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The {MAY EDITION} of The Eye of Faith Presents


is in full swing starting

tonight at 9PM.

{and again in 2 weeks – May 26}


Be there or be square.

THE BALTIMORE HOUSE is located at 43 King William St.

Hamilton, ON.

Proudly sponsored by our friends at


featuring 60 oz pitchers of Blonde

for $14 !!!!



Leave a comment below with some songs you’d like us

or any of our initiates to sing!

Until next time,





WAR? What is it good for?


Those are the words we have stuck in our head, as of late. With the world in such a dizzy spell of violence and outrage, its hard to believe in a world where war doesn’t exist. But, like the faithful dreamers we are, we will have hope.

War has been around for centuries, and probably since the dawn of man; and yet between the moments of fiery battle and angry destruction, we somehow all find moments of tranquility and joy.

We uncovered a huge collection of beautiful war time photography dating to World War 2 that capture brilliantly and honestly those moments of humanity that really make us the grand creatures we truly are destined to be.

There are smiles, and laughs, and plenty of love and friendship – so much so, that it becomes heartbreaking to imagine the lives of these young boys, and the persistence of wondering whether or not they even survived the tragedies that awaited them.

Here is a look at some of the mysterious moments captured that we now possess to share with the world never to be forgotten.

So, there’s an itty bitty taste of what our collection contains! You’ve seen other unique photos from our collection before, and many of them have been shipped off to museums and/or universities where they will be safely stored and studied for their remarkable sense of composition, as well as place and time.

We are so proud and honoured to have these vintage snapshots as a part of our brand, and I think it is so important for us to keep obtaining these and other photographs, as so these moments will not be lost in time, and the artists, though unknown, can retain some respect and admiration for their spur of the moment creative thought and action!

You’ll probably see a few of these posted on our Etsy {SHOP} over the next few days, so please check it out! Vintage vernacular photographs are one of a kind, and is an affordable way to start collecting art! You can guarantee these pieces will start a million conversations, which is just another aspect that is incredibly enjoyable when collecting vintage snapshot photography.

Not only are they art, but they are a piece of history! So head over now for a peak . . . 



[ Remember that code: XIXIXI gets you 25% off at the checkout ]

Until we meet again,




+ + + {theEye} + + +



Conversations with Artist Cathy Busby

Conversations with Artist Cathy Busby 

Art, in our eyes, is a utopian platform for discussion, and is the perfect platform for the metamorphosis between {Past}, {Present}, and {Future}. Often times, art speaks to all three. By all means, Canadian artist Cathy Busby‘s art illuminates these dimensions simultaneously creating complex statements on history, society, and life.

We are honoured to feature a conversation with this talented artist by our equally talented correspondent John Wisniewski, so please enjoy!


JOHN: Could you tell us about your installation “Steve’s Vinyls”? What inspired this project?

CATHY: Steve’s Vinyl was an art installation and performance giveaway of the nearly two-hundred albums left to me by my late brother, Stephen Busby. Steve was a gay man who died of AIDS-related illness. I had kept this eclectic collection of record albums in cardboard boxes for many years, neither playing nor looking at them. Gradually it occurred to me to stage an art event to appreciate and disperse them. It was a way of remembering him publicly and activating his record collection as music and graphics, dispersing the albums into the Halifax community.



I knew the Khyber Centre for the Arts would be the best place in Halifax to host this event with its history of art installations, bands and performances since the 1990s. I planned Steve’s Vinyl for Dec 3, 2011 to coincide with World AIDS Day. It was a tribute to Steve and his varied tastes in music, men, and identities and a way of activating the collection as music and graphics. The collection became a time machine, a stimulant of memory and pleasure.

I colour-coded the albums, putting together, for example, the ones with a lot of yellow or pink on the covers, and made floor-to-ceiling stripes of these colours to frame the corresponding albums. This made the 200-or-so albums seem to fill this quite-large space. I carried over the colour-coding to make section breaks in the book, and to determine the colour scheme for the cover. Also, once people choose an album, they left drawings and notes on the wall in its place.


These albums were further brought to life by the party with dancing and the performance of the MC in characters from the albums: Ken Hughes, the leather man from the Village People, Bruce Springsteen and Janis Joplin. The hype for the event came from the lottery-style draw where the first number could choose from all the albums. People were excited to have their number called, and in the end, everyone was a winner.


JOHN:  What project are you currently working on, Cathy? Maybe you could tell us about any future plans?

