Paul Cade, Wabi-sabi

April 7th, 2016

WHAT IS ART? is a radio show that collects answers to this question. Follow the podcast! This installment with guest Paul Cade and music by Evangeline Gentle.

Paul Cade enjoyed a successful career as an illustrator, designer, art director and film director, before returning to his first love, making fine art. Paul approaches each piece with a “what if” curiosity in an on going exploration into colour, form and the subconscious. (from Art Gallery of Peterborough, Artists)
Paul Cade in Studio B

COMPLETE TRANSCRIPT (Original Radio Broadcast: March 30, 2016)

ANGEL HAMILTON, HOST: Today, we are going to talk with Paul Cade. Welcome Paul Cade to What is Art?

PAUL CADE: Thank you. It’s good to be here.

ANGEL: Can you answer What is Art? starting with “Art is…”

PAUL: What is Art? What isn’t art?! That would be my response to that. Because, basically, it’s what anybody wants to think of art.

Right? Art is a feeling as opposed to a thing. It’s an expression. So, just like our thumbprints, art…can be interpretive. Especially in today’s day and age, anything can be art. You’ve got conceptual art, you’ve got installation art, you’ve got performance art, you’ve got sculptural art, you’ve got photographic art, movie art, it goes on and on. And architecture, fashion, you know, to me: what is the thing that actually separates craft from art?

Craft is really about perfecting a technique, perfecting some form of creating and art goes beyond… It steps into the world of the unknown; that’s where you are trying to follow more of what is in your heart-and-soul as opposed to what’s in your head. And it’s not about perfection, it’s about imperfection. In fact, I found this wonderful phrase, if I can find it…

Here it is! This describes my art, ok? People have had a problem with my art, since…First of all, I worked as an illustrator and a designer and a film director for thirty years, and then I was able to do my own art and people went crazy because they loved what I was doing but it was all different.

There was no cohesiveness, so there would be a sculpture, there would be something realistic, there would be something very spontaneous, more abstract kind of thing.

I had a friend tell a friend of mine “I love Paul’s work but you got to tell him to do one thing! and my friend said, “You know Paul…” [laughs] “He won’t do one thing! I finally found a phrase and it’s called “Wabi-sabi.”

Wabi-sabi is an approach to life that urges us to take a second look at what we may otherwise dismiss or treat with disdain. It recognizes our tastes are not fixed and if someone with talent, artistic grace, urges us to look more sympathetically at the moss, or slightly wonky tea cup, or indeed a wrinkled face of a friend or relative, we will be able to find charm and beauty here too. Our notions of beauty and interests are relative and are open to change and improvement with the ideals of wabi-sabi in mind, we may be able to find satisfaction in humbler moments; a walk down a slightly crooked path, an overcast autumn day, (I always call overcast days as “poet’s days”), or in a less than blemish free house, face or soul.

Right now, I am working on cardboard that I find, that’s about to go in the garbage. In fact, my last, my most recent piece that I have finished, is called In The Nick of Time because it’s a bunch of strips of canvas that could be headed to the garbage but I glued them all together to make a collage.

Page from Paul Cade's Sketchbook

ANGEL: Do you have any new projects that are going to be exhibited that people can find more about? Your latest projects?

PAUL: There will be one, when I finish my website and finally I couldn’t deal with the website so I finally hired some good, wonderful young designers, and so the domain name that they have come up with is Curio Cade, or Curio Decade – and the reason is how I operate is: curiosity. What if? And so when that goes up, and I am hoping in June, then you will see, the website is actually a gallery — a virtual gallery, and so there will be different exhibition spaces and there will be new works and archived works and sculptural works and photographic works.

ANGEL: That’s very exciting! I like being on websites, that’s the kind of website I would like to explore fully.

PAUL: The problem with websites, especially with my pieces, some of my pieces are six by eight feet square, so they don’t really show on a website.

ANGEL: I am having memories of your big sculptures Paul at the Erring on the Mount.

PAUL: It’s hard to show those, and so anyways, what you do, you try to show something that interests or tweaks somebody, but for me its about creating.

ANGEL: What’s your favourite thing about Peterborough?

PAUL: The favourite thing about Peterborough. I do really love the creative spirit here, that there’s a real interest in, there seems to be a non-judgemental interest, in doing, in creating, so I find that some of the gallery shows are really fantastic and fresh.

One of the problems I have with, say, the AGO is that it recycles other works in the world. It’s not focusing on what Canada is doing or what Canadian artists are doing, and I think also what young contemporaries are doing (and I consider myself a young contemporary.) I am way from being young but my head is young.

ANGEL: Thank you Paul! We are going to take a little break and from local music we are featuring Evangeline Gentle and we will be back in a few.


ANGEL: Hello. Welcome back to What is Art? here on Trent Radio. Today, we are talking with an amazing artist, Paul Cade. Today, we have been covering a number of different questions, and my next question is Paul,

Can you tell our listeners about the upcoming course that you have?

