Showing posts with label public art. Show all posts
Showing posts with label public art. Show all posts

Saturday, April 18, 2026

My Whale Murals- Kitsilano

Whale of Tale - Mural by Tina Winterlik aka Zipolita 

 

Tina Winterlik (Zipolita) – Artist Bio

Tina Winterlik, also known as Zipolita, is a Vancouver-based artist, photographer, and storyteller whose work lives at the intersection of resilience, nature, and human connection. With a background in digital imaging, photography, and social media storytelling, Tina has spent years documenting both beauty and truth—often turning her lens toward the overlooked, the misunderstood, and the deeply human.

Her creative path has never been separate from her lived experience. Through personal challenges, shifting economies, and a changing city, Tina continues to create with what is available—transforming simple materials into meaningful expressions. Whether through writing, photography, or painting, her work carries a consistent message: that even in difficult times, there is still connection, still kindness, still something worth protecting.


On the Murals – A Story from the Seawall

Yesterday reminded me why I keep going.

Lately, I’ve been writing about difficult things—heavy things. But out there, on the seawall, something entirely different happened.

Person after person stopped to talk to me. Not just passing by—but really stopping. They told me how much they loved the murals. How they look forward to seeing them. How they noticed when one had been damaged. How sorry they were that someone painted over parts of them… even writing something as harsh as “Nuke the whales.”

That one hurt.

But what stayed with me more was the kindness that followed. The words people took the time to say. The care. The encouragement. Honestly, it felt overwhelming—in the best way. Like medicine I didn’t even realize I needed.

If I ever feel low again, I know where to go.


There’s one piece in particular—the old log on the beach.

Last year, it was almost chopped up. I remember being there when people found out. There was a real sense of loss, like something important was about to disappear. But that log isn’t just driftwood—it feels like an old warrior. It has held its place through storms, tides, and time. It protects more than it harms. It belongs there.

And now, it holds art too.


One man who stopped to talk told me his son used to be a tagger. That could have been a tense conversation—but it wasn’t. It turned into something thoughtful and real. We talked about how expensive spray paint is, and how toxic—not just for the environment, but for the people using it.

We even talked about artists like Emily Carr and Vincent van Gogh, and how in their time, they were exposed to harmful chemicals in their paints—things we understand differently now.

It made me feel grateful for my own process.

Most of my materials come from simple places—$2 bottles of paint, brushes from Dollarama. For about $20 and a few hours of work, I painted a whale that’s still in progress… but already alive in its own way.

There’s something freeing about that. No gatekeepers. No expensive setup. Just time, effort, and care.


Some of the murals are in places that are hard to reach—ledges I have to carefully climb up and down. It’s not easy. But maybe that’s part of why they’ve lasted.

From April through summer, into winter—through wind, rain, and salt air—they’ve held up. Not perfectly, but beautifully. There’s wear, yes. But there’s also strength in that. Like they’ve lived.


Yesterday reminded me of something simple but powerful:

People care.

Not everyone—but enough.

Enough to stop. Enough to speak. Enough to see.

And right now, that means everything.


Follow My Work

If you’d like to see more of my art, writing, and ongoing projects, you can find me here:

๐ŸŒฟ Blog (Personal stories, murals, reflections)
http://tinawinterlik.blogspot.com

๐ŸŒŽ Adventurez In Mexico (Travel & culture)
http://adventurezinmexico.blogspot.ca

๐ŸŽจ Zipolita (Art site – in progress)
http://zipolita.com

๐Ÿ“Œ Pinterest (Visual inspiration & collections)
https://www.pinterest.com.mx/zipolita

๐Ÿฆ Twitter / X (Updates & thoughts)
https://twitter.com/zipolita

๐Ÿ“˜ Facebook (Community & posts)
https://www.facebook.com/pg/zipolita

๐Ÿ’ผ Online CV (Work & experience)
https://zipolitazcv.blogspot.com


Thank you for being here, for stopping, for seeing, and for caring. It means more than you know.


Tuesday, November 4, 2025

Public Art or Public Harassment? When Words in Public Space Hurt

 ๐ŸŽจ Public Art or Public Harassment? When Words in Public Space Hurt

Several times over ๐ŸŒธ spring, ☀️ summer, and ๐Ÿ fall, I ride my bike ๐Ÿšด‍♀️ from Kitsilano to Jericho. It’s a beautiful ride — cherry blossoms ๐ŸŒธ in spring, golden leaves ๐Ÿ‚ in fall — and I soak in the sights. I walk my dog ๐Ÿ• and cat-sit ๐Ÿˆ for survival, unhoused ๐Ÿš️, but I treasure these moments of freedom and calm.

But then… there it is. That ⚠️ sign with bizarre, disturbing messages: “she does pills,” “she doesn’t listen,” and more ๐Ÿ˜ณ. It bears the Vancouver Biennale’s name ๐ŸŽจ, but this is not art in any comforting sense. It feels like harassment in public.


