Tag: painter

Ken Kirkby – Warrior Painter

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lobsters and many varieties of fish. Francisco would light a fire on the
rocky floor and the smoke would rise through the gap overhead while
we prepared a feast. Monsieur Desjardines thought this secluded spot
was heaven. We’d spend the day fishing, eating lobster over an open
fire and sharing stories. There was something deliciously daring about
being in a place feared by the locals—if the weather blew up a storm,
as it could easily do, the magical hiding spot could well become a
watery tomb.
Ken’s young life was idyllic but Portugal was changing. At the close
of three decades in power, the once-benevolent dictatorship of Antonio
de Oliveria Salazar was losing favour. In an effort to maintain control as
opposition coalesced behind the dissident Henrique Galvoa, Salazar’s
secret police grew more and more vicious, and by 1956, the country was
under siege.
Lisbon was the kind of city that attracted unusual people: the brilliant,
the demonic and those who drifted on the fringes of society. Spies abounded.
Ordinary people were recruited to inform on their friends and neighbours,
and paid according to the value of their information. Many innocent people
were ruined and the ensuing chaos heightened Ken’s determination to get
himself and his family out of the country.
Although his employees revered Kirkby, Sr. his position as a major
industrialist was unpopular with the authorities. It was no secret he had ties
with the exiled Galvoa. The contents of their ongoing correspondence was
less public and this was a double-edged sword: the Salazar supporters were
suspicious of his connection with the agitator, but totally unaware of the
extent to which Kirkby, Sr. was being kept apprised of problems brewing
within the country.
By early 1957, the Kirkby business empire was showing signs of
imploding under the intensified attentions of the secret service. Sixteen-year-
old Ken had an extensive network of friends at all social levels. When
he realised that time was running out for his dad he managed, with their
help, to orchestrate his father’s escape via a private plane in the gloom of an
early morning with government enforcers hard on their heels.
Monsieur Desjardines arranged the necessary paperwork for Kirkby, Sr.
to enter Canada. However, it took many months and the official intervention

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Ken Kirkby – Warrior Painter

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I’m aware that you are frequently faced with idiots and liars and
scoundrels but, in telling this story, I hope to explain that I am none of these
things. You need to know there are people in this world who actually do
give their entire lives to something bigger than themselves.”
“We have an hour,” she replied.
Fifty-nine minutes later, Ken had told the story of Isumataq and of the
cause of the Inuit. “That’s the preamble—now here’s the paperwork,” he
said, sliding neat folders of material across the table to her. “Here’s how the
money came in and here’s how it went out. For myself, I’ve always lived a
Spartan life. I’ve no real interest in possessions or material things. Money is
simply a necessary tool, like a hammer or a screwdriver—or a paintbrush.”
Some time later the Judge looked up and announced, “You don’t owe
a penny, Mr. Kirkby.”
“I know. If I did, I would pay it.”
When he emerged from the meeting, Ken felt as though his feet were
gliding above the rain-washed pavement. It had been worth the battle and
his sense of justification made him giddy. Karen was out of town again, but
when he phoned to share the good news, her bitter response was “Well, I
guess rules just don’t apply to you.”
He spent the evening in company with his long-time friend and fishing
buddy, Ron Gruber. Since Ken’s return to Vancouver, Ron had watched his
friend’s relationship deteriorate. He was increasingly concerned as he saw
Ken slide steadily into that solitary and dark place from which there seems
no escape. Ron was one of the few people in the world Ken could talk to
about personal matters and he told him of his concern that Karen seemed
determined to alienate her colleagues. As he put it, “It’s like watching
someone you care for deeply move dangerously close to the edge of the
cliff, and there’s no way to save her.” He harkened back to earlier situations
when Karen had set herself on collision course, and then dragged others
with her into disaster.
It was not Ken’s nature to give up without a fight, and it took several
months more before he would accept the end of their relationship. He’d
committed to change his life for Karen and he meant to do everything
humanly possible to retrieve the closeness he’d once had with her. But even
that steely resolve wilted when, before leaving on another business trip,
Karen voiced her opinion that they had nothing whatsoever in common…

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Ken Kirkby, A Painter’s Quest for Canada