PAUL: Yes, last year I was asked to do a course. The course was teaching adults to create or play without expectation and it turned out, we had a lot of fun. It was a six-week course and I break it into two parts each night and nobody did the same thing twice. So I had these projects and nobody knew what was coming next, not even me, that is kind of how I work. I don’t over-think it. So this year, they asked me to come back, and I said yes, because everyone had such fun and because I am not a professional teacher.

I’m an artist, so I kind of learn from the students, because I don’t really talk about what I do, I mean, I don’t like articulating what a painting is or what it is about or what the meaning is behind it because I feel the painting should be its own self.

So anyways, it starts April 14th through the Art Gallery of Peterborough, and Jane is the person or Celeste or Fynn anyone and the course will be a little narrowed down because I did pieces that were six feet long, so I am going to have to reign it in a bit.

And, this year, I am going to have them deal with some figurative work, because it’s really about, I believe everybody is creative, and everybody says I can’t draw, I can’t do this, I can’t do that, well my goal is to show that they can. There is no such thing as bad art and there is no such thing as failed art, because you may miss the point of the art, but its working through it, and you can find where it comes out again, you can find it.

The part that they didn’t do last year that I am going to try to get them to do this year: we do a whole bunch of pieces, and at the end, the last session, they are going to take some of these pieces and they are going to cut them up. You can’t be precious about art, so I want them to cut it up, and then recreate something. That is to me, how you have to do it, because creating is a process, we are all creative, it just got it slapped out of us, along the way.

ANGEL: That’s amazing! How much is the course going to cost?

PAUL: That’s up to them, I can’t tell you. I don’t know exactly, and if I said, I’d be wrong so…

ANGEL: I am going to seriously see about my schedule and see if I can come, it sounds like something that would be really fun!

PAUL: Yes, it is fun! As I say, there’s no expectation and you get to play. You get to play and I was telling you earlier, if somebody wanted to do a Matisse, the whole thing is you don’t do a Matisse, you do the feeling of Matisse. One of the last guys last year wanted to a figurative, a face, so I had two photographs, one of Jiacometti, and one of a guy, and he took Jiacometti, and he said okay, and I said okay, go ahead, now shut your eyes, and he said what? you looked at the photograph, shut your eyes, now draw Giacometti, and he did the drawing, he shut his eyes, and he came to the course because he felt his work was too tight, and he wanted to loosen up, and I said okay… He showed me what he did, and it was cool, it was really cool.

And he said, can I put colour on it? I said, it’s not my drawing, it’s your drawing. If you want to put colour on it, go ahead, so at the end of the course, he was really deflated. He went from really being excited to being deflated and I had to be honest, it was a mess. You put the colour on it and I said, “Are you finished, and is it not done? because I wouldn’t make a mark on somebody else’s work unless I got permission to do it, and I said do you mind if I?”

So I started drawing on top of it, and he goes oh wow, it’s Giacometti! I said the thing is what you were doing was trying to copy the photograph. I know Giacometti’s work and I know how he draws, so I tried to capture the essence, the feeling of Giacometti. I wasn’t paying attention to what the photograph is and that is where art is feeling, it’s you’re trying to express something. So that’s what we get into in the course: trying to express yourself.

ANGEL: Can you tell me a little bit about the Erring on The Mount with The Garden of Infinite Possiblities? and be specific about different sculptures.

Paul Cade in Studio C

PAUL: Well yes, first of all, I presented five concepts, and this one was the most practical one because they didn’t have running water and the other ones required running water and performance. So I am interested in that kind of stuff because I was a film director… So, anyways, sculptures are one of my loves but this allowed me a chance to really get into it and I was also raised and went to school with the nuns and that fascinated me.

I could either do a story of the nuns or I could do a story on the recycling of the building, and I liked that better. It’s where my heart is, in terms of, like I said, the wabi-sabi thing.

I am more interested in turning something. So I thought about it and the rule was that I had to create these sculptures out of junk, out of anything, so I went to the garbage dump and went to welders and collected steel, and found something on the road.

So I did twenty-four sculptures and the title I gave it was “The Garden of Infinite Possibilities” which I feel is what life is. And my art is the garden of infinite possibilities. Anything has got potential! A line on a piece of paper, a water stain, it’s all got possibility.

In this particular case, for instance, I had a friend who had been diagnosed with cancer and blood cancer and I had picked up a bunch of willow branches off a neighbour’s yard that the city wouldn’t pick up, and so I said, can I have them? and yea okay.

So I got this idea (I spent a lot of time in New York,) and so the big grey buildings but cities have souls… so I had this image of doing this model of a city with off cast pieces of wood, angles, rectangles and what have you. So I made this wood, so then out of the bottom of this top structure which was grey, cement grey came these willow roots which I had painted red, and they were supposed to go…and I also did a bunch of other things.

I did two installations on the day when I created the sculpture, on site, where people could see it, so anyways, in this particular case, when we were getting ready for Erring, Liz called and said, some people have run around the circle in front of the convent and they created a whole bunch of ruts, and oh we got problems, cause that’s where the sculpture was going to be, and I went there with her, and went oh boy! It’s land art!, I could do land art! and I just filled my truck with scraps of wood that the country had ripped up all these trees.

