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Other Name
WHAT THE FRACK HAPPENED?
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20160014000
  2 images  
Material Type
Artifact
Other Name
WHAT THE FRACK HAPPENED?
Date
2014
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
3
Length
77.7
Width
86.8
Description
.1: VEST. PATCHWORK OF VARIETY OF MATERIALS AND TEXTURES. CLOSES AT FRONT WITH A LARGE BLUE, CIRCULAR, CONVEX BUTTON, WITH THREE SMALL STONES IN THE CENTRE OF THE BUTTON. A PIECE OF VELVET TRIM LOOPS AROUND THE BUTTON TO CLOSE. A WHITE PAPER TAG (P20160014000.2) HANGS FROM THIS BUTTON. FRONT DEPICTS A NATURE SCENE. ALONG TOP OF VEST, FABRIC IS PINK AND PURPLE, POSSIBLY DEPICTING A SUNRISE OR SUNSET. ON WEARER’S LEFT THERE IS A NATURE SCENE OF A PINE TREE AND ROCKS, WHICH HAS BEEN APPLIQUED AND EMBROIDERED ONTO VEST. LIGHT BROWN YARN DEPICTS THE TREE’S ROOTS, WHICH GO DOWN FROM THE TREE INTO A GREEN SECTION ON THE VEST. THERE ARE SEVERAL BUTTONS AND SMALL ROCKS OF VARIOUS COLOURS SEWN ONTO THIS GREEN SECTION. BELOW THIS IS A BLUE STRIPE, THEN A SECTION OF MULTIPLE SHADES OF BROWN, INCLUDING ONE SECTION THAT IS VERY TEXTURED AND IS LIKELY PAINTED/DYED TYVEK. THE WEARER’S LEFT SIDE DEPICTS A FARMING SCENE WITH MOUNTAINS IN THE BACKGROUND. BELOW THAT IS A CONTINUATION OF THE BLUE STRIPE FROM THE RIGHT SIDE. THEN THERE IS A SECTION OF MULTIPLE SHADES OF BROWN AND PURPLE. THERE IS ALSO ANOTHER SECTION OF PAINTED/DYED TYVEK ON THIS SIDE, WHICH IS PURPLE IN COLOUR AND THERE ARE SEQUINS, BUTTONS, AND SMALL ROCKS SEWN INTO AND ONTO THIS PURPLE SECTION. BACK OF VEST DEPICTS CONSEQUENCES OF FRACKING. TOP OF VEST ON BACK IS A SHADE OF PURPLE/PINK, WITH BLACK NETTING OVER IT. THERE ARE TWO BRIDGE TRUSSES ON THE WEARER’S RIGHT SIDE AND TWO GAS RIGS ON THE WEARER’S LEFT SIDE. BELOW THIS IS A STRIPE OF GOLD RIBBON, WITH 5 GOLD COLOURED KEYS AND FIVE SQUARE WOODEN BUTTONS ATTACHED HORIZONTALLY ACROSS THE VEST. BELOW GOLD STRIPE IS A PATCHWORK OF A VARIETY OF MATERIALS AND TEXTURES AND COLOURS INCLUDE VARIOUS SHADES OF PURPLE, GREEN, BLUE, RED, PINK, YELLOW, AND BROWN. MOST OF THE DIFFERENT PIECES OF MATERIAL ARE BORDERED WITH A RED FRINGE TRIM. ON WEARER’S LEFT SIDE, BELOW ARM HOLE, IS A SMALL SECTION OF BLUE FABRIC WITH THREE SMALL SEA SHELLS SEWN ON. BOTTOM RIGHT HAND CORNER OF THE BACK OF VEST HAS A MEDIUM SIZED WHITE AND RED BUTTON (P20160014000.3). INSIDE OF VEST LINED WITH BLACK NETTING ON THE FRONT AND WITH GOLD, BLACK, AND RED NETTING ON THE BACK. .2: TAG. WHITE, HEAVY PAPER. HANDWRITTEN IN BLUE INK “CREATED BY CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ.” REVERSE HAS HANDWRITTEN IN BLUE INK “ART VEST. $200.XX” WITH 26-14 TYPED IN BLACK INK. 3.8CM LONG X 6.5CM WIDE .3: BUTTON: ROUND BUTTON, WHITE BACKGROUND. DEPICTS A GAS RIG WITH A RED DIAGONAL LINE ACROSS THE RIG. TEXT OF BUTTON READS: “WWW.NODRILLINGLETHBRIDGE.CA”. 6.5CM DIAMETER
