) a yellow pop-up seal …

and ending, on the far side of the mountain range, with the world’s most adorable little otter, waving his paw.

We’re out of the alley now, on Cordoba itself & heading for Heatley, thinking everything else will surely be an anti-climax.

Wrong!

That VW bug need offer no apologies. Even if the pigeon is unimpressed. (He’s there. You’ll find him.)

Barely onto a city street proper and we’re off it again, pulled into yet another alley to investigate flashes of colour obscured by the street-front buildings.

This is what we wanted to see close up, my friend telling me the history of this old family company while I go goofy-happy about the colours, the typography, the peeling paint, the paint-brush image on that open door.

Another voice, unexpected and unexpectedly close, urges me to take a picture of that as well.

I look up. The workman, carefully balancing his take-out coffee in one hand, points across the alley with his chin. “That,” he repeats. “Look!”

Yes, wow, look.

I ask if he’s a fan of street art. He waves aside the abstraction, sticks to the reality of this alley. “I work here,” he says. “Watched them paint that. I like it.”

I catch up with my friend, who is talking with some Harm Reduction workers down at the Hawks end of the block. I contemplate this … what? tea ceremony? … mural.

We emerge onto Hawks, look back down the alley, bright murals of assorted eras to both sides and there, on the left, the alley end of the East Van Community Centre garden that stretches up to and along East Hastings.

As we skirt the garden, we exchange nods with a middle-aged man at one of the picnic tables by the sidewalk, and then fall into conversation with him. He looks like he has known a tough life, but there is peace and dignity in his posture and he describes current produce in relaxed, clear, well-chosen language. He knows a lot about gardening, we later agree.

“Go look at the pumpkins,” he urges us, and crinkles his eyes in farewell as we nod agreement and head off down Hastings, to look for the pumpkins.

A while later we’re at Campbell and East Hastings, waiting for the light to change so we can claim the car and go have lunch at Finch’s up on East Georgia.

I stare kitty-corner across the intersection at the housing development on the other side. It’s Moshe Safdie’s Habitat 67 reborn right here in Strathcona, we agree — but a lot more colourful. (And more affordable.)

We fall into city-as-art-installation mode. Look: the colours of the building reflect the colours of the banner and the traffic signals.

Enough art appreciation. We’re off to Finch’s.

Into the Stream

1 September 2021Getting close! I think, spotting this traffic circle with its mosaic accents.

I’m looking for Mosaic Creek Park, something I mentioned in my Long Slide to Dusk post, after my online search for mosaic-art info coughed up a reference to this wonderfully named parkette. So here I almost am, on Charles Street in Britannia neighbourhood, but not quite sure whether to turn right or left on Charles at this intersection.

I opt for right, for no particular reason. This takes me east to Grandview Park, perfectly fine & good, but not what I’m after. So I spin around, and, as I head back west, have two encounters in close succession.

Sunflower, and plums.

Sunflower is metal, on a hydro pole, no longer framing whatever it once contained, but perky good fun all the same.

Soon after come the plums, not that I immediately know that’s what’s on offer.

I’ve exchanged a few complimentary words about his garden with a gentleman just stepping back onto his porch; we do the chit-chat and then he asks, “Got a bag?” I tilt my shoulder, revealing my knapsack. He beams, holds up a handful of plums — “Just picked them!” — and slides them into my knapsack for me.

So I am in even better humour than ever as I walk the last block on west to Mosaic Creek Park. Talk about “random acts of kindness”!

And there’s the little park, with one outlying chunk of mosaic to welcome me in.

Just a tiny corner of land, but with a big, wonderful story behind it.

The Britannia Neighbours Community Group wanted to do something with this vacant lot; project coordinator Sarah White pulled in artists Glen Anderson and Kristine Germann, who ran mosiac workshops for interested community members; more than 300 people took part, and added their handiwork to the stream of mosaics that make up the “creek” giving the park its name.

And added their names as well.

Individuals, school and other groups, and even neighbourhood animals — all part of the stream. “Topsy,” I’m guessing, is a dog, and Maggie & Pat’s cats are as involved as their humans.

I wander along the stream. Look! there’s a cat …

and here, just to the right of a sweetly cuddled mother and child …

… are those dogs?

No need to puzzle this next one. A heart, universal and eternal symbol, placed here pre-pandemic but even more meaningful now.

