Acknowledgements Vol. 3 No. 1 March 1, 2012
Managing Editors Kris Orantes Migoya
Chryslyn Pais
Design Andrea Simone
Editors Jack Litster
Catherine O’Connor Lynn O’Rourke Racquel Smith Angela Wallace
Administrative Support Vicki Faul
Kimberly Gibbons Lisa Swainston Anice Wong
A special thank you to Mina Akrami, Sonja Miokovic and Hidie Shaheen for volunteering their time to this issue.
Publisher
Ontario Council for International Cooperation
Contributors
Nisha Ahuja, Jodie Baker, Remy Bargout, The Beehive Collective, Red Slam Collective, Riad of Gorilla Brigade, Alejandra Higuera, Joanne Hodges, Handicap International, Peter Kugba-Nyande, David Lane, Allan Lissner, Jack Litster, Javier Navarrete Bravo, Lena Recollet, Racquel Smith, Irma Villafuerte, Angela Wallace
Disclaimer
The opinions expressed in iAM are those of the contributors and not necessarily those of OCIC and its members.
COVER IMAGE
East-West Diptych Acrylic on Masonite By Allan Lissner *See page 22 for more of Allan’s work
Artist Statement This painting represents contrasting approaches to making sense of
the world we live in and of mankind’s relationship to that world. The Nataraja is a poetic expression of the universe as an ongoing cyclical process of creation and destruction, birth and rebirth. The Vitruvian Man embodies a linear concept of progress and a calculated view of man as the center of the universe, the measure of all things. The Nataraja is a depiction of the Hindu god Shiva as the cosmic
dancer who performs his divine dance of destruction – of weary worldviews and lifestyles – in order for the whole cycle of creation to begin again. He dances on top of a demon, Apasmara, who symbolizes ignorance. The purpose of his dance is to release the souls of all mankind from the snare of illusion. The Vitruvian Man is a drawing created by Leonardo da Vinci during
the Italian Renaissance. The drawing is based on the correlations of ideal human proportions as expressed by Roman architect Vitruvius in his writings about the building of temples in the image of man. Leonardo envisaged the Vitruvian Man as a cosmografia del minor mondo (a cosmography of the microcosm); he believed the workings of the human body to be an analogy for the workings of the universe. The two images are painted in gold and silver. In Hindu symbolism,
gold is a symbol of knowledge and purity – if used well (in the search for knowledge) it brings happiness, otherwise it causes its owner disaster. In Christian symbolism, silver is a symbol of purity and Divine wisdom, but also symbolizes the object of all desires and the harm that they cause. The initial contrast between the two images eventually gives way to the discovery of underlying common ground – the search for knowledge, the desire for meaning, and the warnings of excess.
2 iAM
© Copyright OCIC All rights reserved. Published 2012
No part of this publication may be reproduced or duplicated without express permission of the author, artist, or photographer.
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Ontario Council for International Cooperation c/o iAM: Ideas, Actions Movements 344 Bloor Street West, Suite 209 Toronto, Ontario M5S 3A7 T: 416 972 6303 F: 416 972 6996
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This initiative is undertaken with the financial support of the Government of Canada provided through the Canadian International Development Agency (CIDA).
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