Subjects
CLOTHING-OUTERWEAR
Historical Association
DECORATIVE ARTS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH THE DONOR, CHERYL ATKINSON, CONDUCTED BY KEVIN MACLEAN IN MAY 2016. THIS VEST WAS CREATED AS PART OF AN ART GARMENT CHALLENGE PUT FORWARD BY THE TEXTILE SURFACE DESIGN GUILD. CHERYL WAS BOTH A PARTICIPANT AND AN ORGANIZER OF THIS ART CHALLENGE. CHERYL INDICATED THAT “PART OF THE CHALLENGE WAS TO WORK WITH OTHER MEMBERS OF THE GROUP WHO, MAYBE YOU HADN’T SPENT TIME TRYING TO WORK COLLABORATIVELY WITH.” IN JANUARY 2014 THE GUILD GOT TOGETHER TO DETERMINE THE WORKING GROUPS AND THE THEMES THAT WOULD BE WORKED ON, BASED ON “WHAT THEIR INTERESTS WERE IN LIFE. SO, SOME PEOPLE CHOSE GARDENING, ANOTHER GROUP DID ART, LIKE PURE ART, AND OUR GROUP CHOSE THE ENVIRONMENT. AND, AT THE TIME, THE ENVIRONMENT IN LETHBRIDGE WAS UNDER THREAT, IN QUESTION BECAUSE THERE WAS A COMPANY THAT WAS PLANNING TO DO DIRECTIONAL DRILLING, FRACKING, IN WEST LETHBRIDGE, AND ONE OF THE MEMBERS WHO JOINED OUR GROUP WAS PARTICULARLY CONCERNED ABOUT IT, SO WE THOUGHT THAT WOULD BE A GOOD SOURCE OF INSPIRATION FOR OUR ART GARMENT.” PART OF THE REASON THE GUILD WANTED TO DO A COLLABORATIVE PROJECT LIKE THIS IS BECAUSE THE GROUP HAD GROWN CONSIDERABLY IN SIZE: “OUR GROUP HAS EXPANDED A LOT. IN THE LAST NUMBER OF YEARS WE WENT FROM A GROUP OF ABOUT FIFTEEN PEOPLE TO A GROUP OF ABOUT FORTY PEOPLE, SO IT’S HARD TO GET TO KNOW FORTY PEOPLE INTIMATELY, SO WE WERE TRYING TO FIND A WAY TO CONNECT WITH EACH OTHER, LEARN MORE ABOUT OUR INTERESTS. AND SO, WE JUST, LIKE, HAD A CONVERSATION AND PEOPLE WERE TALKING ABOUT THINGS THEY WERE INTERESTED IN, AND THEN WE STARTED, I THINK WE PASSED AROUND A LIST OF, JUST LIKE A SHEET THAT PEOPLE WOULD WRITE DOWN KIND OF TOPICS OF THEIR INTEREST, AND THEN WE JUST STARTED MATCHING THEM UP, AND THEN WE PUT, WE DIDN’T WANT TO HAVE LIKE TEN PEOPLE ON ONE PROJECT AND ONE ON ANOTHER, SO WE TRIED TO SORT OF SPLIT THEM UP IF PEOPLE PUT DOWN MORE THAN ONE AREA OF INTEREST. SO, ENVIRONMENT JUST TURNED OUT TO BE FRANCES [SCHULTZ], BEV [HALL] AND I SO.” CHERYL INDICATED THAT THE ENVIRONMENT WAS ESPECIALLY IMPORTANT TO GROUP MEMBER BEV HALL: “I THINK THAT THE ISSUE ABOUT THE FRACKING CAME UP AS WE DISCUSSED, LIKE, WHAT WE WERE GOING TO DO ABOUT THE VEST … BEV FOR