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visual arts from abroad. In San Francisco, his work was featured at the Palace of the Legion of Honor and the Chronicle aptly noted affinities in his work with Lawren Harris and The Group of Seven. Marrying in 1980, Shives embraced family life. With five chil dren, he no longer ventures as remotely into the bush as before, but the wild remains as a presence in his daily life. He frequently hikes the outback--often at the request of visit ing artists. "1 haven't given up on exploration--in my work or in the wilds," he asserts. "There's a public sense that my work is informed by nature, and I think I come by that honestly." Shives' reputation as an environ mentally attuned artist expanded in the late 1980s when he joined a series of high profile artist expeditions in defence of old-growth B.C. forests. Of this activism he says, "It's not simply a vocational thing; it's what I'm called to do as an artist--to grasp the salient elements of landscape and interpret the visual phenomenon of being in nature. It's about getting beyond." "Getting beyond" is what his forthcoming Toronto show is ultimately all about. The new works represent a search for healing: for reconciliation of the contradictory passions of human existence. From the Heart of the Wild has a generosity and boldness some may find unchat acteristic. Two such works, Maodala For Jack and Homage to hp, are founded in homage to departed friends Jack Bush and bp Nichol-- voices he still hears occasionally "at odd moments in the back country; it's like they've become part of the Big Song out there." Shives also acknowledges his West Coast lineage with a dense, impasto [Ed. inipasto thickly lay ered paint] Tree Form After Emily Carr that appears to borrow as much from Chaim Soutine and the Paris School as it does Canadian pre-war painting. F,v,o the Heart of the Wild is about synthesis and re-emergence, bringing together the manifold ener gies of Bebop and poetry, a lifetime in high places, and three decades of professional questing into the nature of pure craft. It is a show that reveals Shives' emergence at the zenith of his power as a mature artist and practi tioner of the wild. "There's always hope," Shives concludes. "These pictures are intended to sing--in the way that Kerooac's prose sang with the active joy of freedom. That's what it's all about out there in the heart of the wild." British Columbia Boys Choir with Orchestra presents ray xaure Gabriel Fauré's Requiem ,- Saturday, March 2, 1996 St. Andrew's-Wesley United Church 8pm $16 Adults/SI 4 Seniors+Students Ticketmaster 280-4444 Information 926-5230 school of dance arts anna wyman Author and community activist Trevor Carolan writes from Deep Cove. Providing the best dance training to students of all ages and ability levels including adults. · Pre School · Ballet · Modern `Choreography · Jazz `Tap · Flamenco · Hip Hop `Yoga · Stretch+Strength · NIA > Registration for the 1996 Winter Semester begins January 2, 1996 Anna Wyman School of Dance Arts 1457 Marine Drive West Vancouver, BC V7T 1 B9 Arnold Shives (left) with noted art crit.ic John Gronde on a hike to Furry Creek, south of'Squamish, in 1982. Photo: Arnold Shives. Phone 926-6535