
Help AFA raise $250,000 by December 31st – we’re over halfway there!
Support the protection of old-growth forests in BC through Indigenous-led conservation, science, and public action. Donate to help safeguard ancient forests.
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TJ Watt2025-12-15 15:20:282025-12-15 17:55:17Help AFA raise $250,000 by December 31st – we’re over halfway there!
Chek News: Document reveals approval to harvest remnant old-growth in B.C.’s northwest
BC Timber Sales has ended a policy protecting remnant old-growth in northwest B.C., citing First Nations’ positions, sparking concerns from ecologists and residents.
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TJ Watt2025-12-08 13:49:362025-12-08 13:49:36Chek News: Document reveals approval to harvest remnant old-growth in B.C.’s northwest
Thank You to Our Silent Auction business Donors!
Thank you to these local businesses for generously donating items and experiences to our first-ever online Silent Auction!
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TJ Watt2025-12-08 13:17:322025-12-08 13:50:51Thank You to Our Silent Auction business Donors!
Statement on the Provincial Forest Advisory Council’s Interim Report – AFA & EEA
The Provincial Forest Advisory Council’s (PFAC) interim report falls short of addressing the root causes of BC’s forestry crisis or outlining the bold, decisive actions needed to reverse it, warn the Ancient Forest Alliance (AFA) and Endangered Ecosystem Alliance (EEA).
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TJ Watt2025-11-21 10:13:452025-11-21 10:15:43Statement on the Provincial Forest Advisory Council’s Interim Report – AFA & EEA
Opinion: Status quo a non-starter in B.C.’s forest industry
/in News CoverageVancouver Sun Op-Ed by Arnie Bercov: Doug Donaldson understands better than most how neglected B.C.’s forests are, and how that neglect is mirrored in troubling job losses and missed employment opportunities in rural towns and First Nations communities.
As B.C.’s forests minister, he is also the MLA for the vast Stikine riding where Highway 37 is a gateway to old-growth forests that have been logged for decades with one goal in mind: to strip them of their trees and send virtually every log out of the province, in raw, unprocessed form.
Donaldson’s riding is also home to a mothballed pulp mill, idled sawmills and troublingly few value-added mills, including one — Kyahwood Forest Products — that is First Nation-owned, employs mostly First Nation people from the small community of Moricetown and that ought to be the norm in B.C., not the exception.
Donaldson knows all of this. He also knows that just 10 days after Premier John Horgan named him to cabinet, the Somass sawmill in Port Alberni closed, ending good-paying jobs for 80 people at a mill whose history traces to the 1930s.
Western Forest Products, which put those people out of work, is B.C.’s biggest coastal forest company and a major exporter of raw, unprocessed, old-growth logs.
Donaldson and his NDP colleagues were silent on Somass’s closure. In contrast, just months earlier, Horgan travelled to a recently closed sawmill in Merritt, where against a backdrop of a large sign reading, Closed by Christy Clark, he lashed out at the Liberals for failing to help a “community in distress.”
Well the time for posturing is over. Horgan is premier. He and his forests minister, whose file now includes “rural development,” must act. It’s up to them to lead on the forestry and rural-revitalization files.
Were it not for the efforts of my union, at least one other sawmill in the same riding that includes Port Alberni would be down by now. We see no signs of action from the government. What is its plan, if any?
During the last term of the Liberal government, more raw logs left B.C. than at any other four-year span in the province’s history. In 2016 alone, enough unprocessed logs left the province to frame 134,000 homes. More troubling, we see that de facto log exports are regularly occurring in the Interior of the province, where “have” regions become the sources of logs for the “have-nots.” The Merritt mill closure was partly caught up in that ugly reality.
Perpetuating the status quo translates into a wholesale assault on our coast’s diminished forests, rural communities and First Nations, a reality that Scott Fraser, Port Alberni’s MLA and Minister of Indigenous Affairs and Reconciliation, understands better than most.
Donaldson, Fraser and all their cabinet colleagues have signed mandate letters that explicitly commit them to implementing the UN Declaration on the Rights of Indigenous Peoples.
I’ve read that document. I see what’s happening on First Nation lands. I know that we can and we must do better as an industry and as a society by bringing First Nations into true partnerships with resource industries. But I’m starting to seriously wonder whether the same can be said of this government.
It’s time for bold action by government, driven by a vision of what is socially, economically and ecologically just. Here’s what my union believes is possible and that’ll have the ultimate support of many First Nations, environmental organizations and some forest companies:
More old-growth forests protected. An end to raw-log exports. Increased forest-industry employment based on getting greater value from every log we cut, rather than shipping it off in unprocessed form. New, First Nation-area-based tenures that anchor new joint ventures where First Nations are majority partners.
By staying silent on mill closures and allowing raw-log exports to continue unchecked, our government is allowing our pockets to be fleeced.
Last year, Horgan tried to exploit the Merritt mill closure to his political advantage. Today, the buck stops with him, Donaldson, Fraser and the rest of the NDP cabinet.
Staying silent in the face of more mill closures, more forest depletion and continued failure to reconcile with First Nations isn’t an option.
Arnold Bercov is president of the Public and Private Workers of Canada.