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A painting that goes in hockey arenas, that is toured across the country
from one end to the other, telling the story.
Then a whole flood of ideas and memories came into my mind crystal
clear. Grandmother doing her dance and her song in the winter – becoming
mesmerized and overcome by heat and emotion – going outside and the
Northern Lights roaring overhead – and she came out and stood beside me
and put her arm in mine and told me that those were the spirits of her ancestors
dancing. And she sensed the difficulties I was having over the loss of the
two women that I had loved so profoundly. She had said, “It’s a good thing
to let them go and dance”.
During her song and her story, there had been the need of an Isumataq
– a person or an object in whose presence wisdom might show itself. The
painting would be called Isumataq. And the dream driving all of this was
Nunavut.
That was the moment in which the whole thing exploded in one clear vision.
It must have been working quietly in my brain all this time and now
here it was – all together. Now it poured out and it all came together like a
jigsaw puzzle – every piece moved into its proper slot.
Covered in sweat, Ken’s body shook with nervous energy. His whole
being thrilled and he felt himself to be outside his body – completely
outside space and time. The vision was so clear, so compelling, that it
possessed him. He knew it would come to own him – night and day – and
he didn’t care. He gave himself up to it. He paced back and forth, details
of Isumataq whirling in his mind and dropping into place like numbers
on a slot machine.
He drove home that night with a new excitement coursing through
him. When he told Marsha he was going to create a giant painting on
the scale of the Sistine Chapel, she smiled and shook her head. In the
morning he told Diane who began to plan a studio renovation to accommodate
such an enormous painting. While they were hunched over the
sketch, Salvador appeared in the doorway, a bottle of brandy in his hand,
and a smile on his face.
“I have the equipment, the idea, the staff, and the availability of rock.
How would you like a giant Inukshuk in your studio?”
Three days later, Salvador pulled up in a new Saab, followed by a flatbed
truck – groaning under the weight of massive blocks of granite – and
two extended cab pickups loaded with burly men. At two in the morning,
after hours of heavy labour, a seven-foot tall Inukshuk towered over
the studio. Salvador waved his arm at it like a magician wielding a wand.
“There. Is it to your liking?”
“It’s perfect,” Ken said.
Salvador’s next project was an Inukshuk at the Columbus Centre!
Dragging Ken and Joseph Carrier to the lobby, he gestured grandly…

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Ken Kirkby – Warrior Painter

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she was pregnant with his child when she died.
Jessica came into his life a number of years later when he was
working in northern British Columbia. Again, a woman on the fringes of
acceptable society, she was wise, beautiful, self-reliant, and she loved him
unconditionally. Ken met her through her brother, Patrick, with whom he
worked. They were First Nations people filled with the pride of their early
ancestors. There is a saying that home is where the heart is, and Ken found
Jessica’s cozy log house in the ranch country the closest thing to a home that
he’d ever experienced. The lovers spent blissful months together planning
their wedding. It was one of the happiest times in his life.
The perverse hand of Fate nearly destroyed him when Jessica and
Patrick were killed in a horrific accident on icy, winter roads. The pickup
was still burning when Ken arrived at the scene, his last hope extinguished
when, through the shattered window of the burnt out vehicle he recognized
the sleeve of Jessica’s buckskin coat, the mate to the one he was wearing.
The traumatic image of the fiery wreck haunted his dreams long after, and
virtually drove him into the Arctic seeking some form of peace.
On his return from the years spent in the Arctic, Ken entered into
a comfortable relationship with Helen. She was a settled, intelligent
schoolteacher who appeared to support his drive to re-establish himself
as a painter within the Vancouver art scene. He was not the first man to
marry under the mistaken belief that his woman accepted his stipulation
that fatherhood was not in his plans. Ken clearly understood the depth of
his own drive and focus and believed that, consumed as he was to right the
wrong that had been done to the Inuit, he had nothing left over to give a
child. But he had not reckoned with the determination of a woman bent on
motherhood.
When Michael was born, Ken was immediately captivated by this tiny
bundle of human life. Torn between wonderment and reality, he knew that
his kind of obsessive dedication to the northern problem left little time for
the sort of nurturing his own father had given him. What was done could
never be undone however, and Ken did his best to provide for his family
both financially and emotionally. Things proceeded relatively smoothly for
a handful of years, although Ken never quite trusted Helen in the same way
he had before the unexpected pregnancy. Happily though, over the years, he
and Michael crafted a wonderfully strong, mutual love and the young man…

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Ken Kirkby, A Painter’s Quest for Canada