So I came back the next day and laid in a spiral, all these pieces of wood and then put this sculpture with the roots, and the tree in the center, and it was great! So then I filled the rest of the garden, and it was all kinds, they became figures, and I found an IKEA chair in the garbage and I turned it in a dancing figure and I found an IKEA crib that I cut it up and made it in to a belly dancer and what have you, part of welding pieces.

I was driving up the 115 and I spot this shiny object on the side and I see it and Oh My God, so I have to go one intersection down and come all the way back, and found out that it’s a crushed garbage can, and it looked like a cloud to me, so I said fantastic! so as part of one of the pieces for the thing, I got a friend of mine, who has a welding thing, and we welded rain coming down from this crushed garbage can, so it was seven or eight feet tall.

ANGEL: If you could say anything, Paul, what would you say to your twelve year old self?

PAUL: My twelve year old self? You’re doing the right thing! Cause that’s when I made the decision to be an artist, and the other thing is Be yourself.

ANGEL: What is the best way to find out more about your work?

PAUL: Wait for my website or come on the tour…for the Art Gallery of Peterborough tour in the fall and so if you want to see a really crazy place. And, the fun part for me, is that people come in and say oh wow this is neat, this is neat and it’s the ones that come in and their eyes go really wide, they’ve never seen a place like it, because they are going in to see trees and landscapes and things and mine is anything but! In fact, in my studio right now, I have about twelve big paintings on the go, and we will see what happens…

ANGEL: Thank you so much Paul for coming to What is Art? radio show. You have been listening to What is Art? everybody, it’s a radio show that collects answers to this question. Life and art around here, Wednesdays at 5:30 on CFFF Trent Radio 92.7FM in Peterborough, Ontario, Canada. I’m your host Angel Hamilton and this show is produced by myself and Lester Alfonso and the Media Arts Peterborough theme music is by Ekoplex and please visit for more. Thanks so much for listening. Thank you so much Paul for coming to What is Art? today!



GALLERY (courtesy of Paul Cade)

Garden of Infinite Possibilities

Erring on the Mount Festival 2014

sculptures by Paul Cade
Garden of Infinite Possibilities 2014.009
Garden of Infinite Possibilities 2014.008
Garden of Infinite Possibilities 2014.007
Garden of Infinite Possibilities 2014.006
Garden of Infinite Possibilities 2014.005
Garden of Infinite Possibilities 2014.004
Garden of Infinite Possibilities 2014.003
Garden of Infinite Possibilities 2014.002
Garden of Infinite Possibilities by Paul Cade
Posted in Art.

Wayne Eardley Caribou

April 14th, 2016

WHAT IS ART? is a radio show that collects answers to this question. Follow the podcast! This installment with guest Wayne Eardley and music by Jos. Fortin.

Wayne Eardley in Studio B at Trent Radio

G.E.’s Peterborough plant recently dismantled, demolished, and in some cases repurposed some buildings. They called the project Caribou. Management granted photographer Wayne Eardley the rare opportunity to document the plant, its grounds and those who worked there during Caribou.

Caribou I features portraits of those working in the space. Wayne Eardley wishes to acknowledge the support of Wendy Maritan Van Mousjou and General Electric, without whom this exhibition would not have been possible.

GALLERY courtesy of Wayne Eardley,

Caribou I, Art Gallery of Peterborough
SPARK Reception: Friday, April 22nd, 7-9 pm
Portrait B, Caribou 1 Exhibit by Wayne Eardley
Portrait C, Caribou 1 Exhibit by Wayne Eardley
Portrait D, Caribou 1 Exhibit by Wayne Eardley
Wednesday at Trent Radio (below) WHAT IS ART? Radio Edition producers Lester Alfonso and Angel Hamilton in a photo by guest Wayne Eardley.

Lester Alfonso and Angel Hamilton, Trent RadioWayne Eardley (below) at Trent Radio taking a photo.

Wayne Eardley at Trent Radio

COMPLETE TRANSCRIPT (Original Radio Broadcast: March 23, 2016)

ANGEL: Here we are again with the radio edition of What is Art? on Trent Radio 92.7 FM in Peterborough, Ontario, Canada. I’m your host Angel Hamilton. Today we are going to talk with famous photographer Wayne Eardley from Peterborough, Ontario. Could you say hi?


ANGEL: So I’m very excited to have Wayne here today, it’s very much of a surprise. And he has an amazing show and everyone go check it out at the Art Gallery of Peterborough including myself, I’m going to check it out first thing in the morning, I promise Wayne.

WAYNE: I think they open up at 10am.

ANGEL: They open up at 10 am? Okay, fantastic! My first question, Wayne, is What is Art? Starting with Art is…

WAYNE: Oh. Radio silence. Art is, to me, something that exists in all sort of forms of matter and it does not necessarily have to be structured. It can be something that we find in sport. It can be something that we find in work or in play. It’s certainly found in nature. It is everywhere; it’s ubiquitous and it is only found if you are willing to look for it…that’s my interpretation.

