CONTEMPLATING GLACIERS - ART EXHIBIT

Meeting Jan Kabatoff came about by the universe working, as often quoted, “in mysterious ways.” Because meeting her came from the initial mystery of my own family's history, which began tapping me on the shoulder in 2019. My Russian grandmother, although holding on to old letters written in Russian to her father, never shared that part of her history with me. The most I knew, was that she came from a "Doukhobour" family. I sought to search for the mysterious life she left behind, by buying and reading the book "Our Backs Warmed by the Sun," a book on the experience of Russian Doukhobours in Canada. I contacted the author Vera Maloff on August 28, 2023, to ask if she knew of any Doukhobour artists I could curate an exhibition for. She pointed me to Jan. That was almost exactly one year ago today.

Jan is a descendent of the ethnic group called the Doukhobors, a Spiritual Christian ethnoreligious group of Russian origin sect originating in Southern Russia. The Doukhobors, who are now mainly centered in Saskatchewan and British Columbia, immigrated by ship from the revenue made from Leo Tolstoy’s book Resurrection, first in 1899. The Doukhobors have a rich history rooted in land stewardship and a deep respect for nature. They traditionally practiced sustainable agriculture, embraced radical pacifism, followed a vegetarian diet, and regularly engaged in foraging. My grandma, whose parents immigrated to Canada from Russia in the late 1800’s, grew up on a Doukhobor farm in Saskatchewan, until meeting her husband and moving to Ontario later in life. What I quickly learned about the Doukhobor culture, was that being Doukhobor, meant being close to nature. And that, is very evident in Kabatoff's oeuvre. 

Kabatoff and her parents, who are also Doukhobor, grew up together in British Columbia. Jan often found herself making art in her youth, and when she began exhibiting her art in the 1990s, she depicted the rich history of Russian Doukhobor immigrants. A recurring motif in her artwork revolves around the notion of care, evident in her commitment to sharing stories. This care extends to conveying the narrative of the Doukhobor experience in Canada, particularly impactful given the tragic history many of them faced in British Columbia, often stemming from the impact of residential schools. Her art now also serves as a platform to give voice to the glaciers, whose rapid melting evokes a profound sense of urgency and lamentation. 

Jan grew up within the stunning landscapes of the Kootenays, and later pursued artistic endeavors in Alberta, where her journey was deeply rooted in both nature and creativity. After earning her Bachelor of Fine Arts Degree from the Alberta College of Art and Design (ACAD) in Calgary, now the Alberta University of the Arts, her artistic exploration flourished as a self-directed multi-media artist at the Banff Centre from 2000 to 2011. This period allowed her to delve into various artistic mediums, from painting and printmaking to installation, photography, and textiles. After she returned to her hometown in the Kootenays in 2011, her practice took a significant turning point. She settled into her home studio in Krestova, and found herself drawn to themes centered around the natural environment, which had always served as a wellspring of inspiration, contemplation, and spiritual renewal for her. 

Over the past three decades, her concerns about the impact of human activity on the environment have only deepened, particularly in the face of the escalating effects of global warming on glaciers. Since 2005, she has embarked on expeditions to seven glaciers across three continents, gathering data through various artistic mediums such as mould impressions, frottage, photography, and sound recordings. Her evolving perspective has led her to perceive glaciers not merely as geographical features but as sentient entities, embodying a profound interconnectedness with the natural world. Through her art, she strives to capture the ephemeral essence of glaciers, inviting viewers to contemplate our symbiotic relationship with the environment and the urgent need for collective action to safeguard our planet's future.

"Contemplating Glaciers – A Dialogue," takes a look at some key works and also new projects by Kabatoff. Her exhibition brings together science and art, as she invites viewers to view the details which characterize glaciers in their changing state.  With her installation Moulin (2009), she depicts the natural cylindrical-shaped holes that form in glaciers, which act as a drainage system. Her installation is created by hand dying fabric with varying hues of blue and hanging them in a cylinder shape which stretch from floor to ceiling, at approximately 10ft. Moulins, French for mill-wells, essentially act as a conduit for flowing water to lubricate the glacier bed. The increase in mill-wells speeds up the melting of glaciers and contributes to its retreat; they are visual signifiers for the direct impact of rising temperatures on glaciers. 