INSTANCE, LOVES TO HIKE IN THE MOUNTAINS AND THAT SHE FEELS CONNECTED TO THE NATURAL ENVIRONMENT IN SOUTHERN ALBERTA. AND I AM INTERESTED IN THINGS LIKE HERITAGE PLANTS AND NATIVE SPECIES AND THINGS LIKE THAT. I DON’T THINK ANY OF US HAD ANY, LIKE, WE’RE NOT TRAINED ENVIRONMENTALISTS IN ANY WAY. IT JUST SEEMED THAT THAT WAS AN AREA OF INTEREST THAT WE COULD USE AS A FOCUS FOR ART.” TO CREATE THE VEST, THE THREE WOMEN DIVIDED UP THE WORK: “WE DECIDED THAT TOGETHER WE WOULD MAKE A PATTERN AND CREATE THE SHAPE OF THE GARMENT. AND THEN, WE HAD A VERY TIGHT TIME PRESSURE, WE HAD SIX WEEKS TO FINISH IT … SO, WE DECIDED TO PARCEL IT OUT INTO PIECES. SO, FRANCES DID THE BACK, BEV DID THE SHOULDER AREA AT THE FRONT, AND I DID THE LOWER AREA AT THE FRONT. AND THEN BEV SEWED IT TOGETHER, AND THEN I EMBELLISHED IT AT THE END.” TO MAKE THE VEST, THE WOMEN USED FABRIC FROM THEIR COLLECTIONS: “WE KIND OF LOOKED AT THE MATERIALS THAT WE HAD, AND WE HAD QUITE A SELECTION! … AND TRIED TO DECIDE WHAT KINDS OF COLOURS OR TEXTURES, THINGS THAT WE COULD DRAW FROM ON OUR OWN PIECES, AND SOMETIMES WE SHARED THEM WITH THE OTHER PEOPLE THAT WERE – YOU KNOW, IF A PIECE OF MY FABRIC FIT BETTER IN BEV’S AREA, THEN I JUST GAVE HER, AND SHE COULD DECIDE WHETHER SHE’D USE IT OR NOT. AND THEN WE EACH TOOK OUR BITS HOME. BEV DID HER PART FIRST, AND THEN I ADDED MINE TO IT, SO SHE STARTED ON THE FRONT AND THEN I ADDED LATER, AND FRANCES DID THE BACK INDEPENDENTLY OF EACH OTHER. SO WE REALLY DIDN’T KNOW WHAT THE WHOLE PIECE WAS GOING TO LOOK LIKE UNTIL IT CAME TOGETHER AS ONE. AND THEN, ONCE THE PIECE WAS TOGETHER, IT WAS MEANT TO BE SHOWED AT THE TEXTILE GUILD MEETING IN MARCH, AND WE HAD A LITTLE FASHION SHOW, AND WE SHOWED IT OFF, AND RESULTING FROM THE PIECES THAT CAME TOGETHER AT THAT TIME, WE HAD A, WE WERE INVITED TO SHOW THE ARTWORK IN THE DISPLAY CASES AT CASA FOR SIX WEEKS.” CHERYL DESCRIBES THE PIECE: “SO THE IMAGERY IN THE PIECE, AT THE FRONT, WE HAVE THE NATURAL ENVIRONMENT OF SOUTHERN ALBERTA REPRESENTED ON THE TOP, THE SHOULDER AREAS. SO, THE MOUNTAINS, THE COULEES, THE TREES, THE VALLEY, THE WATER. AND THEN IT GOES DOWN TO THE LOWER, WHAT WE WOULD IMAGINE THE UNDERGROUND LAYERS LOOK LIKE IN THE EARTH, THE GEOLOGY, THE WATER TRAVELLING UNDERGROUND, THE ROCKS THE SOIL, THINGS LIKE THAT. AND THEN ON THE BACK SIDE OF THE VEST, WE SEE ALL OF THAT DISRUPTED DURING THE FRACKING PROCESS. WE SEE FRACTURING HAPPENING. THE WATER AND THE EARTH ARE GETTING ALL MIXED TOGETHER AND DAMAGED AND, THE BIG EMBELLISHMENT ACROSS THE BACK, THERE IS A SERIES OF GOLD KEYS RIGHT ACROSS THE BACK OF THE VEST, AND