ANGEL: What is your art form?

WAYNE: My official art form is photography. I’ve also played around with music. I have played around with painting. I love people so I find art in meeting people. What I mean by that, I find it to be incredibly inspiring and creative just like art can be inspiring and creative, I find human beings to be creative and inspiring so I do combine my formal artistic pursuits in photography for my love and passion for people.

ANGEL: Tell us about your newest projects.

WAYNE: So one of the projects that I am working on, it’s an old project, it’s still current and it’s called Relative and I have a website called The Relative Project and it started many years ago when I was living in Millbrook and I, coming from a family of travelers, I was always… We always looked upon the world — the global population, in a pretty positive way. And we were backpackers. We weren’t wealthy travelers but we always found a way to travel.

It started with my Mother back in the 50s and her sisters and my brother traveled and my sister traveled and I traveled so being exposed to the world back then is a little bit different than today. Today, people are traveling all the time. It’s fairly inexpensive and, of course, you can find out much more about the world because of the world wide web. So, when I was traveling, people, I would say, were more naive about the world. So, there seemed to be a lot more racism and skepticism about other cultures and I found growing up from the age of ten, in a small town — I would call it “naive racism” — people, they weren’t necessarily intentionally hatred towards other people but they were naive and they would be quite cutting.

They were not nice to some of these people so I kind of took it upon myself to try and bring about some kind of understanding and show people in my community and whoever else would want to look at these images and show them people from other parts of the world and by taking a white sheet with me and photographing these people and doing portraits against a white sheet just like Richard Avedon did years ago, it takes away the context so the idea really is to look at people in a way, because you are taking away context, that it leaves you to look at their soul because you are really looking in their eyes… And when you look at someone in their eyes, you tend to see their soul.

Relative Project by Wayne Eardley

So it forces you to do that, photography forces you do that. Unlike film and video, where everything is fairly fleeting. There can be much more of a contemplative experience with photography and that’s what I really love about it, so I started the project years ago and I continued it throughout the 90s and the 2000s when I could afford it cause its completely self funded and it does require one or two assistants so it gets fairly expensive and recently I was fortunate to have someone come across the project who appreciated it and helped to fund it a little bit and so I went to Brazil and I went to Cuba, in the fall of last year and continued the project there so…

ANGEL: Where can people see the photographs?

WAYNE: You can see the photographs on my, there is a link connected to my own website, which is and there is a direct link to the actual Relative Project website which is

Relative Project by Wayne Eardley

ANGEL: Thank you. I can’t help but think that behind the scenes of all those adventures from all those years would make a really amazing documentary. Even if it was a photo or an audio documentary, let alone a video documentary of all those adventures…

WAYNE: Right. I think it would too. Although I don’t have the best memory, I think some times that’s why I photograph things so I am actually in the process of trying to get stories from those who came with me and assisted me on some of the shoots, just to get some of the nuance and detail, although I have to say I did keep diaries, I wrote diaries. I love writing when I’m traveling. I do keep very specific diaries, which I haven’t actually read, I’ve written them but I haven’t actually read them, so I’ve read them in parts and some of that writing, there are quotes that are on the website that are related to those specific trips and it is quite fascinating to go back, when I look back at it, and kind of read about it, the little bit that I have, it definitely is like I am going in to some one else’s voyage. It doesn’t even feel personal in one sense, its such a long time ago, a lot of it, so…

ANGEL: So Wayne, what is your favourite thing about Peterborough, Ontario?

Relative Project by Wayne Eardley

WAYNE: My favourite thing is I think is the diversity, especially nowadays. It has become such an interesting and diverse community. It seems to encapsulate a lot of what’s best in the world, in this small town. Its not going to be everywhere, in any one particular town but it has a lot of benefits of big city life and small town life and it’s fairly multicultural in a global sense its fairly multicultural but it’s not like Toronto of course or one of the bigger cities. It does have a lot of diversity, especially because of the university. The university has brought an immense amount of culture to this city and of course there’s great food and I love to eat so that helps too.

ANGEL: Fantastic. So we are going to take a little break for our listeners, so for music today, we are going to feature Jos. Fortin and “The Fairweather Walker,” so here we go,

SONG: “The Fairweather Walker” by Jos. Fortin. (get this track on Bandcamp)

ANGEL: Welcome back to What is Art? every Wednesday at 5:30 and we ask the question to local artists here in Peterborough, Ontario here on Trent Radio. So I’m talking to Wayne Eardley, an amazing talented photographer in our town of Peterborough and I would like to know a little bit more about your exhibition that you have at the Art Gallery of Peterborough and how you got involved with it and all the different kinds of parts you would like to share with me.