Kabatoff has a remarkable ability to convey the complexities of glacial science in a manner that is both delicate and inviting. As a curator, I have watched first-hand the reaction visitors have with her artwork - they are regularly amazed by the amount of information conveyed to them through her art-forms; Kabatoff seamlessly transforms scientific data into something deeply human and accessible, gently guiding the viewer to understand the urgent realities of climate change without overwhelming them. Her approach is not just about presenting the facts; it's about connecting with the audience on an emotional level, encouraging reflection and a personal connection to the natural world. Her use of subtle textures, flowing silk, and expansive visuals creates a space where viewers can quietly contemplate the fragility of our planet, all while being enveloped in the beauty and serenity of her art.

Kabatoff's recent additions to the exhibition—namely, the drone video footage and the large panoramic image—further deepen the dialogue on the impact of climate change on glaciers, particularly the Athabasca Glacier. The drone video, Athabasca Glacier of the Columbia Icefield, Canadian Rockies (2024), offers an immersive, aerial perspective of the glacier, capturing its vastness and the intricate patterns formed by the melting ice. This footage not only showcases the glacier's current state but also serves as a stark visual reminder of the rapid changes occurring within these frozen landscapes. By presenting the glacier from a bird’s-eye view, the video allows viewers to experience the scale of the melt, making the environmental impact more tangible. The use of drone technology underscores the intersection of art and modern technology in documenting and responding to environmental crises. This nine-minute video is highly enjoyed by audiences who feel as though they have been transported to a mini-cinema in the exhibition space.

Complementing the video, Kabatoff's Athabasca Glacier, Canadian Rockies (2024) is a large-scale panoramic photo presenting a sweeping view of the glacier’s surface, emphasizing the breadth of the landscape and the detailed textures of the ice. This image captures the glacier's dynamic features, such as crevasses, meltwater channels, and cryoconite holes, all of which are indicators of ongoing melt. The panoramic format immerses viewers, drawing them into the scene and allowing them to explore the glacier’s complexity at their own pace. It serves as a powerful contrast to the more intimate, close-up views provided by other artworks in the exhibition, like the 'Cryoconite Studies' and the 'Moulin' sculpture. This large photograph has served as a sought-after backdrop for visitors to the gallery space, both young and old, who frequently migrate to this artwork to capture a photo or 'selfie' with it.

Together, these newer works by Kabatoff enhance the exhibition’s narrative by offering diverse perspectives on the Athabasca Glacier. They invite viewers to engage with the glacier both from a distance and up close, fostering a deeper understanding of the glacier’s current condition and the broader implications of climate change. Kabatoff's integration of cutting-edge technology with traditional artistic practices exemplifies the evolving role of art in addressing contemporary environmental challenges. Through the diverse array of artworks presented, Kabatoff brings forth various manifestations of glaciers, offering an intimate exploration of their forms and textures. These pieces serve as educational tools, providing audiences with a close-up encounter of glaciers' intricacy within the confines of an exhibition space. By meticulously capturing the nuances of glacier morphology, Kabatoff enables viewers to engage with these natural wonders on a profound level, fostering a deeper connection between individuals and the environment.  

As glaciers continue to retreat at an alarming rate, the allure of last-chance tourism intensifies, drawing attention to the urgency of understanding and appreciating these disappearing landscapes. While witnessing glaciers firsthand remains a breathtaking experience, Kabatoff’s work underscores the importance of coupling such encounters with scientific knowledge. By illuminating the underlying processes and structures of glaciers, she empowers visitors to comprehend the profound implications of climate change and encourages proactive measures towards climate resilience.  Through her art, Kabatoff prompts contemplation on the dialogue between humanity and nature, envisioning glaciers as silent messengers of environmental change. Through her artwork, she asks and answers the question, “What would glaciers communicate if given a voice?” Through the lens of moulin, cryoconite, and other media, a touching narrative conveys the intense vulnerability to rising temperatures. In deciphering their message, she imparts a sense of responsibility upon her audience, urging collective action in safeguarding our planet's delicate ecosystems through contemplation and connection. - Jessica Turner, Curator