Making a World from Memory

We don’t go to Vancouver’s Eastside Culture Crawl every year, but when my husband and I do, there’s one artist we always visit. Actually, she was the only artist we visited this year. Because let’s face it: the Culture Crawl can be overwhelming. One year we did as many artists as we could in the labryinthine Parker Street Studios and agreed to not put ourselves through the crowds and chaos again.

So it’s a good thing our favourite local artist has a live/work studio in Railtown that’s relatively calm in comparison.

Galen Felde’s studio

Galen Felde is from Vancouver and uses acrylic paints to convey landscapes of memory. She’s also branched out into installations. The first thing I notice about her work is the light. How it filters through a tree; how it bathes a bridge; how it ignites a blade of grass or a telephone wire.

(right image) Galen Felde, Mastodon No.1 , acrylic on panel,  46″ x 46″.

Her work reminds me of Impressionism. Although based off real scenes and photographs, Galen’s paintings read like dreamscapes. She talked to us about how she combines multiple photographs together in her mind, or relies on memory to fill in the gaps. I get the sense she is more concerned with the emotional truth of a scene, rather than its physical attributes. 

This is what she writes on her website:

Galen Felde‘s work focuses on human and environmental interdependence and issues of empathy. Tangled branches, leaves, light particles, architectural elements, wings and wire… are some of the key elements, magnified, distorted, layered and sculpted to form the substructure of Galen’s paintings in her exploration of impermanence and our awkward relationship with origins, adaptation and alteration of the landscape. Characteristic use of trace images and skewed focus suggest the construction of memory, the resonance of absence and the process of release.

Galen Felde, Song for Sleep, acrylic on panel, 24″ x 60″.

Take the above painting, for example. It’s called Song for Sleep: Water Paths. (By the way, her artwork titles are exquisite, poetic. Some examples: Dream Cache, Sonnet for Lost Pine, Long Awaited: Heart Song, The Long Reach Back, to name a few).

Galen told us this painting was inspired by the wetlands around Killarney Lake on Bowen Island. “Have you been there?” she asked us. “No, but we’re actually visiting friends there tomorrow!”

She told us to look for the stream running under the boardwalk and to notice how there’s not a tree in the “real world” version like there is in the centre of her canvas. In her mind’s eye, though, there is. 

I put “real world” in quotation marks because doesn’t the world of memory feel real, sometimes more real, than objective facts? This comes up frequently in discussions with my siblings around a childhood event. “That’s not the way I remember it!” one of us will interject as if there was one objective version that should all be implanted in our minds. This real world of memory reminds me of something the late Madeleine L’Engle wrote in A Circle of Quiet:

When someone comes into me when I’m deep in writing, I have a moment of frightening transition when I don’t know where I am, and then I have to leave the “real” world of my story for what often seems the less real world, the daily, dearly loved world of husband and children and household chores.

I love how she turns the “real world” on its head. L’Engle goes on to say, “It is through the world of imagination which takes us beyond the restrictions of provable fact, that we touch the hem of truth.”

What Madeleine L’Engle does with stories, Galen Felde does with paintings. Both artists construct a world undeniably real to them through memory and imagination, in hopes this world will speak truth to the person reading and viewing on the other side.

It’s worked for me.

Trail around Killarney Lake