WAYNE: That project at the Art Gallery of Peterborough is actually two shows, there are actually two parts to that exhibition, and the first part is on now, and the second part is starting in June and running until August. And the show is called “Caribou” and that is the name that General Electric gave to a project that they were doing in 2013 and 2014 which involved re-purposing and demolishing a lot of the buildings that were there and have been there for a very long time — part of the Peterborough historical landmark has disappeared, so they had the foresight to hire me to come in and photograph during all that demolition and deconstruction. So it was a really incredibly interesting project for me and it had a personal appeal to me too because my grandfather worked for fifty years in Montréal and when he left, they made this great 16mm film of him working in the shops, and those shops, the scale of every thing was absolutely massive and huge and incredibly interesting so it was like Metropolis somehow so I always have envisioned General Electric looking that way, but as you may know or may not know, it’s really hard for the public to get in there — which makes of course a lot of sense.

ANGEL: I walk by it a million times in my life though.

Portrait A, Caribou 1 Exhibit by Wayne Eardley

WAYNE: Yeah, we have all walked by it, right, we have driven by it, and we have looked and probably wondered, as I certainly had, at what exists inside. So a woman there named Wendy, was fortunate enough, had the foresight enough to get me to come in and photograph. So I spent a year there, off and on, and every week I would go for a bout a half day and I would just wander around, so not necessarily wander around aimlessly, but I would be with Wendy and we would figure out exactly what was coming down but she was great because she let me basically see it the way I wanted to see it as a photographer and so unlike a lot of commercial jobs I might do where there is a certain art direction, to those shoots, there is a certain expectation of the outcome. So I was able to interpret that and photograph that place and it was unbelievable.

So Spark photo festival was coming up and the director, Robert, he asked me if I would show this work, this year. And you know, and I hadn’t really thought about that, but the theme this year for Spark Photo Festival is about the history of industry in Peterborough so it was a great match. The problem was venue. The problem can be venue for these sorts of public showings, so anyway I did approach the Art Gallery of Peterborough and met with Celeste and Fynn, the director and curator, wonderful, wonderful people and they saw immediately the interest that that show would have in Peterborough.

Portrait A, Caribou 1 Exhibit by Wayne Eardley

I’m hoping that people who have worked at G.E. over the years, the G.E. Alum would come and see the show. I know they have been coming to see the show and also sharing stories about those spaces because it’s a big factory and people have changed hands and they change hands fairly constantly in a place like that, so a lot of the history, the oral history never really got passed down within that place. It exists within this community but it doesn’t necessarily exist within that space so by presenting the work publicly — it’s an opportunity for people to go in and share stories as well and I have had some people email me and let me know about this interesting building and what that was used for and some kind of funny anecdotal stuff too and some of it I can share and some of it I probably can’t share, so…

ANGEL: I find this incredibly exciting because I walk for a long time past G.E. a long time when I attended St. Peter’s High School where I went for for five years, so I always walked and I always still walk past it and so I’m always kind of curious of what is behind the guards and the walls and iron gates. And certainly have a lot of friends and family that have worked at G.E. and a lot of people have also worked at G.M. so now that you are talking about GE, wow what are the stories with G.M.?

WAYNE: Yeah, yeah.

ANGEL: So now I would like to know, Wayne about the different talks and different kinds of panels you are going to be participating in over the next little while, specifically I was thinking about the Electric City Council?

Relative Project by Wayne Eardley

WAYNE: Yea right. That is coming up Tuesday morning at 8:30 to noon and I have no idea why they would ever start anything at 8:30 in the morning but there are a lot of people who are morning people, so anyway, I will be there. I will be there with my coffee. And it’s a discussion, a panel of professionals from the industry, mostly lawyers and people who work with copyright and so its a discussion about the legality of image. So it’s actually a fairly dry topic in a sense but there is a lot of questioning over shared digital content so its going to be an interesting discussion about that. I am on the panel but really I am there as much a listener and learner as anybody else will be because I don’t necessarily know all those details, that’s for sure,

ANGEL: So for everybody out there go and check out the Electric City Council’s social media, it will be at Tuesday March the 29th here in Peterborough, Ontario at 8:30 in the morning, it’s a cultural incubator called Copyright, Social Media and the Image and Wayne Eardley will be on the panel for that, so the hours of the art gallery, so can you tell our listeners when you they can check out your art gallery exhibition?

Relative Project by Wayne Eardley

WAYNE: I know its best to go online and I know they are closed during the statutory holidays but I think it’s pretty much 10-5pm. Not on Mondays, Mondays are closed for R&R but I think they are open six days a week.

ANGEL: So everybody go check out the Art Gallery of Peterborough and see the photos, that Wayne Eardley has on display and they’re best to go and take a long time to really take it all in. Alrighty.

ANGEL: So I have another question, if you could say anything, what would you say to your twelve year old self?

WAYNE: Um.. Sorry. Dead air is never a good thing on radio. I wish I had thought of that question beforehand…

ANGEL: That’s fine. We can play some music while you think about it.

WAYNE Okay, why don’t you do that.

ANGEL: So we are going to listen to Joe Fortin — Pen to Paper.

SONG: “Pen to Paper” by Jos. Fortin (get this track on Bandcamp)

ANGEL: So we are back to What is Art?. So, Wayne Eardley, if you could say anything, what would you say to your twelve-year old self?

