Pieces of art are such amazing creations for the simple fact that they are truly a manifestation and pure embodiment of so many different aspects of one’s life. An art piece is like a web, it begins with the telling of a story, and as time goes on, that story grows, evolves, and cumulates. It is for this reason that public art has become such an integral part of many communities, including that of the University of Victoria. All across the campus there lives a wide array of outdoor public art pieces. Not only does an art piece visually enhance the space in which it resides, but it also acts as a representation and embodiment of the thoughts and values of a previous people, place, and time. These pieces are a significant feature of the landscape in which we live, and we believe it is important for people to acquaint themselves with this art in order to better understand their own cultural landscape. We feel that by acquiring knowledge of the art pieces across campus, people will better engage with the past, present, and future of the University of Victoria, and thus increase their own sense of place on campus.---

McPherson Library Relief
Artist: George A. Norris
Date: 1964

Photo by Claire Daniels

The 1960s and early 1970s was a time of tremendous growth for the university. Planning for the McPherson Library began in 1960 (6). An important component of these plans were the creation and installation of exterior relief panels- symbolizing the modern transformation that was taking place on campus. George Norris was the creator of these white pre-cast panels sculpted of concrete. Born in Victoria, George Norris has become a master West Coast sculptor and has strong ties to the community (2&5). Although the panels are a clear example of modern art, they are infused with a West Coast flavor that is respectful of the location.

Photo from the 'Guide to the McPherson Library: Student Edition' 1965

Norris’ relief panels marked the real beginning of the public art policy on campus (1). Interestingly, the Faculty of Fine Arts was not added until the mid-1960s. Being in a highly visible space and on the exterior of one of the most used building on campus, the monumental relief panels are very symbolic of the university as whole. Although the panels may often go unnoticed as works of art, a huge part of their beauty is how well they compliment the library structure. They stand as a legacy to an important time of growth that took place at the university, not only in an expansion in size, but also with a new vision.

Photo from 'Siddall Dennis Warner Architects: An Addition to the McPherson Library', August 20th, 1971

There were five original panels that were installed when the library was opened in 1964. Interestingly, the library extension that occurred between 1972 and 1974 included the addition of two more pre-cast panels to match the West wall (See above picture). It was hoped that their placement would help to erase the “front” and “back” feeling the library posed.

A little side about the artist:
George Norris was born in Victoria in 1928. He attended the Vancouver School of Art and studied extensively with Yugoslav sculptor Ivan Mestreic at Syracuse University. Throughout his life, he worked as a carpenter’s helper, miner, survey crewmember mill worker and logger. These experiences proved to greatly enhance his abilities as a sculptor and set him out as a master. Norris worked as a full time sculptor/designer in metal, stone and wood from 1958-1983, when he moved to Shawnigan Lake. Over the years, he taught at UBC, VSA, Penticton Summer School of Art, Banff School of Fine Arts and Emily Carr College of Art. He has done more than a dozen pieces in Vancouver, including the AIDS Memorial in the West End and the George Cunningham Memorial Sundial. Many of his pieces have strong ties to the community, and work to highlight social issues (3&4).

Links:

Vancouver Park Board, Arts and Culture
Community Art Projects:
George A. Norris

Content contributed by Ashlene Nairn and Claire Daniels