THEY ARE, ACTUALLY, WE HAD JUST MOVED OUT OF THE BOWMAN ARTS CENTRE AT THAT PERIOD IN TIME, AND WE HAD A LOT OF STUDIO KEYS LEFT OVER THAT WE DIDN’T KNOW WHAT TO DO WITH, SO WE JUST SEWED THEM ON THERE, AND THEY REPRESENT THE DRILLING COMPANY THAT WAS PROPOSING TO DO THE FRACKING IN WEST LETHBRIDGE. SO, IT’S SUBTLE, BUT THERE IS KIND OF A MESSAGE THERE. AND THERE’S ALSO A BUTTON ON THE BACK FROM THE ANTI-FRACKING CAMPAIGN.” CHERYL WAS MADE CUSTODIAN OF THE VEST BECAUSE SHE WAS “SORT OF THE PROJECT LEADER … IT WAS ALSO MEANT TO FIT ME, SO I THINK THAT’S ALSO WHY I AM THE ONE THAT HAS CUSTODY OF IT.” SHE IS PROUD OF HOW THE GROUP COLLABORATION TURNED OUT AND FINDS IT A LITTLE DIFFICULT TO PART WITH THE VEST: “IT IS HARD TO PART WITH IT, BUT I CAN’T, I MEAN IT’S SORT OF A SNAPSHOT IN TIME. I MEAN IT WAS SOMETHING THAT WAS VERY CURRENT AND IMPORTANT, AND I THINK WE ADDED SOMETHING TO THE CONVERSATION BY HAVING THIS ON DISPLAY AT THE TIME WHERE DECISION MAKING WAS HAPPENING. BUT I DON’T REALLY KNOW, LIKE I’M NOT GOING TO WEAR IT TO CHURCH ON SUNDAY OR SOMETHING, (LAUGHS) SO, I DON’T REALLY KNOW WHAT ELSE TO DO WITH IT SO.” INCLUDED IN THE DONATION PAPER WORK IS A SMALL DESCRIPTION OF THE VEST, FROM WHEN IT WAS DISPLAYED. THE TEXT READS AS FOLLOWS: “WHAT THE FRACK HAPPENED? CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ OUR WORLD IS A FRAGILE HOME. HOW WE EXPLOIT IT CAN HAVE DRASTIC EFFECTS FAR INTO THE FUTURE. THIS GARMENT IS AN ARTISTIC RESPONSE TO THE CURRENT, MAJOR ISSUE FACING THE CITY OF LETHBRIDGE. THE FRONT DEPICTS THE NATURAL GEO-LANDSCAPE OF THE CITY – PRISTINE SCENERY ABOVE GROUND AND THE MANY DIFFERENT GEOLOGIC LAYERS UNDERGROUND. THE BACK ATTEMPTS TO DEPICT WHAT FRACKING MIGHT DO TO THESE GEOLOGIC LAYERS, AS WELL AS THE THREAT TO THE SURFACE. HOUSES AND THE UNIVERSITY SIT AMONG OIL WELLS WITH THE GOLDEN KEYS SYMBOLIC OF THE SOURCE OF THE THREAT. MANY SURFACE DESIGN TECHNIQUES HAVE BEEN USED. THESE INCLUDE INDIGO DYEING, SHIBORI DYEING AND DISCHARGING, VEGETABLE PRINTING, TYVEK PAINTING WITH HEAT MOLDING, WAX BATIK, DYE PRINTING, BEADING, EMBROIDERY, COUCHING, MARBLING, ETC.” IN THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER THE EXHIBIT IS DESCRIBED: “VESTED INTERESTS IS A COLLECTION OF ART GARMENTS CREATED COLLABORATIVELY BY TSDG MEMBERS. EACH VEST LOBBIES PASSIONATELY FOR A PERSONAL INTEREST HELD BY THE CREATIVE TEAM BEHIND ITS DESIGN. ON DISPLAY IN THE 2ND FLOOR SHOWCASE AT CASA UNTIL APRIL 26.” SEE PERMANENT FILE FOR COPY OF INTERVIEW TRANSCRIPT, THE EXHIBIT DISPLAY TEXT, AND THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER.