I’ve walked the stream, I’m at Charles & McLean, and look back at it, admiring the curve.

I also admire Stonehenge-on-Charles at the far corner (oh all right, a basalt-pillar playground) …

and then settle on a bench for a while. And eat one of those plums.

That’s the end of the Mosaic Creek discovery, but not the end of discoveries — all because, as I walk back home, I notice this musical notation over somebody’s front door.

On a whim I photograph it, and on a further whim, send it to my friend Jeff, a writer/musician/translator with a quick & curious mind. Does it say something? I ask, or is it just pretty?

“Well, there’s music here,” he replies, “but also a technical error.

  1. A piece with one flat (the bulbous little guy after the treble clef) is in the key of F, which takes B flat. The flat here is E flat. So the key as notated, at least by western standards, does not exist! (B flat and E flat together would give you the key of B flat, however.)
  2. There is a cute little tune here, but not exactly that of any doorbell I’ve heard. I attach a recording.”

Jeff also notes (unintended pun, sorry), Jeff also comments that the actual key seems to be A Minor, which has no sharps or flats.

So it’s all a bit of a mishmash, but pretty to look at, and offered to the world (by homeowner, Jeff and me) with cheerful good intentions.

Out the West End

21 August 2021 – “Out”? “Up”? “Into”??? By any preposition, the West End is where I’m headed as I walk north across the Burrard St. Bridge, with False Creek beneath me.

It’s a wonderful bridge, its steel-truss functionality wrapped up in Art Deco flair — all the more wonderful that they bothered with flair, given the bridge opened in 1932, deep in the Depression. And flair abounds. Just look at that ochre-coloured horizontal “gallery” down there, for example …

yes, that’s it.

Stylish as all get out, and purely decorative. It exists solely to hide some of the superstructure.

I’m not here for the bridge; this is just my entry-point to the “West End,” loosely defined as the chunk of Vancouver north of False Creek between Burrard Street and Stanley Park. I’m partly attracted by the promise of a few new murals, as part of this year’s Mural Festival, but, mostly, I’m just enjoying the fact that it’s finally good walking weather. Temperature has dropped; air quality has risen; West End … why not?

First mural hit, practically right off the bridge, just west of Burrard & south of Davie St. in Pantages Lane.

Thank you, artist Christina Boots: LOVE & a flamingo head, out on the restaurant patio.

On down the lane, between Thurlow & Bute by now, and two more heads — strictly B&W, and not a flamingo to be seen, but equally exuberant.

I head north on Bute and, right there at Davie Street, meet yet more faces. A whole line-up of faces.

This time, the faces have names. I’m looking at Elizabeth Hollick’s tribute to jazz greats in a mural that clearly has been here for quite a while. The likenesses are not all that terrific, but you can’t argue with her choice of musicians.

L to R: John Scofield, guitar; Charlie Mingus, bass; Max Roach, drums; Dizzy Gillespie, trumpet; Charlie Parker, sax; Benny Goodman, clarinet; Ella Fitzgerald, vocals; and Dave Brubek, piano. I pause a moment in tribute, but also to remember a cat named Mingus I once knew, and then continue my rambling north-west progress toward English Bay.

North now on Jervis from Davie, and I stop for this aqua butterfly, tacked to a utility pole in the lane.

This is See-em-ia Lane, and I again thank the City for its decision to add a brief fine-print explanation to each laneway sign.

You see? This lane honours Mary See-em-ia, a Matriarch of the Squamish Nation. (Thanks to the fine print, I can also tell you that Pantages Lane back there is named for Peter Pantages, Greek immigrant & restaurateur, and founder of the Vancouver Polar Bear Club. The sign doesn’t add, but Wikipedia does, that he was also nephew of Andrew Pantages, the vaudeville-circuit theatre giant.)

It’s pretty well just a head-swivel from the butterfly on up to the corner of Jervis & Pendrell, and St. Paul’s Anglican Church.

The doors are open (unexpected, in these continuing days of pandemic), and I seize the chance to go inside. It’s a heritage building, the 1905 replacement for the little 1889 church moved onto this site in 1898. The church has evolved with its times, and now embraces the LGBTQ community along with the more bourgeois middle-class of earlier days — and everybody else, for that matter.

A week-day communion service is just ending as I enter. I am struck by this. Today’s walk seems to me a continuation of the “quiet pleasures of the perfectly ordinary” that I celebrated in a recent post, an attitude powerfully expressed by John O’Donohue in a couplet in The Inner History of a Day (from, To Bless the Space Between Us).