WAYNE: Just as we were on break there, I was thinking about that and I was trying to figure out if I would pull something from maybe some of the mistakes that I made when I was twelve, or try to pull something that was positive that happened when I was twelve. I have to say when I was twelve, I was introduced to photography through an arts program through the school board.

So, I was living in Cavan and I was able to come in every Friday and take black and white, analog photography so which actually I teach that now at Prince of Wales, in the arts program there, and I do tell those students who are that age, that even though you are doing something right now, and it may seem like one of those drops in a bucket and hopefully you’re exploring all sorts of different avenues but don’t dismiss what you are learning now at that age because it could actually end up being something that you maintain a passion for for all of your life. And if you are fortunate enough, maybe it can become a career, and so I never — when I took photography — I never ever, even when I was a teenager and in my early early 20s — I never ever thought of photography as something I would have as a job. I didn’t even know about that really. So I think we put a lot of pressure on our children at maybe not quite at twelve but a little bit older. Parents tend to put a lot of pressure on their kids to make these sorts of huge decisions about life and about life direction and I think that you know, if basically you’re open to all sorts of ideas.

Relative Project by Wayne Eardley
Relative Project by Wayne Eardley

I loved everything about city life and every thing about country life and I like the left and I like the right way of thinking and didn’t necessarily like it all or agree with it all but I think it’s really great to have an open mind about every thing especially at that age and one of the most terrible things any parent can do is to start to dictate personal decisions about lots of different things at an early age, because those are the formative years for a young person, so “keep an open mind.”

ANGEL: So, thank you. The next question I am going to ask a little bit more about the Caribou I at the Art Gallery of Peterborough about your exhibition and can you share a little bit more about that and also about the second part and when that will be?

WAYNE: Caribou I is the collection of portraits, and I think there are about fourteen portraits on display there. Celeste, the director at the Art Gallery of Peterborough, saw those portraits and didn’t necessarily intend for those portraits to be part of the show but she really took a liking to those particular images so she decided they would work well with the Shilling Exhibition which is up there now and interesting juxtaposition and — that show absolutely have to go see Arthur Shilling show, it’s unbelievable.

ANGEL: I met the curator.

WAYNE: Yeah, William King Fisher is an absolutely a beautiful guy, an absolutely beautiful man for sure and very passionate and that is a great show…a really great show.

Caribou I is a collection of those portraits and Caribou II will also be on the upper ramp, very different in content, so those are architecture details from the interior and the exterior the space that were taken down, so it will be very different from what is up there now, so if you didn’t necessarily take a liking to Caribou I, then don’t fret there’s Caribou II and it might inspire you in other ways, so…

ANGEL: Fabulous. Thank you so much. So what is the best way to find out more about you and your work?

WAYNE: I think I have a diverse collection of work on my website. Someone asked me why I have personal work and why I separate that from my portfolio and that’s a good question. I think I might go back and rework my website because it’s also got a bunch of different links to my website and I am still scanning images from twenty, thirty years ago, because it’s analog.

Like the collection of vinyl that you have here at Trent Radio which is absolutely fantastic, thank you for showing me that. I have almost an equal number, hundreds of thousands of images almost, tens of thousands of images that I have taken over the years and they all have to be scanned. And you know you scan and you look at image one day, but you might want to treat it differently another day, so there is quite a process to working with those kinds of analog with analog format, that’s an ongoing process, I figure that in my retirement, if I make it that far, maybe I will have a whole bunch of this stuff scanned but anyways go to the website and on Instagram, I have some images there and my Instagram account is @earldeypics and I’m working right now, I am actually uploading some stuff I shot in Cuba, some street photography that I shot there and I am glued to radio and television and internet of course, trying to find out as much as I can about this recent connection between the U.S. and Cuba. I think it’s absolutely fascinating that Obama was just there, and talking to Raul and I’m really following that because I have an incredible love for the Cuban people that I’ve met and if you have not gone to Cuba, I would make it high on your priority list of places to go, so…

The Vinyl Room. Another photo by Wayne Eardley for WHAT IS ART? Radio Edition (below) producers Lester Alfonso and Angel Hamilton in Studio C at Trent Radio.
Lester Alfonso and Angel Hamilton at Trent Radio

ANGEL: Thank you so much Wayne Eardley for coming to What is Art? It’s been really amazing… What is Art? is a radio show that collects answers to this question. Life and art around here, Wednesdays at 5:30 on Trent Radio 92.7FM in Peterborough, Ontario, Canada. I’m your host Angel Hamilton and this show is produced by myself and Lester Alfonso and the Media Arts Peterborough theme music is by Ekoplex and please visit for more. Thanks so much for listening!

What is Art? radio show interview with That Chalk Girl on Trent Radio hosted by myself and produced by Lester Alfonso

That Chalk Girl

October 7th, 2015

What is Art

WHAT IS ART? It’s a radio show that collects answers to this question. Life and art around here; broadcasting through Trent Radio 92.7FM… Hosted by Angel Hamilton. Listen every WEDNESDAY at 5:30pm on Trent Radio 92.7FM. Last week: That Chalk Girl

Have you ever seen the beautiful sidewalk chalk drawings recently cropping up all throughout Peterborough, usually at Peterborough Square? Have you ever wondered who creates them?