CATHY: There are a few things coming up: My work, Pickled Art Centre Opening (2008) with Jinkelong, a large vinyl work, opens as part of (Da Bao) (Takeaway) at the Surrey Art Gallery on Jan 25. I’ll be featuring my printed matter at the LA Artist Book Fair Jan 30 – Feb 2 and I’m doing a page-work for the Capillano Review. Then in April my work will be featured in a show of politically-engaged artworks at Malaspina Printmakers, Vancouver, curated by Justin Muir. In June, I’ll be showing in Berlin.


One of the things I’m most excited about at the moment is a project I’m working on with LA based artist Bridget Kane, called Debt and Hope. It came about at a seminar about the problems of post-secondary art education and she, as a recent graduate blurted out that she was looking for hope in all of this and was $120,000 in debt. Of course many people are in debt these days, but this incident made me want to commemorate this situation, this moment we’re in now, so I asked her if she’d be interested in collaborating on an artwork about this. Since then, we’ve had an extensive email exchange and agreed that this correspondence would be the resource for our artwork, which will be presented at Assembly with support of the MAK Center in LA. I gave a reading from our correspondence at the Can-zine Broken Pencil Festival last October and this was the first public presentation of our work, I think it fueled the fire for both of us. The date for the actual installation is still to be determined, but will likely be sometime in 2014.

CATHY: Whom are some artists who have inspired you?

JOHN: About artists whose work is important to me, AA Bronson is an artist who has completely remade himself after the death of his two General Idea partners. Now he connects and collaborates with various artists depending on the project and does sexual celebrations in ritualized form, documenting the whole process, such as in he and Peter Hobbs book, Queer Spirits (2012). He is making hope and magic tangible, creating community wherever he goes – for example being the founder of both the New York and LA Art Book Fairs.

Since the 80s, I’ve appreciated the Guerrilla Girls and their feisty interventionist work, and then there’s Barbara Kruger’s big, biting pithy one-liner billboards and room wraps that have always seemed to me to stand up to mainstream marketing practices and call their bluff.

In another world of practice, Elaine Ho who founded Homeshop in Beijing and kept it going for 5 1/2 years, until the end of 2013. During the 2008 Olympics, she created an alternate art-hub, celebrating, for instance, all of the losers.

CATHY: Cathy do you collect activist posters? Why is this artwork important to you?

JOHN: I have some activist posters collected casually when I was making them myself in the 1980s . However, my substantial collection of posters comes from 2005 – 2007 when I collected neighbourhood posters in North End Halifax. These were the substance of an exhibition at the Emerson Gallery in Berlin (2006) and at Art Metropole in Toronto (2007). Each year I compiled them into limited edition  artist books, volume one and two (edition of 10). They are a portrait of the Halifax community and include posters for performances, protests, other social justice activities and gatherings of various description, all past-due and non-commerical. Sometimes I’d dig down through layers on the utility poles and find ones from events from past years. In this sense the art project of collecting and assembling was an archeology of sorts and I felt it was an important history to document, one that was so ephemeral in nature that it was often lost. The National Gallery of Canada purchased both volumes, so now this history is preserved.


CATHY: Could you tell us Cathy about your work “We Are Sorry” and how the project began?

JOHN: I’ve done three large versions of We Are Sorry; first in Melbourne Australia (2009), then in Winnipeg (2010), and most recently in Vancouver (2013). The motivation for the project came from my work with public apologies generally. Then in 2008 the federal government apologised in Canada and Australia to their Aboriginal peoples for the Indian Residential School system in Canada and the Stolen Generations in Australia. These systems are now recognized to be responsible for generations of disrupted and broken lives.


I often commemorate important but fleeting media moments in my work. The Laneway Commissions in Melbourne accepted my proposal to make large sign vinyl panels which were installed on the exterior of a power substation . The next year I was invited by the Truth and Reconcilliation Commission of Canada to do a similar project in conjunction with their launch in Winnipeg. At this point AA Bronson of Printed Matter in New York invited me to make a pamphlet in their Artists and Activist series, and this accompanied the Winnipeg project.

Since 2008, despite the inherent promise of the apology to respect Aboriginal people, much disrespect has been demonstrated including severe budget cuts to many Aboriginal programs addressing health and social conditions. So I made a commemorative billboard, Budget Cuts in 2012.



Then in 2013, the sign vinyl of We Are Sorry, Melbourne Laneway Commissions became the raw material for the work I contributed to Witnesses: Art and the Canadian Indian Residential Schools last Fall. I fitted a piece from it for the Koerner Library at the University of British Columbia to fill the wall space available, with the words WE ARE SORRY centred at the bottom. The rest of the two large panels were cut into about 1000 pieces and these were available for visitors to take. The idea was, and I’m quoting myself now from the accompanying pamphlet: “…I like the idea of many people dispersing this work and that pieces of it find their way into homes and offices where it can be a reminder of the need to take responsibility for a justice-based co-existence / relationship between Aboriginal and settler peoples in Canada, which was the intent and the spirit of the 2008 apology…” Almost all the pieces were taken during the exhibition. It’ll be interesting to see them and hear stories about where they’ve ended up.