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The media continued to be fascinated by him, the way an audience is
mesmerized by a performer who embarrasses himself inadvertently, on
a talk show. Ken had stepped so far outside the boundaries, had put on
a show so over the top, right down to the Inuksuit painted on the streets,
that the media haunted his studio just to see what would happen next. Ken
continued to feed them quotable lines that seemed to come effortlessly to
his lips, but that he had, in fact, been practising for months and years.
But, tidbits wouldn’t feed them forever. Eventually they would want to
stop nibbling and indulge in another meal – and the next banquet would
have to be bigger and better than the last.
He met Salvador Grimaldi for lunch again at Boccacio Restaurant, in the
Columbus Centre, and once again the architect came bounding into the
room, perfectly dressed in understated, expensive clothing, his eyes sparkling,
and his smile spreading goodwill around the room. Ken had a plan.
He told him that his next project had to be an even larger success than
the last, and described the two immense paintings he was currently working
on: one was a sixteen by sixteen foot canvas, featuring an Inukshuk set
against an enormous white cloud, that was intended for the Reichmanns.
Why the Reichmanns? Salvador asked.
“They are a very prominent family which the media and the public
have become very interested in,” Ken said. “They’re secretive and almost
impossible to approach. I’ve been studying them, and the information is
very sparse. I know they spent time in Valencia after leaving Eastern Europe,
and then they spent time in Morocco, and then from Morocco they
moved to Toronto: they started a tile business that immediately turned
into a raging success. Then, they went into high-end real estate development,
in which they have achieved even greater success. They are an
intriguing family – and just what I need. I need a Lorenzo de Medici.”
“I want to get to a place where other people cannot go. I want to sell
a painting to a man who doesn’t buy paintings and see it hung in the
foyer of the tallest building in the British Commonwealth – and have that
become a media event – even though they don’t like the media, that is
what I am after. What do you know about the Reichmanns that you feel
comfortable passing on to me? I get the idea you’re pretty close to them.”
Salvador allowed that he was close to Albert Reichmann, who preferred
to be called Mr. Albert. He had done his corporate landscaping and was
currently working on his personal property. “He’s a prince,” Salvador said.
“A merchant prince. He is a man of many talents, and I find it interesting
that you would have, instinctively, known that.’
Ken took Salvador to the studio to see the Reichmann and Yellowknife
Airport paintings, in progress. When he unlocked the door and switched
on the bank of lights, Salvador froze. The larger painting was nearing
completion while the other was only half finished.

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Ken Kirkby – Warrior Painter

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Warriors Come in Many Shapes
“We all grow up with the weight of history on us.
Our ancestors dwell in the attics of our brains as they
do in the spiraling chains of knowledge hidden in every cell of our bodies.”
(Shirley Abbott, Writer)
~~
Ken Kirkby inherited genes from a thousand years of determined and
intelligent men and the clever women who worked beside them. In each
generation, the face of the world inhabited by his ancestors was left
improved. If he feels some pressure to leave his own imprint on his world,
he chooses to do so by inspiring others as he has been inspired; by restoring
what has been spoiled and by righting what is wrong. Justice is an important
word in his vocabulary.
His father, Ken Kirkby, Sr. turned his back on both a fortune and his
influential British steel family as a young man. He left his assured place
in Britain to make a successful life in Australia and eventually returned to
England with a reputation for a sound ability to turn failing companies into
profitable ventures. With World War II on the horizon, he was seconded by
Winston Churchill’s team to transform the venerable but struggling Rover
Motor Company into an efficient, profit-making war machine.
In 1938, he met and married Ken’s mother, Louise May Chesney. Her
father was a respected Spanish industrialist whose family traced their roots
back to Rurik of the Rus, a Dane whose history was recorded in written
form in 746 AD. Ken was born in 1940 and his sister three years later. The
Kirkby and Chesney families left recession strapped Britain for Spain in
1946 and the Kirkby family ultimately settled in the Portuguese village of
Parede, a coastal village south of Lisbon. Their neighbours were diplomats
or professional elite, but Ken’s father preferred to do his own gardening and
knew the children of all his employees by their first names.
Ken’s childhood was unorthodox by any measure. Their family home
on the Avenue of Princes welcomed many of the brightest minds of the
European world at the time, but he ran barefoot with the Gypsy kids, bartered
his drawings in the marketplace and escaped his mother’s restrictions

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Ken Kirkby, A Painter’s Quest for Canada