Catalogue Number
P20160014000
Acquisition Date
2016-05
Collection
Museum
Images
Less detail
Other Name
COAT AND BOOTIES
Date Range From
1940
Date Range To
1945
Material Type
Artifact
Materials
WOOL
Catalogue Number
P20010070022
  2 images  
Material Type
Artifact
Other Name
COAT AND BOOTIES
Date Range From
1940
Date Range To
1945
Materials
WOOL
No. Pieces
3
Length
22.7
Width
43.0
Description
1. CLOAK. ABOVE DIMENSIONS. CROCHETED BABY'S SWEATER. OFF WHITE WITH LIGHT BLUE TRIM. BOTTOM EDGE OF COAT HAS A JAGGED EDGE. SLEEVES ARE SORT OF PUFFY AT CUFFS. 2. BOOTIES. 8.5 X 5.3. CROCHETED BABY BOOTIES. OFF WHITE WITH LIGHT BLUE TRIM. TOP OF BOOTIES ARE FOLDED OVER. ONE BOOTEE HAS A BLUE PIECE OF YARN AROUND LEG WITH POM POMS ATTACHED TO THE ENDS. OTHER BOOTEE ALSO A PIECE OF YARN AROUND LEG, BUT POM POMS ARE MISSING. THIS BOOTEE HAS A SMALL ORANGEY STAIN ON ONE SIDE.
Subjects
CLOTHING-OUTERWEAR
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
History
MADE BY DONOR'S MOTHER DAGMAR DOYLE SIMPSON. THE GARMENTS WERE NEVER USED. DONOR SUSPECTS HER MOTHER MADE THE ITEMS IN HOPES OF ONE DAY HAVING A BABY BOY, BUT WAS UNABLE TO DO SO. DAGMAR OLSEN WAS BORN DECEMBER 28, 1914, RAISED ON A FAMILY FARM, AND SCHOOLED IN STAVLEY, ALBERTA. HER PARENTS, HILDA AND JOHN OLSEN, WERE IMMIGRANT PIONEERS FROM NORWAY. HER MOTHER HILDA, GOT DAGMAR HER FIRST JOB AS A TELEPHONE OPERATOR WITH THE STAVELY AGENCY AT THE AGE OF 15 YEARS. AFTER LIVING AT HOME WORKING SEVEN YEARS IN STAVELY, DAGMAR MOVED TO LETHBRIDGE AND WORKED FOR AGT UNTIL SHE MARRIED LAWRENCE DOYLE, ALSO FROM STAVELY AND PRINCE EDWARD ISLAND. DAGMAR AND LAWRENCE HAD ONE DAUGHTER, BARBARA. DAGMAR LATER RETURNED TO AGT AS AN OPERATOR UNTIL HER RETIREMENT AT AGE 60, WHEN SHE MARRIED CLARE SIMPSON. CLARE AND DAGMAR LIVED IN LETHBRIDGE, SOCIALIZED, AND TRAVELED EXTENSIVELY UNTIL HIS DEATH IN 1985. DAGMAR OLSEN DOYLE SIMPSON DIED MARCH 14, 2001. SHE WAS RUMORED TO BE ONE OF THE MOST BEAUTIFUL WOMEN IN LETHBRIDGE. DONOR, BARBARA DOYLE, WAS BORN AND SCHOOLED IN LETHBRIDGE. SHE TRAINED AT ST. MICHAEL'S HOSPITAL AS A LABORATORY TECHNOLOGIST; GRADUATED 1962. SHE WORKED IN THE LAB AT ST. MICHAEL'S FOR 5 YEARS; MARRIED AND HAD 2 SONS. GRADUATED FROM THE UNIVERSITY OF CALGARY WITH A BACHELOR OF ARTS, THEN A MASTERS OF ARTS IN ENGLISH, IN 1987. SHE TAUGHT AT UNIVERSITYS OF CALGARY AND LETHBRIDGE, THEN MOVED TO MONTREAL FROM 1990-1996. SHE RETURNED TO LETHBRIDGE TO RETIRE. