Roy I Elizabeth Mvira Thmpwn t first glance, Elizabeth Roy appears almost pixy-like in her demeanor, but talk to her about her passion her art, her public and private installations - and you quickly realize that she is a big woman with a big outlook. I had the pleasure of her company recently, in her beautiful house; and there, she led me through the process of what it takes to make a visionary statement and then the intricate and time consuming effort of realizing that vision into public art. Ultimately, she explained, once she has conceived of the idea, and has made her "mockup" her small scale - true to life - art piece, at that point, the work is done. If it is accepted for public installation, she stays absolutely true to her original plan. There is no going back; there is no deviation from her proposal. Her only task from that point is to get it constructed. That in itself is no small feat. It takes a crew of technical support and creative know-how to build something that will withstand the elements, be completely safe, be harmonious with its fellow structures and be true to her original plan. pieces. The first one, installed in 2001, and called Time Keepers is located at 150 West 1st. Street, in Jack Loucks Plaza. It is seven stainless steel figures that represent local residents. Each figure includes specific quotes taken directly from the individual that the silhouette represents. Elizabeth interviewed many of the residents who live in the area and interestingly, those interviews led her directly to her newly installed piece, the very large and ambitious work that graces the promenade in front of the Burrard Drydocks. This piece, installed in March of this year, represents the history of the Drydocks. To quote Elizabeth, "my work creates poetic images of vessels, ships and containers, merging the past history of the site with the future use, acknowledging the transformation of the site. The structure echoes the We are fortunate on the North Shore of having two of her fabrication and materials of shipbuilding." At first encounter, you may not realize the relationship between the sculpture and shipbuilding. You might only think that it is interesting. Perhaps on a second visit, while walking along the promenade you realize that the sculpture has a vessel shape. That is the first clue. On another visit, while your kids are playing on it, or you are sitting on it, or two lovers are leaning against it, you realize that there is a vessel, a boat perched up in what looks like a cacophony of scaffolding. And yet, isn't that what shipbuilding entails? Scaffolding, crisscrossing in mayhem, holding up a vessel that is being created. Elizabeth wants the viewer to come to these conclusions like clues, or puzzle pieces. It evokes an interaction between the viewer, the work, the artist and ultimately the historical setting. l-- ' ' SHAKESPEARE FESTIVAL w JAMING t > JuLiusQfSAR She emphasized as well, the cooperation of the developer. After all, it is a corporate venture, and this installation could easily have been a fountain or a garden. To have the support of the developer is wonderful. Wonderful for her and wonderful for us - the public. I could have spent the entire day at Elizabeth's house, talking to her. When she answered her doorbell, the first thing I mentioned was her garden. We discussed the layout and the whys and wherefores of no lawn, but rather her jungle-like arrangement of plants. I was immediately intrigued by her home, in which her personality is displayed in a lovingly and beautiful manner. Her home evokes a passion for her work, and although we can't go traipsing through it, we can marvel at what she has created for us here on the North Shore. July I August 9 M ay 31 to Sept 23 Under the tents in Vanier Park 6 0 4 -7 3 9 -0 5 5 9 w w w .bardonthebeach.org w ww.arts-alive.ca