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same feeling about you as I had about where that puck would be.”
“I want to help you,” he said one day over lunch.
“I’d appreciate all the help I can get,” Ken said. “There hasn’t been a
helluva a lot of it at this point.”
“Yes, so I gather.”
Virgil Pires, a tall Portuguese man, became another frequent visitor.
“You come from my country,” he said when he introduced himself.
“You’re almost Portuguese. I love what is in the papers and on TV. You
talk about my country with so much love.
“I wasn’t born in Portugal,” Ken said. “But I think that part of my soul
is Portuguese.”
The collection of paintings for the show grew, most of them featuring
an Inukshuk standing sentinel over the stark Arctic landscape. Irving and
Virgil visited almost daily, moving the paintings around, discussing the
merits of each one, and arguing about who should purchase which. Virgil
liked to say proudly, “He’s Portuguese, you know.”
Irving argued, “Portuguese, my ass. He’s no more Portuguese than
I am. He’s a mongrel – Danish, Irish, Spanish, French, Italian, Jewish
grandmothers, Christian grandfathers – grew up in Portugal – I tell you,
he’s a mongrel!”
“Oh no!” Virgil protested. “This is brilliant! This is magnificent! It was
written in heaven! This man has a place in heaven!”
Ken painted, working in a world he was entering for the first time.
These visions of the Arctic had been bottled up inside him for years, and
a great dam had burst open, spilling out a Niagara of creativity. The faster
he painted, the more powerful the pictures.
The week before the show, Irving and Virgil began to choose the paintings
they wanted, arguing good-naturedly over several of them. “You
can’t have them all,” Ken said. “You can only have twenty paintings!”
“Between us or each?” Virgil asked.
Were they serious? Ken wondered, beginning to feel excited. “Each,”
Ken said.
He had completed ninety-six canvases. Virgil and Irving fell on them
with the glee of schoolboys who had just been told they could choose a
dozen of any sort of candy in the store. They argued, talked, and wrangled
possessively over one or two of the larger paintings, until each had a
pile of twenty. “How much?” they wanted to know.
Ken forced his voice to remain calm. He studied each painting and methodically
wrote the price on a slip of paper. The forty canvases totalled
eighty-five thousand dollars.
Neither man flinched. Instead, they insisted on a celebration, and over
a bottle of good wine, Ken explained that their paintings would be part of
the exhibit – and he recalled one of Alex Fraser’s pieces of advice.

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Ken Kirkby, A Painter’s Quest for Canada

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When he entered the classroom, he sat on the teacher’s desk, his feet
dangling, and told stories about the Arctic. The children listened raptly.
He received another speaking request, and then another, and another.
He accepted all of them. His talks were a training ground for what was to
come. Fraser had been right. “”We’re not selling paintings; we’re selling
stories.”
He spoke to classrooms of elementary students and to older students in
high schools. One time he began with, “Before we get going I want to tell
you, just so that no fraud is committed here – I never went to school.”
The children gasped.
“It’s kind of weird, isn’t it – that I’ve been asked to come and talk to
you but I didn’t go to school? Now, make of that what you will. I’m not
suggesting that you don’t get a formal education, but I am suggesting that
there are those of us who probably fare better if we don’t.”
He shared his thoughts on education – what it is and what it is not. He
wove his ideas into stories of the Arctic, stories of politics, and stories of
old mythology. His stories posed questions. “Why do we think things are
right and why do we think other things are wrong? Where did we get all
this stuff? Who wrote it down? Who says it’s true?”
His speaking invitations multiplied, until he could accept no more. He
met with the principal of one school that had made a request, and said,
“I want to speak to the whole school. Give me your auditorium. This is
a performance, and I don’t want forty-five minutes – I want the entire
afternoon.”
He asked that the banners in the auditorium be taken down, all the
lights turned off, and the windows curtained. He asked for one microphone,
with a long cord, and a spotlight on centre stage. There would be
no adults in the auditorium, although teachers could position themselves
out of sight where they could hear. The children were to come in and sit
on the floor. When they were seated, the room would be plunged into
total darkness, and the children would sit for three minutes in silence,
before he walked on the stage.
“Are you out of your mind?” the principal said. “These aren’t children
– they’re little animals! It will be chaos! You obviously don’t understand
children!”
“I probably do,” Ken said. “I was one once and I probably still am.”
“It can’t be done.”
“Fine. I live in a world where apparently everything can’t be done.
Have you ever tried this?”
“No.”
“Then, you’re educating children and giving them advice based on
things you’ve never done. That’s one hell of a way of going about things.
Well, that’s my offer – take it or leave it.”