Imagine:

  • You are grieving ๐Ÿ’” a loved one and take a peaceful ride to clear your head. You’re trying to feel a little joy amidst the pain. You glance up at this message board and read words like “she does pills.” The calm shatters. ๐Ÿ˜ข
  • A mother ๐Ÿ‘ฉ‍๐Ÿ‘ง, already stressed, notices her child struggling with self-harm ⚠️. She sees the message “she doesn’t listen” and her chest tightens with guilt and fear ๐Ÿ˜”. She feels powerless, ashamed, and alone.
  • A neighbor ๐Ÿ‘€, simply enjoying a sunny day ☀️, passes the board and can’t help but feel unease ๐Ÿ˜Ÿ. Something meant to inspire thought instead spreads discomfort and anxiety.

๐Ÿ’ก Words have power. Public messages, even “art,” are not neutral — they carry weight, affect moods, trigger memories, and can worsen mental health crises.

And here’s another reflection: why do we allow this? Why do we tolerate a system where artists often depend on wealthy patrons ๐Ÿ’ฐ or corporate funding, and vulnerable members of the public must absorb whatever bizarre “creativity” those rich people impose on public space? This is yet another reason why Basic Income for Artists ๐Ÿ’ต๐ŸŽจ matters — so that creators can focus on uplifting, meaningful, inclusive art rather than being forced to produce work to please the rich, and so the public isn’t subjected to harassment disguised as art.

I can’t help but ask:

  • How does this affect children ๐Ÿšธ riding their bikes or walking home from school in the neighbourhood?
  • What responsibility do artists ๐ŸŽจ and public art programs have to ensure messages don’t harm vulnerable people?
  • Can art be provocative without causing distress, harassment, or fear? Where is that line drawn?

๐Ÿ–ผ️ Artwork: Vancouver Novel
๐Ÿ‘จ‍๐ŸŽจ Artist: Joรฃo Loureiro (Brazil)
๐Ÿ“ Location: 3474 Point Grey Road, Vancouver, BC

I hope Vancouver Biennale clarifies whether this is the artist’s intent or if the piece has been abused. Either way, it raises important questions:

  • How do we protect our public spaces ๐Ÿ™️ from harm?
  • How do we ensure art uplifts ๐ŸŒŸ, rather than harasses ❌, the community?
  • And how do we respond when something meant to inspire ✨ instead disturbs and isolates those already vulnerable?

๐Ÿ’ญ Calls to Reflection

  1. Have you ever encountered words in public ๐Ÿž️ that hurt or unsettled you unexpectedly? How did it make you feel?
  2. How might children ๐Ÿ‘ถ/teens ๐Ÿง‘‍๐ŸŽ“ interpret messages like “she doesn’t listen” in their daily environment?
  3. How can communities ๐Ÿค, artists ๐ŸŽจ, and public programs balance creativity with empathy ❤️ for vulnerable people?
  4. Should public art ๐Ÿ›️ be monitored to prevent harassment or harm ⚠️? How would that work?
  5. How do we respond when a space meant to inspire ✨ instead triggers pain ๐Ÿ˜ข, fear ๐Ÿ˜จ, or guilt ๐Ÿ˜”?
  6. How could Basic Income for Artists ๐Ÿ’ต๐ŸŽจ change the art we see in public, making it inclusive, thoughtful, and uplifting rather than a reflection of wealthy whims?

Public art should invite participation, reflection, and joy ๐ŸŒŸ — not confusion, distress ๐Ÿ˜Ÿ, or harm ❌. With better support for artists and thoughtful oversight, perhaps our shared spaces ๐Ÿ™️ can truly inspire instead of disturb.


Tuesday, September 23, 2025

Who Really Gets Public Art Grants in Vancouver

 ๐ŸŽจ Who Really Gets Public Art Grants in Vancouver?

If you’ve been an artist in Vancouver for decades, you know the heartbreak ๐Ÿ’”: opportunities seem to go to the same people, the same networks, the same “friends of the system.” Talent and vision should matter—but often, it’s who you know that counts.

Public art is supposed to reflect all of our city—its cultures, stories, and communities. But if the same few artists are chosen repeatedly, whose voices are missing?

It’s time to ask hard questions and demand real solutions.


❓ Hard-Hitting Questions

  • Who decides who gets funding? Are the rules clear and public?
  • Are the same networks winning repeatedly? How often?
  • How much funding goes to local Vancouver artists vs. outsiders?
  • Where are Indigenous artists in these projects? Especially on unceded territories.
  • Are youth and elderly artists represented? Are marginalized voices included?
  • Is the selection committee diverse? Or just “the usual suspects”?
  • Are repeat recipients getting bigger grants than newcomers?
  • Do audits exist? Who checks fairness?
  • Are applications accessible? Can someone without a “network” compete?
  • Does the public get a say? Shouldn’t community spaces reflect everyone?
  • Are mentorships available for underrepresented artists?