Click here to view the original story in the Vancouver Sun.
Tall trees draw renowned artist to Saanich
/in News CoverageThe tall trees of Vancouver Island have drawn renowned visual artist Kelly Richardson to relocate from England.
Richardson was a lecturer at New Castle University the last 14 years, and was here to speak at the University of Victoria last year. During that trip she was brought to Avatar Grove, as she always visits the most unique and surreal natural landscapes whenever she travels.
Richardson’s known for hyper-real digital films and has been shown in North America, Asia and Europe, including the National Gallery of Canada, Art Gallery of Ontario, and Musée d’art contemporain de Montréal in Canada.
“I was overwhelmed by the fact [Avatar Grove] exists at all,” Richardson said. “When I learned there was a position coming up at UVic, I groaned, because I was very happy in England, but I was so overwhelmed by [the visit] I had to put my name in for the job, and now we’re here.”
Richardson’s now settled in Saanichton and teaches a full schedule of courses as an associate professor of visual arts courses at UVic.
She’s also wasted little time in pairing her move to the South Island with a visual arts project on the tall trees. Richardson is one of five artists commissioned to produce a large-format digital film short for the 50th anniversary of the invention of IMAX. For that, Richardson will partner with cinematographer Christian Kroitor (grandson of IMAX inventor Roman Kroitor). They’ll focus on the Island’s famed old-growth and ancient forests near Port Renfrew.
It is also Kroitor who is commissioning the IMAX project, called XL-Outer Worlds, in celebration of the 50th anniversary of the invention of IMAX, set to tour IMAX theatres in 2019. The tall trees keep with the larger-than-life imagery IMAX.
Richardson’s multimedia work generally starts with her visiting a natural landscape that stands out and shooting it with her camera.
From there she creates video installations for museum or gallery scenarios on three big screens, big enough that viewers can immerse themselves in it. XL-Outer Worlds is her first time creating something or the massive IMAX screen. She’ll also bring the works into a the gallery or museum scenario, but this time it’ll be even bigger, with five screens, she said.
What marks Richardson’s work is the addition of other works that turn the images into something else, always keeping with an environmental theme, such as a proposed future landscape.
“There’s always multiple ways to read it, so sometimes it’s terrifying, and sometimes it’s positive,” Richardson said. “In this case, I’ll focus on implications of [human consumption on ancient forests], and what’s too much in terms of nature conversation. We’re still cutting a hectare of old growth every year, which is quite disturbing because it’s non-renewable.”
Read the original story here.
Capturing the art of nature and change
/in News CoverageVancouver Island’s old-growth forests have inspired acclaimed digital artist Kelly Richardson to move to Victoria, to be closer to the inspiration the ancient stands of trees provide.
In particular, she has had her eye on Port Renfrew — dubbed the “tall-tree capital” of Canada — and is featuring it in a digital-art creation that will be shown at Imax theatres as part of a film series. The series will celebrate the 50th anniversary of Imax’s invention.
The Ontario-born Richardson is working as an associate professor of visual arts at the University of Victoria, and before that she was a lecturer in fine arts at Newcastle University in northern England.
Richardson, 45, said a visit to Victoria in 2016 to give a talk at UVic featured a trip to the Port Renfrew area’s Avatar Grove, which had a big influence on her decision to move here.
She said she was “phenomenally moved” at the sight of the grove.
The move to Victoria fell into place when there was a job opportunity at UVic.
“I had been living in England for 14 years,” Richardson said. “I really loved my life in the U.K., I was not looking to leave.”
But she said she could not pass up the opportunity to live close to Vancouver Island’s forests, something that fits with the basis of her art.
“Most of my projects focus on environmental issues, and I work with landscapes, always as a starting point in the works.”
Richardson said she is best known for creating large-scale video installations, with a video camera and a single-lens reflex camera her basic tools.
“The best way to describe them is that they’re moving pictures or paintings,” she said. “They’re not still images, but they are environments that viewers feel as though they can walk within.
“Everything’s moving, and then there’s sound that accompanies each video, which helps to convince the viewer of where they are.”
Special effects are added to achieve the final result, she said, and offered some examples.
“There’s images from a desert landscape where I’ve inserted rockets, what look like rockets endlessly leaving what is presumed to be planet Earth. Another image has yellow tendrils of light in it that were inserted, so it looks like either a toxic spill of some description or a bioluminescent life form that either existed in the past or might exist in the future.
“So there’s always multiple ways to read it.”
Conservation is a big part of her message, Richardson said.
“The work gets out there into the world, and on the one hand I want it to be enjoyable as artwork, but I want it to be more than that as well,” she said. “Environmentally, with climate change and the vast changes that we’ve made since the Industrial Revolution, we’re facing incredibly uncertain futures as a result.
“What I want people to do is to think about where we’re heading and why.”
Richardson’s art has an international following.
“I tend to show in museums around the world or festivals like the Sundance Film Festival.”
She has also been featured in many solo and group exhibitions, and is part of collections at such sites as the National Gallery of Canada, the Art Gallery of Ontario and the Albright-Knox Art Gallery in Buffalo, New York.
Read the original story here.