An edited version of this article was published in Apt613.ca
trace is a unique inter-generational immigration experience fashioned as a musical work: from prelude, through five movements, to coda. Written, composed and masterfully performed by Jeff Ho it traces three generations of mother’s whose ambitious, gutsy journeys and sacrifices forge their family narrative.
Photo Dahlia Katz
Ho, with enigmatic poise travels time and location bringing to life three powerful characters: his great-grandmother, grandmother and mother. It’s an odd yet compelling contrast to witness this male actor/pianist animating the voices of these fearless women but it sits right and accentuates the emotion of the piece. The dialogue is exclusively that of the women while the contributions of male counterparts – Ho included – are interpreted via a pair of upright pianos to either side of an otherwise bare stage. The sparseness of the set – with instruments and clothing on creative double-duty as props – allows space and simplicity to further heighten the raw, emotional complexity of the lives which inhabit it.
Over the course of 90-minute, Ho moves from one instrument to the other “playing” conversational episodes that become progressively intertwined. To be fair, it demands commitment to initially follow the shift of character, location and time and a set-up during the Prelude would not go amiss. But this musical construct, with Ho’s gift as a composer and pianist and his ability to plays out his bloodline is an unquestionable success.
The portraits sketched out are vivid. His aged chain-smoking great-grandmother, a self-proclaimed mah-jong queen who fled Japanese-invaded China to Hong Kong and rails against her current limitations. His grandmother’s tireless struggle to better her family despite the crippling debt incurred by her mother-in-law’s gambling and other cruel twists of fate. His own mother’s search following the collapse of her marriage for a “better life” and opportunities for her sons in in Canada. Amid the poverty, betrayal and despair there is an ever-present humour and as Ho moves through pools of illuminated “tiles”, subtly shedding blazer, vest, then shirt, he delicately reveals the inter-connected, shared nature of each woman’s personal experience.
There is a tenderness and attention to detail throughout – whether in ham-fisted portrayals where he breaks in to Chinese or in Ho’s sleight of hand as cigarettes appear from nothing – that draws one deeply in to this familial tapestry. Ho’s acting finesse and his accomplished skills as a musician weave an emotional backdrop that becomes utterly entrancing. Methodically, carefully and authentically he slots stories, characters, cultures and timelines next to one another building to a crescendo immigrant song that is equal parts pain and glory with room for forgiveness and understanding. trace is an exquisite ode to matriarchs, immigrants, families and fearless “women who do what must be done.”
trace
National Art Centre
1 Elgin
Until Nov 23, 2019
Coupland has created a garden of delightfully colourful sculptures by scanning the heads of random Canadians in nine cities across Canada, including his hometown Vancouver and here in Ottawa. The digital files were 3D printed with the resulting biodegradable plastic casts warped, brightly painted and assembled into a stunning entourage. The massive work, created in partnership with La Maison Simons, is a collection of 1000 sculptures ranging in size from 5cm to almost a meter in height covering an allotted 20×20 feet. Certain stylized heads were named by genre, the tall willowy pieces being “asparagus heads”, the flattened ones “pancakes” and voyage around the work to find the “Gold Mine”. The longer one spends with the piece the more that is revealed. Many sculptures reside on vases from Coupland’s own home. It remained unanswered if the vessels are inanimate reflections of the human vessel they support or simply a found-use for the beautiful things acquired by the avid collector.
The unveiling was impeccably hosted with the sociable Coupland approaching and introducing himself to many. Equating the collaboration and teamwork involved to a traveling circus, Coupland spoke of visiting cities “Usually on a Friday, like carnies arriving in town” where a true cross section of Canadian’s: toddlers, youth, professionals, and seniors lined up to hold a pose for the 60 second long scan. Though he doesn’t recall names each sculpture evokes a memory of the individual’s “aura” – “everyone shines from within”. “Human beings are beautiful”, said Coupland “Which I never understood before this project.”
This latest success is down to tireless individuals within the local community that brought vision and gave much of their personal time towards seeing this historical building preserved yet renewed to serve the current urban landscape. There was considerable protest as is common in Sandy Hill towards developmental change so it was moving to listen in to the planning committee this morning and hear local voices speaking clearly, factually and strongly in favour of change, including 
Carnival is held at the Sandy Hill Community Centre 250 Somerset St E with plenty of indoor and outdoor activities.
After meeting Eric, a supportive and accommodating partner, who sees her as “the rock star that I am” there follows an unexpected pregnancy that leads “the blue”, her sky-high Shangri-La, to be replaced by “the grey” visual feedback of an unmanned drone pointed directly downwards over a faraway land. Relegated to flying drones her cockpit is now an airless trailer where the solo fly girl is part of a team that decides the fate of those below though it is her own white-knuckle hand that controls the trigger once judgment is made. The threat of imminent violent reprisal is gone but where she once fled an airstrike now she must linger over the combat zone surveying the horrible writhing outcome of strikes.
Sandy Hill Seen 