๐Ÿ’ก Ideas & Solutions for Fairer Public Art

  • ๐Ÿ”„ Rotate panel members regularly to avoid conflicts of interest.
  • ๐Ÿ“Š Public funding records: make grant lists with amounts awarded easy to see.
  • ✊ Equity quotas: set minimum representation for Indigenous, local, and culturally diverse artists.
  • ๐Ÿ™ˆ Anonymous applications: judge ideas, not networks.
  • ๐Ÿ‘ฉ‍๐ŸŽ“ Mentorship programs: help youth and new artists compete.
  • ๐Ÿšซ Limit repeat winners to open doors for more artists.
  • ๐Ÿ˜ Community input: involve residents and local stakeholders in public art decisions.
  • ✅ Regular audits: check for bias in funding.
  • ๐Ÿ’ป Accessible applications: reduce bureaucracy to include smaller artists.
  • ๐Ÿ“ฐ Public reporting: show demographics, locations, and how funding is spread.

๐ŸŒฑ Projects to Unite Youth & Elders

Art can also heal communities broken by addiction, isolation, or intergenerational gaps. Here are some project ideas:

  • ๐ŸŽญ Intergenerational Theatre: Youth and elders write & perform short plays together, sharing life stories and lessons.
  • ๐Ÿ–Œ Mural Co-Creation: Youth and elders collaborate on murals in schools, parks, and transit areas.
  • ๐Ÿ“ธ Photo Story Projects: Elders share their memories; youth document them visually or through social media.
  • ๐ŸŽถ Music & Song Workshops: Mix traditional songs and contemporary beats, encouraging cross-generational collaboration.
  • ๐ŸŒฟ Community Gardens & Art Spaces: Create murals, sculptures, or installations in gardens, allowing young people and elders to work side by side.
  • ๐Ÿ“ Writing & Memory Circles: Youth and grandparents co-write stories, poetry, or zines about community life.

These projects not only build bridges between generations, but also give everyone a voice, opening paths for creativity, understanding, and healing.


๐Ÿ’ฌ Final Thoughts

Artists create the soul of a city ๐ŸŽจ๐Ÿ’›. But when funding favors friends over merit, decades of talent go unseen, and our public spaces fail to reflect all of us.

It’s time to demand transparency, fairness, and equity. Public art in Vancouver should belong to everyone—not just the “usual circle.”


Saturday, September 6, 2025

Sen̓รกแธตw Rising: Vancouver’s 11-Tower Indigenous-Led Development

๐Ÿ—️ Sen̓รกแธตw Rising: Vancouver’s 11-Tower Indigenous-Led Development

If you’ve walked near the south end of the Burrard Street Bridge recently, you’ve seen it: towers climbing into the sky, cranes moving fast, and a project that will reshape the waterfront. This is Sen̓รกแธตw, the 11-tower development led by the Squamish Nation in partnership with Westbank — a landmark project in Vancouver’s history. ๐ŸŒฟ

What Is Sen̓รกแธตw? ๐Ÿค”

Sen̓รกแธตw is being built on land that was once a 34-hectare reserve, historically a hub for Indigenous trade, social connection, and culture. The Squamish Nation is reclaiming and revitalizing this land through a mix of market-rate and affordable rental housing, community amenities, and public space.

  • ๐Ÿ  Total Units: Approximately 6,000 rental apartments
  • ๐Ÿ’ฐ Affordable Units: Around 1,200 below-market rentals
  • ๐Ÿข Towers: 11 in total, ranging from 12 to 58 storeys
  • ๐Ÿ“… Timeline: Phased construction began in 2022, with first residents expected in 2026, and full completion projected by 2030

A Community in the Sky ๐ŸŒ†

Sen̓รกแธตw is more than apartments. The towers will include commercial spaces and over 7.5 acres of public space by the water’s edge. It’s designed with sustainability in mind — including a net-zero carbon goal and a 10MW district energy system using waste heat from nearby infrastructure. ⚡

The design also celebrates Squamish Nation heritage, incorporating cultural elements and public art to reflect their story, past and present. ๐Ÿชถ

Construction Progress ๐Ÿšง

  • Phase 1: The first three towers are already rising, with hundreds of units taking shape. Tower 1 has reached the fifth floor, Tower 2 the ninth, and Tower 3 the 17th.
  • Phase 2: Excavation and construction are set to continue, moving the project closer to its eventual 6,000-unit goal.

Why It Matters ๐ŸŒ

Sen̓รกแธตw represents a huge step in Indigenous-led urban development — reclaiming ancestral land while meeting Vancouver’s growing housing needs. At the same time, it raises questions about density, affordability, and the impact on the surrounding neighborhoods. ๐Ÿ™️

Whether you’re excited or uneasy about the changes, one thing is clear: the skyline and the waterfront of Vancouver will never look the same.

Reflective Questions ๐Ÿ’ญ

  • How does seeing towers rise on reclaimed Indigenous land make you feel? ๐ŸŒฟ
  • What role should heritage and culture play in large urban developments? ๐Ÿชถ
  • How can cities balance housing needs with affordability for locals? ๐Ÿ˜️
  • What memories of this area will be lost or preserved as Sen̓รกแธตw grows? ๐Ÿ“–