Article
Entertaining Elgin - Sara Westbrook
Submitted by David J. Ferguson
At the young age of three, Sara used a carrot for a microphone and a table as a stage, from which the budding performer announced to family, friends and the world that she was going to be a singer. Sara recounts, “Every time I would sing a song I would start it about six times, as I wanted to get it just right.” A deep rooted desire motivated the youngster at this early age, knowing that singing would be her life but unaware how it would evolve. One certainty was her good fortune to be blessed with a wonderful, supportive mom, who saw and nurtured Sara’s determination and passion.
Sara was destined to follow along the path of her family lineage. “My voice came from Grandma (her Dad’s Mom), as she was a singer; another musical gift was from my Grandfather, a piano tuner for Mr. Dressup.”
The bright and cheerful young talent continued to perform—at festivals, star searches and concerts. At the age of eleven she was elated with her first paying gig singing, acting and dancing at a dinner theatre in Harrietsville, to the delight of the audience.
Life’s puzzle pieces were fitting together nicely for Sara, until the divorce of her parents. That traumatic event caused immense pain. However, out of that dark cloud came a silver lining when, after a performance, Sara was approached by a school principal asking if she would be willing to sing and share her story with students. The encounter planted the seed for the programs she would come to develop for youth.
Sara’s world tumbled again with the death of her father, a time so painful that her love and enjoyment for singing and speaking became nonexistent.
Six months had passed when her mom presented an idea about writing a song for Brenda Houman, an acquaintance suffering from early stage Alzheimer’s disease. After much deliberation, Sara met Brenda and eventually went on to co-write “One More Memory”, which debuted on World Alzheimer’s Day 2004. The single became a gold record.
This pivotal period provided momentum for Sara to get back into singing, songwriting and speaking with a new outlook. Her songs took on a different complexity, a different meaning. Struggles, triumphs and other life experiences became the main focus of her writing efforts.
Sara has gone on to work with Kids Help Phone and win three London Music Awards (2007, 2008 & 2009) for Singer/Songwriter. Sara has performed in Romania, Ireland, Greece and Canada, recorded five CDs and developed UPower® Concerts, motivational concerts designed to give people tools to take on life in a powerful way!
On September 12 Sara debuts as a columnist for the Times-Journal. Watch for her column ‘My Voice Your Choice’ as she answers questions on life issues from the youth of Elgin County.
Sara, as a little girl, would have had no idea that lyrics she would write later in life—‘take a little time and dream a big dream’—would prove to come true.
Want to learn more about Sara? Check out www.sarawestbrook.com.
Locally grown Dave Ferguson hails from the metropolis of Aylmer and has been writing in a variety of genres and styles for over fifteen years. He’s an active author in several writing groups, member of PWAC (Professional Writer’s Association of Canada) and currently chairs a creative writer’s workshop in St. Thomas. Find out more at www.writeadvantage.ca.
A position as the first director of the St. Thomas Art Gallery brought David Morris to St. Thomas almost 40 years ago. He chatted recently with Relish Elgin about his career as a fine artist and his lifetime commitment to providing opportunities for the public to experience art.
What was most memorable about your experience at the St. Thomas Art Gallery?
The new art gallery in St. Thomas was unique. First, there was the Alma influence. Very proficient artists taught at Alma and lived in the community. People took art lessons and they bought paintings.
Also, St. Thomas was one of the first places in Ontario that had a public art gallery. There were no official art programs in universities. Gallery directors were often practising artists who were working in administration. There was a lot of freedom in program planning.
The Women’s Committee was an incredible working group. I was new to the area, but committee members knew everyone and even chauffeured me around Elgin County to pick up works for shows.
What did you do when you left the gallery?
I went back to painting full-time. In the early 70s I was also part of a group of artists that sought federal funding (Opportunities for Youth) for a creative craft workshop. We received support from the art gallery board for purchase of initial equipment and supplies. We ran workshops on making everything from belts to sheepskin coats, jewellery, leather, and batik. Thousands of people came from all over to create their own handcrafted pieces.
Articles from the 70s mention some local artists who formed a group called W.A.G.E (Working Artists Group of Elgin). Have you found benefits to cooperative ventures by artists?
WAGE members got together, rented space and had various shows, including an outdoor one at Pinafore Park. We were looking at ways to support ourselves. We also raised some issues. We felt that the art gallery’s treatment of local artists, at the time, was shabby compared to those from London and we voiced our concerns.
Artists often work alone and at times I have organized to get together with others. Often, such groups don’t last for long. I was also part of WOAX (a name chosen because of the letters’ visual impact rather than as an acronym). Our goal was to hold events which included art, music and poetry, with other creative people and those interested in creativity. I have also gotten together, more informally, to share ideas with local artists including Walter Redinger, Ed Zelenak and Harry Wilkinson.
How have your creative interests changed and what would you like people to know about you as an artist?
I started as a post Group of Seven landscape artist. That type of painting and getting out into nature can be fun. But at this point I am interested in sculpture.
I would like people to think of me as a sculptor, as a person who does new things—a curious person. I like change, learning, the visual and tactile qualities of sculpting. It is a way of learning about society. It goes places where I didn’t expect to go—there’s humour in it. But then, I may also get back to doing some large black and white graphics. I like to have a lot of balls in the air—you can grab onto them or leave them up in the air for a while. That way there are always surprises.
David has done things other than art to support himself. He was a welding and robotics teacher at Fanshawe College, and also active in worker’s unions. This gave him a unique perspective when he was commissioned to create a monument to workers injured or killed on the job.
This dramatic sculpture can be seen ahead as you enter Pinafore Park. David was determined that it should have impact, and reflect the struggles of working people from all backgrounds. Pieces of the fifteen-foot high structure were individually shaped with a hammer, forged, welded and ground. Set atop aluminum posts, the figure seems to be standing watch. Less visible at first glance are the labour symbol of two hands holding the globe and a frieze of leaves representing workers’ heroism. The material is such that the sculpture changes dramatically depending upon the light.
Throughout his career, David has believed in the importance of providing opportunities for people to appreciate art. He notes that in some cities like New York, and commonly throughout Europe, a small portion of public building funds goes towards art, creating enjoyable public places and income for artists.
David and his wife, Elaine McGregor-Morris, are so committed to this idea that they have set up a community fund to support it. David smiles, “We really don’t need more stuff. Our family members know that a donation to the fund is a much appreciated way to celebrate birthdays and other special occasions.”
David’s Pinafore Park sculpture reflects his appreciation for the importance of making workplaces more predictably safe. When it comes to art, however, he relishes the unpredictable—happy to explore new creative avenues and discover where they lead.
The MCGREGOR MORRIS FUND supports Art in Public Places. It is one of the funds of the Elgin St. Thomas Community Foundation (www.escf.ca) whose vision is to respond to community need and to provide support for Elgin County charities with sustainable ‘into perpetuity’ funding. Davis Morris lives in St. Thomas and can be reached at 519.631.2922.
Photos above (left to right): aluminum sculpture installation in Morris' backyard; David Morris; monument to workers injured or killed on the job in Pinafore Park, St. Thomas