Art is not a thing; it is a way. Elbert Hubbard

She goes by That Chalk Girl (Facebook page)

She uses chalk to draw art on the streets of downtown Peterborough as a form of busking.

April 2014, Peterborough City Hall (courtesy of That Chalk Girl)

Please donate generously if you happen see her working as you walk on by.

Angel: So That Chalk Girl, what is art? Starting with “Art is…”


That Chalk Girl: Can I break the rules already?

What isn’t art?

So I broke the rules twice. By not formatting it the way you wanted it and by answering the question with a question…

That Chalk Girl, Peterborough Square (courtesy That Chalk Girl)

Angel: What kinds of reactions do you get when you do the chalk art in downtown Peterborough? And how are they different from one another?

That Chalk Girl: It’s really vast. Like, all the way from people just moved to tears to other people who are really…cruel (might be the right word.)

So, it’s full spectrum, straight from WowWow to get out of here.

It’s really interesting in that way…

That Chalk Girl, Peterborough Square (courtesy of That Chalk Girl)

Angel: How long have you been doing chalk drawings?

That Chalk Girl: About twenty years.

Angel: What is it like to do chalk art in different cities and what is Peterborough’s best quality?

That Chalk Girl: Its very different city to city. And, honestly, Peterborough has been almost the most receptive consistently. Calgary, Ottawa, smaller towns and I would say, yeah, Peterborough consistently is very welcoming…

Angel: What kinds of chalk drawings do you draw and what kind of chalk drawings speak to you emotionally?

ThatChalkGirl, triangle (courtesy of That Chalk Girl)

That Chalk Girl: I tend to stick to more of abstract.

So I can walk away at anytime and it could be called done.

I tend to prefer abstract art or surreal art…anything with a bit of a spin — where “representational” just doesn’t move me as much…

Angel: It kinda reminds me of the Tibetan sand-painting ceremony that I witnessed where a really beautiful mandala that was created and all of that energy, time, prayer and intention that was put in to it, evaporated…. So it kind of reminds me of that. How do you feel; what do you think about that?

That Chalk Girl, Write On The Street (courtesy That Chalk Girl)

That Chalk Girl: I like the temporary element of it but I do notice…

…people feel a real sense of loss when say, with the chalk art, the rain comes… and gives me a clean canvas!

And that excites me but there are people who have expressed that it’s a loss to…see it come and go. I do enjoy the temporary element. To work on a canvas that size? What do I do when its done?

…where I literally get a fresh canvas, not every time it rains, but when it’s a big rain… boom!

Angel: Can you elaborate about the busking and about the experience of making art for everyone to see?

That Chalk Girl, village (courtesy That Chalk Girl)
That Chalk Girl: I don’t think that a lot of people understand that I am busking…
Because I don’t make music. And if I tried, they might pay me to go away. So there is this disconnect between performing art and the performance art.

That might be one thing I would say to people: it is busking. The donations go to cover the chalk and lunch and all these other necessary elements. Also, I like lattes, so if you are passing a coffee hole… :)

What is Art? Radio show interview with Funky Buddha on Trent Radio produced by myself and Lester Alfonso

Funky Buddha Collection

October 12th, 2015

WHAT IS ART? It’s a radio show that collects answers to this question. Life and art around here… Hosted by Angel Hamilton. Listen every WEDNESDAY at 5:30pm on Trent Radio 92.7FM. Last week: Funky Buddha Collection.


Suzanne Vaillancourt runs Funky Buddha Collection with clothes made from fair-trade bamboo, organic cotton, silk and hemp. She says that the “sacred yantra images” on the prints are “tools for awakening consciousness.” The images are designed by Dan Schmidt (Inner Worlds, Outer Worlds) using sacred geometry and complex mathematical equations. Funky Buddha collection is designed locally in Peterborough, Ontario.

What is Art

Art is…

Suzanne: …an expression of the human soul.

It’s a way of tapping in to human potential through our divine selves. It can be expressed in martial arts. It can be expressed in paintings or it can just be expressed in the way you carry your life…


Angel: Tell me about the art in the collection.

Suzanne: I first started with sacred geometry. I connected with Dan Schmidt, who did the film Inner Worlds, Outer Worlds which is a movie about awakening consciousness. I fell in love with his images and wanted my clothing to express something deeper than the fabrics, so I used fractals from his movie and from his mathematical equations and I put them on my clothing.


Angel: What’s the process of making clothes and having a collection? Tell me about your journey.

First of all, just want everyone to know that I don’t sew. I don’t even really know how to sew a button. But I do know quality.

Suzanne: It took me a long time to find a really good tailor to design my patterns. I have ideas. My tailor can put those ideas on paper and transform them into the dresses, pants, and the clothing that I make. I didn’t want my clothes to be just plain jane mass-produced solid-colour things. I wanted pieces of art to appear on the clothing so that is where Dan Schmidt comes in. Everything just fell in to place…


Angel: I am really curious about the blacklight effect on your clothes?