He wrote: “We seldom notice how each day is a holy place / Where the eucharist of the ordinary happens.”

The eucharist of the ordinary! It has been all around me, all day — and here is a religious eucharist, to join it.

The rector welcomes me, invites me to stay for the post-communion coffee gathering and is smilingly gracious when I explain that, thank you, I plan to keep on walking. But first, I want him to tell me about this glorious organ, and he is happy to oblige.

Yes! a Casavant. I am a groupie for Casavant Frères, the Quebec company that has been building organs since 1879, and I start squeaking with excitement. Known as Opus 264 and installed in 1906, this one is the oldest extant Casavant in BC. It is not in use today, but I don’t care. It is enough to know it exists and, like its sibling in St. James in the downtown east side, it has been meticulously restored & revoiced and will have a long life yet.

Back out to the street, back to working my way north-west, and here I am at Broughton & Henshaw Lane.

I love everything about this building: its architecture, its community-centre function, its artwork, its welcoming signage. And I love the laneway signage too, you bet, which explains that this lane honours Julia Henshaw — author, botanist, and alpinist.

Eventually I make it to Davie just off Denman, right at Morton Park (home to A-Maze-ing Laughter) and English Bay.

A new tower is rearing up just over there, across the street, with artwork top to toe.

And I can’t tell you anything about it! I don’t weave through enough traffic to snoop around its base for any possible info. I don’t think it’s Mural Festival, and the Festival map is maddeningly vague, so we’ll just have to let the visuals speak for themselves.

One more mural, just a block or so away. This one is indeed a 2021 Festival addition, the work of Coast Salish artist Sinàmkin (Jody Bloomfield). Since he belongs to the Squamish Nation, it is fitting that his mural is right at the Denman end of See-em-ia Lane, which we’ve already learned is named for a matriarch of that Nation.

I turn back. Time to head east once again.

I look up at the neighbourhood banner with appreciation.

To again quote John O’Donohue, the West End has offered me “the eucharist of the ordinary” all day long, and I am grateful.

The Quiet Pleasures of the Perfectly Ordinary

13 August 2021 – This post title throws me into Alexander McCall Smith-land (many of whose titles follow this construction & tone, e.g. The Comforts of a Muddy Saturday; The Careful Use of Compliments; The Right Attitude to Rain). I considered other title possibilities, equally of the style (e.g. The Reassurance of Scorched Grass, or The Joy of Social Distancing), but finally settled on this one.

All this to say: I am walking past an ordinary local park, and I am touched and heartened by what I see.

Which is… perfectly ordinary.

Just people sitting about on the grass in a small (1.03 Ha) neighbourhood park.

But I see it with neighbourhood eyes. I am right-angling my way around two sides of Guelph Park (aka Dude Chilling Park), and I am thinking how important this small stretch of currently very scorched grass has been, ever since COVID hit our world and pinned us in place.

Right from the start, it has been a precious resource, a safe place to sit outside, breathe outside air, feel free. It still feels that way, even now, as we cautiously test greater freedom.

This is not extraordinary, it is surely the common story of parks all over the world. Peaceful space, for simple activities that result in quiet pleasure.

A place to check your phone for texts (right foreground, below) or to sit on a bench fingering your acoustic guitar (left, rear).

A place to drape your latest crochet-street-artist offerings.

A place to drop your bicycles beside you and just hang out for a while — with the eponymous Dude himself lounging in the background, host to your quartet and everyone else who has loved him since 1991.

Oh all right, small recap of the “Dude” story. I’ve pretty well backed myself into this corner, haven’t I?

In 1991 Guelph Park became home to a large cedar sculpture of an abstract reclining figure by Michael Dennis. Somewhere around 2012 (accounts vary & it doesn’t matter), someone installed a pseudo-Parks Board sign renaming the park, “Dude Chilling Park.” Sign removed; merry pranksters mount an online petition for the name change; on the kufuffle goes for a while. Meanwhile the cedar sculpture deteriorates, since that is what cedar does, and sculptor Michael Dennis offers to recast it in bronze. Citizens, the City & assorted businesses raise funds and in 2019 the new Dude (Reclining Figure, on the paperwork) is installed.

