Taiwan Culinary Arts Tour

Taiwan ChefsA taste of Taiwan came to the Mahoning Valley this September when Master Chefs Chi-Wen Chen and Ching-Long Huang demonstrated their skills for students of the Culinary Arts Program at the Mahoning Valley Career and Technical School.  The next day local chefs were invited to participate and on the third day guests were treated to a five course meal in the Bistro at MCCTC.
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Sailing on the Brig Niagara

Heave…Ho…

This isn’t a sightseeing boat ride.  It’s called sail training, and it is.  The view is mainly of the sails and  ropes. They are everywhere.  Neatly stowed or coiled.  This is absolutely the best way to learn what is required to crew a 1813 square rigger.

Captain “Goldie” commanded the ship from the stern and the crew echoed his commands and reported on their execution.

Senior Captain Walter explained the operation of the brig Niagra on the quarter deck.  The love of the ship was very apparent and his description of the ship as an organic vessel was something I had never considered.  The beams, the masts, the sails and the ropes were constructed from things that were alive.  He stressed that when maneuvering the ship the stresses placed on “her” should be considered.

It was surprising to learn that “she” had a 11 to 13 ft. draft, and was constructed to clear the sand bar at Erie harbor and sail on Lake Erie, which is a relatively shallow lake.

The current brig Niagra is a replica of Admiral Perry’s flagship and was originally constructed for only that battle.  Perry transfered to the Niagra from the badly damaged Lawrence during the heat of the battle of Lake Erie.  She also flew the battle flag, emboldened with the words of Admiral Lawrence “Don’t give up the ship”

See all they have to offer on their website http://www.flagshipniagara.org/

Evalds Dajevskis

“Funeral of the Romantic Moon” by Evalds Dajevskis.

Evalds Dajevskis (1914-1990) lived between two watershed events of the 20th century: the beginning of World War I in August 1914 and the collapse of the Soviet Union, when Latvia regained its independence. Dajevskis’ artistic expression represents different milestones over his lifetime. It also interprets moments from 20th century history that reshaped his life and molded his identity, as he worked as a scenographer and easel painter in Latvia, postwar Germany and the United States.

Dajevskis was born on May 28, 1914 in Volosovo, Russia, about 50 miles from the city of St. Petersburg. At age 4, Evalds Dajevskis had to flee westward, as the Winter Palace was stormed by a detachment of Red Army soldiers in 1917 marking the birth of the Soviet state. Riding on his father’ shoulders through forests and marshlands, the family made its way to safety at Dajevskis’ grandfather’s farm in Latvia.

Growing up on his grandfather’s farm, near Valka in northern Latvia, Dajevskis became aware of traditional Latvian culture and the rich vernacular architecture of the Latvian agrarian landscape. Later, over the course of this career, Evalds Dajevskis drew on these experiences and explored the ancient traditions, vernacular architecture, and folkways of the ancient Baltic peoples in his paintings.
His first studies in art began at the School of Decorative Arts in the city of Liepaja, Latvia, located on the eastern shores of the Baltic Sea. By 1936 he received a position with the “Riga Little Theater” as a stage designer. During this time period, he continued his art studies under Ansis Cirulis, one of the outstanding Latvian masters of design. Evalds Dajevskis worked professionally as a scenographer for the Liepaja Opera, Drama and Ballet Theater from 1941 to 1944, before the events of World War II resulted in his displacement from Latvia to life in post-war Germany’s refugee camps.

Living in the British zone of occupation in Germany from 1945 to 1951, Dajevskis helped create a traveling theater that performed throughout western Germany’s displaced persons camps. He created sets for the theater company and painted the camps and the war-torn cities of post-war Germany.

In 1951, Evalds Dajevskis immigrated to the United States and took up residence in New York City. In the following year, he began designing sets for the Michael Myerberg film production of Humperdinck’ opera Hansel and Gretel. By 1956 Dajevskis was admitted as a member to the United Scenic Artists union and became active in scenic painting for Broadway plays, ballet and opera at Lincoln Center.

Some of the places that Evalds Dajevskis painted in New York portrayed the waterfront along the East River. He particularly loved the old dock buildings that were abandoned along the river, the tugboats and barges out on the river along with the eroding harbor infrastructure. The striking visual form of lower Manhattan’s skyline and the elevated subway structures became favorite themes for his outdoor studies. During this time period, Evalds Dajevskis also designed stage sets for the American Latvian Theater which traveled to émigré audience along the east coast and throughout the Midwest.

In 1988, Evalds Dajevskis was invited to Riga to attend an exhibition of his set designs for theater in Germany and the United States. The trip marked his first return to Latvia after living 54 years abroad. Upon his return to New York, he painted The Old Gates / Occupied Riga, in which he responded to what he saw of the physical deterioration of Riga. The painting depicts sabers and blades tearing apart Riga’s coat of arms, a symbol of the city. The coat of arms under siege became a literal metaphor for him. Its symbols are subject to the same dilapidation as the city: its towers are decayed, its gate mangled. Completed in 1989, the painting was probably Evalds Dajevskis most political work, as it addressed the era of Soviet occupation that directly changed his life and that of his countrymen forever. He died in 1990 and unfortunately would never witness the remarkable reconstruction of Riga after Latvia regained its independence in 1991.

To see Evalds Dajevskis’s gallery click here

Gary T. Erbe

“Seascape” by Gary Erbe

Gary T. Erbe was born in 1944 in Union City, NJ where he maintained his studio for 35 years. Self taught, he began painting in 1965. In the early years, every painting Erbe created would become a learning experience bringing him closer to understanding what makes good art. This was a challenging time for him. Then he discovered and became interested in Trompe l’oeil painting. In 1969, he conceived a way of creating Trompe l’oeil paintings that would be contemporary and different from the 19th Century Trompe l’oeil masters and coined the term “Levitational Realism”. In 1970, he quit his job as an engraver to pursue art fulltime and in the mid 1970’s, he began to explore the idiom of abstraction and cubism and how it can be applied to Trompe l’oeil painting. The idea of integrating modern principles into his painting was very challenging and exciting. Bridging the gap between modern art and realism would be his vision. In fact, today his work has less to do with Trompe l’oeil and more to do with the creative process.

Erbe’s work is the creation of a synthetic sense of space derived from the combination of flat space integrated with abstract forms exaggerated and enhanced by shadow, light and color. Mr. Erbe has exhibited extensively throughout the world and has garnered many awards for his paintings. Gary T. Erbe served as President of Allied Artists of America, Inc. from 1994-2005.

To see Gary’s work available for reproduction click here!