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Ken Kirkby, A Painter’s Quest for Canada

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Then he reached to the side, and turned on the
tap of the small bar sink, and filled a pitcher with water. Lastly, he opened
another cupboard, lifted down two tumblers, poured a goodly measure
of whiskey into both, and splashed water into the glasses.
“This is how you and I are going to do business,” he said. “We’re going
to drink.”
‘In the middle of the day?” Ken asked.
“What’s that got to do with anything? We’re going to drink.”
“Why do we have to drink?” Ken eyed the whiskey with revulsion. “My
guess is it’s to do with, ‘get a man drunk and you’ll find out who he is.’”
“Who told you that?”
“My father.”
“I’d like to meet your father.” He took a large swallow. “So, tell me
about yourself.”
Ken told his story, while he watched Fraser drink until the bottle was
empty. He drank a bottle every day, he said, and he was as proud of that
as the fact that he was a one match a day man. He struck a match in the
morning to light his first cigarette, and every subsequent cigarette, for the
rest of the day, was lit from the stub of the last. “It takes discipline to do
that.”
“I want you to come to the gallery two or three days a week. I want to
hear your story. I want you to tell me your feelings, your thoughts, your
understanding of the universe – everything. I want to listen to you. I want
to hear you.”
For several weeks, Ken visited and talked, while Fraser downed a bottle
of rye and smoked an eternal chain of cigarettes. “You have a passion that
is white-hot and I love it,” he said. “We have all these artists around, and
they’re all limp. I want to see a man with a paintbrush in one hand and a
sword in the other. That’s you.”
One day, Ken asked Fraser why he never saw the paintings he sold to
him. “Where do you put them?”
“I’ve sold them.”
“All of them?”
Yes, all of them.”
“Oh my gosh. Well, that’s terrific.”
“You look surprised.”
“I am.”
“That’s not a very nice thing to say to me. Of course, they’re sold. So,
bring me some more. Go and paint.”
“There’s a limit to my speed.”
“I’m sure there is and I want to find it. I suspect the faster you paint the
better you get. You’re thinking too much. Don’t think. Painting isn’t about
thinking. This is not an intellectual exercise.

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Ken Kirkby, A Painter’s Quest for Canada

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Ken closed his eyes, his lids like coarse sandpaper scraping against
his eyeballs. Opening them was worse. The woman tied a piece of soft
hide over his eyes and all he could do was bear the agony and wait. For
days, he travelled as a blind man, in pain and nauseated from the gentle
rocking of the sleigh. When the pain eased, he took off the hide, and the
old woman gave him a pair of goggles with a small slit, explaining that he
would have to carve them to fit his face. He carved with great care so they
barely touched his skin. Close contact would freeze them to his pores.
They had been travelling a long time, when a golden glow appeared
on the horizon. As they drew nearer, the golden fire resolved into a large
group of igloos. The dogs heralded their approach, and people streamed
out of the igloos to welcome them. The first questions were about food.
The caribou had not crossed their path this season. Did the new people
have caribou? Yes, they had much caribou and it would be shared.
A feast was prepared for the newcomers, who entered the largest igloo
in the centre of the village. In the anteroom, they took off their parkas
and beat them vigorously before entering the main room, where layers of
caribou hides were spread on ice benches that circled the room. Kidney
shaped seal oil lamps provided warmth and light. When they had eaten
and told stories, people dispersed to their own igloos. Ken and his people
crawled under many layers of hides and slept. The old woman had told
the people that Ken was a quiet Kabluna. “He is a friend,” she had said.
“He is now Inuk.”
The next morning while the men built igloos, Ken pulled out his roll of
sketch paper and drew them, as they searched for the right sort of snow
by poking deep into it with a knife or a long sharpened piece of bone.
When they found the right spot, they drew a circle and began cutting out
uniform chunks of hard-packed snow, beginning at what would become
the entrance. They lifted the blocks into place, bevelling the edges, and
chinking the spaces between with loose snow.
Ken was invited to accompany the men on the next hunt. For the Inuit,
hunting is the essence of life. The animals must be revered and not offended.
Kablunat don’t understand this, the old woman told him, but Ken
was now Inuk – no longer a Kablunat. She convinced the hunters that
Ken was an exception. They set off onto the frozen sea that was covered
with a thin layer of transparent ice that moved in front of the sled teams
like a rubbery wave. Underneath them, thousands of air bubbles bounced
and rolled.
When they spotted a seal in the water beneath them they searched for
the beast’s breathing hole and waited. When the seal was forced up to
gasp for air one of the men heaved a long spear and the water stained
crimson.

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