By then, the park-name business has long since been very nicely sorted out. It is still officially Guelph Park — but, as of spring 2014, it also sports an officially approved “art installation” of the name “Dude Chilling Park,” that exactly copies official signage.

You may want to suggest that, given all this, the park hardly deserves the description of “perfectly ordinary.” I’ll sort of agree — and then slide out from under. First: my post title refers to current park use, not its back-story.

And! Second! If we just pay attention, everywhere and everybody has a story. The ordinary always has something extraordinary going on…

Murals & Time Travel

10 August 2021 – I have murals on the mind and in my eyeballs; the 2021 Vancouver Mural Festival is underway. I am wandering around Mount Pleasant, epi-centre of the Festival that began as a small movement in 2016 and now — with a magic happy combination of civic, social/artistic and local business support — has 300+ murals to its credit in 11 neighbourhoods, with another 60+ due to be created this year.

But not created yet, so my time travel is spent with works already in place.

And it starts with one that, far as I can see, has no connection with the VMF, no signature of any kind. Well, that doesn’t matter, does it? Especially since I’ve never noticed it before.

I prowl around it happily for a while, and then notice, down in the lower-left corner, that its sight-lines shoot my eye on down West 7th toward a flash of colour near Ontario Street — colour that I know is another mural, and one that definitely is part of the VMF family.

See? ‘Way down there?

But there’s another mural treat along the way, two tucked into that same block between Manitoba & Ontario.

We’ll get to the one on the right; first please admire that garage door. Like the first mural I showed you, not signed, but isn’t it terrific? It belongs to Green Works Building Supply, and seems a logical fit with their environmentally responsible sensibilities. I’m especially fond of the slogan on the door:

Enough of that, on to Cosmic Breeze down at Ontario, the work of Olivia Di Liberto for VMF 2019.

This next image is not a mural, doesn’t in any way fit my apparent theme, unless you’re generous enough to slide with me into my larger “city-as-art-installation” theme. If you are that generous, we can make a case for “berries ripening on wild vines climbing all over chain-link fence beside barbed wire & scruffy wall.”

Back to murals. I’ve loved this one since I watched Atheana Picha painting it during VMF 2018, love it still, and love viewing it in its alley-corner framework, here on Ontario south of West 6th.

This next one is streetscape, not mural — wall plus front façade, framed sides/top/bottom by textures of grey and photographed through construction fencing. The only ID is that austere Tierney Milne lower right, so elegant I wonder if this is the branding of a design house.

No it’s not, I later discover: she is a Montreal-born, Vancouver-resident designer/artist. She also, I further discover in the VMF Mural Gallery, has participated in several of the festivals, though this building seems unrelated to all that.

That diversion had me back on West 6th between Ontario & Quebec, now I’m climbing south on Ontario toward West 7th, taking in the whole long frantic madness of an epic 2018 creation by a collective with the world’s best team name: Phantoms in the Front Yard. The work is the whole side-wall length of this long building, jammed with people, cats, dogs, wine glasses, action & attitude. I’ve shown you bits before, and I see new bits every time I walk past.

This bit, for example, bottom left corner, with the woman all thumb’s up in gesture but thumb’s down in face:

Always so satisfying to see something new!

I look across the street, and while the image isn’t new for me, I’d guess by body language that is both new and fascinating for that lanky pedestrian just entering frame on the left.

He is puzzling out Animalitoland, a VMF 2020 creation by Graciela Gonçalves Da Silva, which features — along with that puckish face — an A-Z list of neatly printed adjectives, running the gamut of our emotions as we lived that year of isolation and pandemic.

In describing her mural, Da Silva comments: “Street art is so much more than paint on walls. It has a unique way of connecting people…”

I don’t know this quote when I pull out my camera again, deep in the alleys S/W of East 7th & Main. I’m not thinking murals at all at this point; I am just captivated by that H-frame, rearing up into the sky. (I love them all, you know that — but this one especially, the way it pivots smartly at a 45° to accommodate the intersection.)

Then I’m back in mural-gear, because a mural wraps that corner as neatly as the H-frame beside it.

This is Why Can’t They See Us? by Doaa Jamal, VMF 2018, the rendering in Arabic square Kufic script of a verse from the Qur’an: “We have created you from male and female and made you into tribes and nations that you may know each other.”

Connection. Despite tribes and nations and pandemic: connection.

