
This is laid out like a folded booklet, double click on it to read it at full size, read the "What's This Bug" page first, then mosey on down to the second image and come back up for the last page




Hibiscus and Rosehips was created to support the Lymphoma charity 'The Hibiscus Fund for Hope' with music community related events. The Hibiscus Fund supports people going through Lymphatic Cancer treatment in countless amazing ways that are not covered by the health system, to help ease the burden of what life turns into while undergoing Cancer treatment. They help provide drugs that are key to treatment that are not covered by OHIP and are incredibly expensive, along with helping single parents who suddenly find they need to have their children in day care and simply don't have the money. They make it possible for patient's families to be with them while undergoing treatment by helping to pay travel costs and lodging. They provide support in so many other overlooked areas to ease the difficulties of life while undergoing Cancer treatment.
The first event to raise money and awareness for the 'Hibiscus Fund For Hope' will be a Folk Tea Party Bake Sale in a Toronto art studio space. Musicians will strum and pluck and sing and cupcakes will be eaten with relish (Gusto! not the condiment). Some group hand clapping is fairly inevitable and locally produced crafts and jewelry and artwork will be available for perusal.
It will be a family friendly event and there will be colourful caffeine free tea and finger sandwiches with no crusts for younger tastes.
It will also be the release of the Hibiscus & Rosehips compilation Cd.
check the Cd page for more details.
Location: The Resistor Gallery
284 College Street 2nd Floor (at Spadina)
(416) 849 3975 Map
Date: Sunday April 19th 2009
Time: 1pm - 6pm
Bands Playing
Luxury Pond
“Each canister holds the remains of a human being, of course; each canister holds a corpse – reduced to dust, certainly, burnt to handfuls of ash, sharing that cindered condition with much of the star-bleached universe, but still cadaverous, still human. What strange chemistries we see emerging here between man and metal. Because these were people; they had identities and family histories, long before they became nameless patients, encased in metal, catalytic.
In some ways, these canisters serve a double betrayal: a man or woman left alone, in a labyrinth of medication, prey to surveillance and other inhospitable indignities, only then to be wed with metal, robbed of form, fused to a lattice of unliving minerals – anonymous. Do we see in Maisel’s images then – as if staring into unlabeled graves, monolithic and metallized, stacked on shelves in a closet – the tragic howl of reduction to nothingness, people who once loved, and were loved, annihilated?”
Or do we just see ourselves in another form? The byproduct of a chemical bloom of color, the matter we used to be creating a florescence marking not the end, but continuous and constant change, even after death?"