Suzanne: I traveled for twenty years in Asia and got into the psytrance scene. I was in Goa and there would be all these blacklight art and clothing. Everyone would be wearing it and I didn’t really understand it. I found that it was just so beautiful on the dance floor — to see something glowing… I was inspired by that.

Angel: What is the history of Funky Buddha?


Suzanne: Some of you may remember me; I was on Water Street. We had a little shop there. It was just a piece of what we did. My partner and I, at the time… we started to design club wear and we were very successful in the late 90s and early 2000s.

When the twin towers went down, the whole scene — the party scene went down with it. Our business died down and we began to only import quick fun fashion, not too much — not a lot of depth to the clothing.


Angel: Right now, with the High Street location are you having an opening and some parties and fun stuff at the new location?

Suzanne: I opened the new location with Bill Reddick who does porcelain. The address is 926 High Street. I haven’t decided on the official opening day but I’m sure to let you guys know. It will probably be in a few weeks.

Angel: What is your art form?

Suzanne: My art form is yoga.

The clothing is meditation in motion.


It’s made from the softest fabrics I could find and the images are just…beautiful. You could be wearing these clothes and feel like you are not wearing anything at all — so you are connected to nature — connected to your surroundings…


Angel: I agree with you wholeheartedly. When I am trying on your clothes, I feel this warmth, calmness, sensual energy and it feels like it’s a muse for being creative, for dancing, for doing yoga, for painting and practicing the yoga arts. Thank you for coming out. I’m so grateful to connect with you today. Suzanne and the Funky Buddha collection will be at the blacklight party coming up on October 30th.. Buy your tickets early! They are selling fast.

Suzanne: And come and visit 926 High Street in Peterborough or online at or just call me, the contact info is on the site. :)

What is Art? Radio Show produced by myself and Lester Alfonso on Trent Radio

Lara Kramer Danse

October 15th, 2015


What is Art

It’s a radio show that collects answers to this question. Life and art around here… Hosted by Angel Hamilton. Listen every WEDNESDAY at 5:30pm on Trent Radio 92.7FM.


This week: Lara Kramer. She is a First Nation dancer and choreographer based in Montréal, Québéc where she is the artistic director and choreographer at Lara Kramer Danse.

The one-night-only world premiere of her new dance piece will take place here in Peterborough this coming Saturday 8pm at Market Hall on October 17th.

Public Energy is presenting Tame by Lara Kramer at Market Hall with a pre-show chat and a workshop the next day. Check out for more info.IMG_0823IMG_0818IMG_0820

What is art? That’s one of those loaded questions…

Lara: I guess for me, on a very simple level, it’s a means…my means, of self expression.

Angel: What is your art form?

Lara: Choreography is what I can dissect a little bit… For me, my art form first and foremost comes from the physical body.


I think in terms of that physical body being constructed and laid out in what I am referring to as choreography and it involves many many layers. Most recently sound and music has become a very important element in the physiography of my choreography as almost the same value as the body. Even sometimes more.


Because it is all part of the that same…landscape. I work a lot with set design and props, and this is all part of that same vocabulary, negotiating in a very different way than the mechanics of the body or the soundscape but they are all interconnected and interdependent.

Angel: Tell us about your newest work.


Lara: Tame has become…about this forced intimacy among these three characters within this confined space…

Angel: I am so curious about the backstory of Tame.

Lara: …the initial seed of it was that I wanted to work with this idea of really pushing the boundary of oneself — that kind of state, I guess you know, I guess everyone can relate to it — when you are on the edge. That feeling where you are at the edge of yourself. When you are about to combust or that sensation of containment…


I wanted to look at that state and engagement of the body basically within the environment of the home. I wanted to push into that realm of mental illness and being a little bit out of oneself, you know, but always coming back to that physicality of what is it to feel contained within the body and what is it to feel contained within the environment.

Angel: I was reading a little bit on your website earlier about how some of your work has been inspired by, I believe your Mom, and her experiences. I found it very evocative, and very emotional just reading about it, felt shivers…just witnessing, with dance — this kind of storytelling can be really emotional. How does music affect your work?


Lara: I was most recently in Vienna taking a sound workshop, it kinda woke me up to how not to use music as a masking or as a way to just cloak a work… I kinda took a step back from my work and tried to re-experience the actual soundscape of my work — minus music.

I had so many internal sounds generated by the three bodies and the set. I have a TV set, I have a fan, I have these internal sounds that, in a way, could get washed out if I am adding a lot of music on top of that. I think music evokes a specific mood and a tone…so I wanted to remove that and re-enter my work. I have often used music to highlight a certain mood or emphasize a certain moment and I wanted to come back to see if this is actually necessary…


Angel: So I would love for you tell me about the workshop.

Lara: I will just mention something about the work that I am doing — the approach for accessing the body — I feel it’s open to untrained dancers and performers…

I want to give an opportunity for the participants to access their physicality. Its not about creating this dance form… It’s not about a formulated dance form; it’s really about this engagement of the body — what I refer to as the state of body