Thanks so much for this interview. It’s been great talking with you about my work.


If you enjoyed this, you might also enjoy our conversations with:

Chad Channing ( Drummer for ‘Nirvana’ & ‘Before Cars’)

Greg Prato (Author & ‘Rolling Stones’ Editor)

Donald Rizzo ( Artist )

Allyson Adams (Author & Daughter of Actor Nick Adams)

Lurker Grand (Author of “Hot Love: Swiss Punk + Wave 1976 – 1980” )



 Until next time,


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Manic Monday: Hysteric for Charcot’s Mysterious Medical Muses

Charcot - Frighteningly Real

Charcot {29 November 1825 – 16 August 1893}

Remembered today as a leading mind in the fields of neurology and psychology, Jean-Martin Charcot‘s legacy is as much in his strange medical photography, as his famous pupils (Sigmund Freud and Georges Gilles de la Tourette), and important breakthroughs in the field.

Taken for research purposes, these bizarre medical photographs were used to document the various affects and disorders of the 19th century’s most scandalous disorder – Female Hysteria.



Charcot- Say Hello To My God- Science and Faith - Art and Reality- Vintage Style

For thousands of years, hysteria has plagued the medical community as a bit of a mystery. Known as “the wandering womb” by Hippocrates since the Ancient Greeks, the known method for treatment was almost always pregnancy until the 19th Century when a vaginal massage and/or stimulation using a vibrator or water hose administered by your family doctor was the modern approach.

Charcot, however, was interested in the minds of these plagued women, and hoped to use one of technology’s latest advancements, photography, to aid his research.

Charcot- vintage medical photography- wild history

Charcot - The Ladies - Magic Medical Mystery (x4)

Charcot - Many Faces and Treatments - Art and Medicine

What resulted is a macabre collection of photographs that capture terrifying and strange lost moments between doctor and patient. He took these photographs over the course of many years with hundreds of different women, as well as men (murderers and convicts) to decipher the physical codes of the world’s most confusing ancient tradition – madness.

The Eye of Faith- Charcot - Strange Behaviour

Charcot - Twisted Sister

Charcot - Vintage Style - Design Wise - Images - Man Alive

Although some of his attendants and colleagues who describe these photography sessions as highly staged, with Charcot demanding perfection of the moment that usually occurred back at the hospital, beyond the truthful eyes of the 19th Century camera. He painstakingly ensured the detail captured in each photograph was true to, what he thought, was the true depiction of the disease and its many characteristics.

Charcot- Master Mystery Tour- Vintage Medical Photography- Hysteric


The photographs are very specific and plain. No out of element lighting techniques or off angles – just the subject, and their explicit diagnoses. What came through is a very disturbing display.

The photographs were used to illustrate the true nature of this neurological disorder to a society fascinated by the elaborate and unusual. While many of the women were unable to be treated for their “problems”, they remain unforgettable figures of our modern life.

L0034940 Series of three photos showing a hysterical screaming woman

Today, they are as awesome and curious as ever, with hardly anything in our contemporary culture to compare these majestic and mysterious medical muses.

We really wanted to share. Don’t get hysteric!

Until we meet again,



Like us on Facebook and Follow us on Twitter
{The Eye of Faith}

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EOF- Make Love Not War 1960s War Protesters

“Hey! Hey! LBJ! How many kids did you kill today?”

{ Artist Unknown. Vietnam War Protesters; New York City, circa. 1960s }

+Rebel Society+


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Slavery in the WhiteHouse!? Ci.

We have always been on the Michelle Obama bandwagon,  and we’re not even American! We don’t care where she’s taking us, but as the American Presidential Elections draw near, it’s the latest controversy which has us nostalgic for the days of interest over her trim arms, and healthy food initiatives.

Appearing on the cover of the August 2012 issue of Spanish magazine, Fuera de Serie, is a nude portrait of American First Lady Michelle Obama.

Well to be clear, appearing on the cover of the August 2012 issue of Spanish magazine, Fuera de Serie,  is an image by Artist Karine Percheron-Daniels  with First Lady Michelle Obama’s face super imposed over a pre-exsisting Marie-Guillemine Benoist‘s painting “Portrait d’une négresse.”

Benoist painted the portrait in 1800 as a social commentary on France’s sexism and racism during the 19th century. Historians also view the piece of art as the beginning of the country’s feminist movement.

So perhaps the comparison is more fitting than not?  Albeit a number of sites have called the cover inappropriate because it depicts the First Lady in imagery closely associated with slavery.
It wasn’t too long ago that the Benoist painting was used as a reference for a shoe campaign by red-souled Christian Louboutin in 2011.  So we ask what’s more shocking? Using the image of a ‘slave’ to push politics, or sell shoes?

Also, this wouldn’t be the first piece by the artist to cause such a scandal by Karine Percheron-Daniels.  She has done previous portraits of Princess Diana, Audrey Hepburn, Eva Peron, Albert Einstein, and even Barack Obama and Michael Jackson in the buff.  Somehow this latest nod to the first lady seem’s to of launched the artist into mainstream conversation.

After the controversial piece hit the net, the artist released a statement via their website to address any haters or misunderstanders, Saying;

“If any of you have found this piece of art insulting I would like to say that my GENUINE intention was never to chock or upset anyone.This has COMPLETELY got lost in translation. I created this picture as part of a series of other famous  nudes.  As an artist I only paint and create pictures of people I admire and feel passionate about. Michelle Obama is one of these people. In my eyes , the picture I created here is of a beautiful woman with a beautiful message : The first Lady of America  in the first time in history is a black woman who proudly and confidently displays her WOMANHOOD (the nude) her ROOTS (the slave)  and her POWER(the First Lady of America embraced by the American flag). This picture, is a celebration of EVERYTHING GOOD, it is a celebration af achievement and in my opinion is not a racist slur. I am not a racist: I admire people regardless of their colour and this picture was meant to be a tribute….totally lost in translation. With my art I try to show beauty  NOT DIRT.”

Here at the Eye of Faith, we can appreciate the historic references for all these images, but when it comes to this one of the First Lady… we are left wondering, what would Michelle Obama say?

{The Eye of Faith}

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Beautiful Dreamers: Back to the Garden With Lord Byron + Dries Van Noten Menswear Spring/Summer 2014

“Death, so called, is a thing which makes men weep, And yet a third of life is passed in sleep.”

-Lord Byron: George Gordon Byron {6th Baron Byron}

“I love not man the less, but Nature more”

-Lord Byron: George Gordon Byron {6th Baron Byron}

Lone, wild, and strange, he stood alike exempt

From all affection and from all contempt: (I, XII)[2]

“The Corsair” (1814) by Lord Byron

–+Lord Byron {Jan 22 1978 – April 19 1824}+–

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FOR SALE: “The Scream” by Edvard Munch

So it seems Sotheby’s has a true art icon up for grabs! On May 2, the New York City auction house will be auctioning Norwegian expressionist Edvard Munch’s iconic “The Scream” which is being estimated to fetch at least $80 million!

The artist made four versions of the painting that feature a screaming figure standing on a long bridge. The painting is characterized by frightening, almost vicious, swirls of colour that seem to represent the artists’ anxiety and emotion. The version up for grabs is from the private collection of  Norwegian businessman, Petter Olsen, a friend and patron of the troubled artist.

“The Scream” was painted as part of the artists’ series The Frieze of Life that delved into an odyssey of love, death, fear, anxiety, and melancholia.

Growing up in rural Norway with a strict religious father, Munch describes his childhood as the seeds for his adult turmoil-  “”My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born.”

In art school, the talented youth would face further criticsm for his unusual style. One critic noted Munch’s work as “impressionism carried to the extreme. It is a travesty of art.” (Holy, RUUUDDDE?!)

That’s just how the story seems to go for some of the most talented minds. Now, we can understand the ferociousness of Munch’s brushtrokes, and appreciate the vibrating core of each of his subjects. Perhaps, we’re all just a little more frustrated and mad ourselves that we can more and more connect with Munch’s pains of productivity and social anxiety.

Social Anxiety: Time Magazine Cover, March 1961.

The life of Edvard Munch is some of the most fascinating subject matter you might ever come across. Happily, I had the opportunity to see “The Scream” in person, and even at that young age, the fire within the artist burned deep in my own soul, and I have always admired the tortured artist since.  Munch’s work is admirable for the rawness he brings to his work, a true channelling of emotions, and the simple yet frightening visions he was able to conjure.

“The Hands” by Edvard Munch (1893).

Some lucky millionaire out there is going to own a true art idol and Peter Olsen, the current own of the painter, plans to open a new museum/art centre/hotel at his farm in Norway.

Best of luck, and stay sane!

[TIME Magazine]


-The Eye x

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