Back to Baffled Brains

Several people were kind enough to send me definitions of blockchain, including Lynette d’Artey-Cross. Here’s an excerpt from her contribution (which you can read in its entirety in post comments): “essentially a digital ledger of transactions that is duplicated across the entire network of computer systems on the blockchain.” Since that post, the Vancouver Biennale has been advertising for volunteers to train on the AR/blockchain aspects of Voxel Bridge, who will then serve as serve as hosts at the installation, and help the rest of us enter into it more fully.

Beauty & Baffled Brains

3 August 2021 – Important distinction about that post heading! I am merely observing the former, but I fully posses the latter.

I’m halfway-ish in a walk around my end of False Creek. Over on the north side of the Creek, I’ve seen all the usual shifting combinations of participants. On the water: ferries, boats, dragon boats, sculls, kayaks, paddleboards, ducks, geese & cormorants, plus one hugely fluffed heron on a pillar, his neck reeled in to negligible. On land: volleyball & basketball in the parkette and out in the pathways individual cyclists, joggers, runners, walkers, dawdlers, dogs, children & bum-on-benchers, plus one stringy old guy in a T-shirt proclaiming “Old Lives Matter.” (I laugh out loud, he thumbs-up’s me as he goes by.)

It’s truly a wonder nobody smacks into anybody else, on land or sea, but somehow good luck — and brains, and courtesy — prevail.

All that was over there. Now I’m over here, under the south end of the Cambie Bridge. Nothing particularly beautiful or remotely baffling about my immediate surroundings.

No, let’s be more generous than that. These please-chalk-on-the-walls pillars and sturdy, plain, entirely functional table-tennis and picnic tables are beautiful, in a civic beauty sort of way. They are kind. They provide space for public rest and enjoyment.

But the major beauty (and bafflement) lie just to the south. Straight on down this long underpass space beneath the bridge.

The Vancouver Biennale Voxel Bridge installation is coming to life. I love this art, and I think it beautiful. There is more signage, as well as more art, so I move in to learn what’s happening.

I am baffled. I get the concept of AR, I’ve even clicked on it a bit, but I have yet to make even the slightest sense of blockchain. A decades-younger woman is reading as well, Aussie by the sound of her as we exchange ???s, and despite youth she is also baffled. We circle the pillar, read more on the other side.

Still ???, in both Canadian & Aussie accents. This is neither complaint nor confession, just a statement of fact. I don’t get it.

So I give up on all that, and settle down to just enjoy what I see. Like this …

and this …

and this …

and finally, drop-to-my-knees ground-level this. (Which causes a passing young man, noting my white hair, to ask if I’m all right. I reassure him, and thank him for his concern. It’s another example of “civic beauty”!)

And that’s enough of all that, so I stand up, dust my smudged knees and carry on east along the south side of False Creek.

My route takes me along 1st Avenue. As I approach Hinge Park I again enjoy the juxtaposition of Sole Food‘s garden beds on the left (netted now against hungry birds) with that defiant old relic of the Creek’s industrial days, still proclaiming it’s the Ist Ave. Plant of something long departed.

And yes, in my eyes that heap of rusty metal is beauty.

On & on some more, into Olympic Village Plaza, and look at this!

I have to go literally look at this, because although I can read the name, I don’t know who she is. My guess is that it’s all to do with the Olympics.

And I’m right.

North Vancouver’s Alannah Yip, engineer & sport climber, is also Gold Medallist in the 2020 Pan Am Games, and about to compete (August 4) for Canada in two women’s sport climbing events: speed, and bouldering. I think all this is pretty darn beautiful.

And this sign’s level of technology does not baffle my brain!

  • WALKING… & SEEING

    "Traveller, there is no path. Paths are made by walking" -- Antonio Machado (1875-1939)

    "The voyage of discovery is not in seeking new landscapes, but in having new eyes" -- Marcel Proust (1871-1922)

    "A city is a language, a repository of possibilities, and walking is the act of speaking that language, of selecting from those possibilities" -- Rebecca Solnit, "Wanderlust: A History of Walking"

  • Recent Posts

  • Walk, Talk, Rock… B.C.-style

  • Post Categories

  • Archives

  • Blog Stats

    • 107,970 hits
  • Since 14 August 2014

    Flag Counter
  • Enter your email address to follow this blog and receive notifications of new posts by email.

    Join 1,918 other followers

%d bloggers like this: