In September of 1972, I found myself in the bleachers of the Charles Bloom Secondary School in Lumby. First day in high school. So many more people than little Lavington Elementary. The lights were dimmed in the gymnasium, with the teaching staff illuminated on the stage.
Introductions were made. Home rooms assigned. I thought I was in Ms. Titanic´s home room, which was, temporarily, in the foods lab as work was completed in the art room, but it was Miss Sveva Caetani.
She was quite an intimidating force of nature. She was over six feet tall, which gave her also an impressive wingspan. She was quite excitable, often loud and had a large vocal range.
This was the time members of the militant Palestinian group Black September took 11 Israeli athletes hostage during the 1972 Olympic Games in Munich, West Germany. She was passionate about the importance of this world event.
She encouraged discussion and we all were sure to know what had happened the night before for morning home room.
It was, for me, like my childhood innocence was lost in that time. Transitioning from child to young adult, aware of a much broader world, thanks to this gregarious, emphatic woman.
After high school, I became her neighbour, renting a suite a few doors down on Pleasant Valley Road.
I have so many Sveva stories.
From the classroom, to her kitchen table. She was an honourary grandma to my children. She collected my art (among other students work).
I typed her reviews of Powerhouse Theatre productions for the Vernon Daily News. I was pregnant and blessed to attend the unpacking of the famous Ophelia trunks, where Grace Funk photographed her sister modelling them. The Channel Robe Success stood out.
I had never heard of Vionnet. I loved the delicate designs.
I wanted to name my baby Channel Vionnet, but my husband had other ideas. It is important to remember that while many focus on the time Sveva was sequestered in the house, she did not.
Imagine. Putting all that behind you, and at age 50, moving to Victoria to attend university. A feat that is entirely worthy on its own.
Sveva believed in possibilities. She became one of the most liberated women I knew. That is how I think of her. Liberated. Through her, I became friends with Joan Heriot and Grace Funk. Three very strong female forces, each in their own way. The kinship they shared was enviable. They were the best of friends and I was honoured to share their company.
Sveva encouraged me to be and to become my most original self. To express myself in everything I undertook.
She gave me confidence. She believed in me. We talked about art and books, and politics and a little about men and sex and the power that combination can wield. There was a man she thought she could have loved… if lives had been different.
She was, I believe, an empath. I think that allowed her to deal with Ophelia, because, she felt and knew her fear.
She was compassionate. She collected stray people. What a cast of characters trouped through the house. She wanted her property to become available for the creation of art and the development of artists. Her will was drawn up with much thought. In hindsight, I would have advised her in a slightly different direction.
It took a long time to get the ball rolling and her dream to become reality.
I have to say that I know she would love the fact there are many working studios and that the grounds are in great shape and host community events. Sveva loved Vernon. She loved driving fast. She loved living large. She was a miserable cook. I was honoured to be her tech support for TV, cable, VCR and Atari devices. She loved Wheel of Fortune and Jeopardy. She and Joan competed five nights a week to beat the contestants and each other.
They called the remote The Birth Control and the TV Guide The Bible.
I feel so privileged to have become her friend, and to have shared a part of her time in this world.
She gave so much of herself to all who met her, and she gave her heart and home to the City of Vernon and its people.
I’m writing today from Mexico. I have been struck by the thought that Sveva Caetano is our Frida Kalho.
Frida Kahlo and Sveva Caetani share some interesting similarities in their lives and work, though they come from different cultural backgrounds.
Both Kahlo and Caetani expressed deep personal experiences through their art. Kahlo famously painted about her physical pain and emotional turmoil, often focusing on themes of identity, suffering and resilience.
Similarly, Caetani’s art reflects personal struggles, especially her period of isolation. She experienced a long phase of seclusion, driven by familial pressures and personal circumstances, which heavily influenced her later work, particularly her Recapitulation series. Another parallel is the use of symbolism. Kahlo often used vibrant, surreal elements to convey her pain and connection to Mexican culture. Caetani, although more rooted in Western and Renaissance-inspired themes, also employed symbolic imagery to convey her emotional landscape. Both women defied societal expectations and challenged the conventional roles prescribed to women during their times.
They both also had mobility issues and were outspoken about things that were important to them.
So I can’t fathom why city council feels it is okay to demolish the mural honouring her family.
They approved a cultural corridor, and one was created. The sale of parking spaces (gee, for decades I have heard there is not enough downtown) all but wields the ax in my opinion on this despicable act of destruction. Build over the corridor… make it a courtyard… keep the legacy and these walls intact.
In Mexico, I think destroying a mural might be treasonous.
Vernon has public art and cultural attractions because of individuals. Not because of civic officials or employees.
Jesse Toppam Brown created the first art gallery. Don Elzer created the Sculpture Symposium that put sculptures at the Civic Plaza and the Performing Arts Centre. David Hesketh and his team built the performing arts centre, not local government.
Michelle Loughery, Chris Rowland, Susan Allan and Renata Pylypiv King lobbied and laboured to get funding to grow not only murals, but successful human beings in a project that spanned many years and that provided funds for the maintenance that they know would be needed.
Promises made remain unkept. If the city does not intend to keep their word, can they at least have the balls to say so, and to explain why not? $25,000, 20 years ago, should have doubled or more by now. Show us the money.
Brenda Ellis