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING CLOTHING ITEMS DONATED BY BARBARA DOYLE. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. DAGMAR CHRISTINA SIMPSON (NEE OLSEN) PASSED AWAY ON MARCH 14, 2001 AT THE AGE OF 88. SHE MARRIED LAWRENCE PATRICK (LARRY) DOYLE ON DECEMBER 4, 1940. LAWRENCE WAS BORN IN PEI IN 1910. HE MOVED TO VULCAN IN 1920, STAVELY IN 1924, AND TO LETHBRIDGE IN 1937. HE PASSED AWAY AT THE AGE OF 58 ON MARCH 28, 1969. LAWRENCE WAS THE SON OF GEORGE FRANKLIN AND MINNIE MAGDALEN DOYLE. DAGMAR WAS REMARRIED ON MARCH 29, 1975 TO CLARE C. SIMPSON. CLARE WAS BORN AND RAISED IN BELLEVILE, ON AND MOVED TO LETHBRIDGE IN 1930 TO WORK FOR AGT. HE ENLISTED IN 1939 AND WAS A POW FOR 3.5 YEARS FOLLOWING DIEPPE. HE PASSED AWAY AT THE AGE OF 75 ON FEBRUARY 18, 1983. THE DONOR, BARBARA DOYLE, IS THE DAUGHTER OF DAGMAR AND LAWRENCE. IN 1969, BARBARA WAS MARRIED TO PAUL TURNER AND IN 1983, SHE WAS THE WIFE OF MR. B.F. MCFADDEN. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD. *UPDATE* IN 2018 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF THE COLLECTION, INCLUDING A NUMBER OF ARTIFACTS DONATED BY BARBARA DOYLE. ON SEPTEMBER 7, 2018, PUNDYK SAT DOWN WITH DOYLE FOR AN INTERVIEW REGARDING THAT DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: DOYLE EXPLAINED THAT HER MOTHER DAGMAR OLSEN – THE ORIGINAL OWNER OF THE ARTIFACTS – WAS BORN IN STAVLEY AND WAS THE THIRD OF FOUR SISTERS. GROWING UP IN A HOUSE OF DAUGHTERS PLAYED A SIGNIFICANT ROLE IN OLSEN’S LIFE. DOYLE DESCRIBED THE SISTERS BY SAYING, “BESSIE WAS THE OLDEST, AND NORAH WAS THE SECOND OLDEST, AND THEN MY MOTHER, AND THEN VICKI. AUNT VICKI WENT BIG [BY MOVING] TO TORONTO. SHE WANTED TO GET OUT OF TOWN. SHE WAS BORED. SHE WAS BORN IN STAVELY AND THERE WAS NO WAY SHE WAS GOING TO STAY THERE. SHE WAS THE YOUNGEST, SO SHE GOT THINGS THAT THE OTHERS DIDN’T GET IN THEIR LIFE. NORAH TOOK TO CALGARY. SHE WENT UP THERE AND SHE WORKED FOR A WHILE AT PACKING COOKIES OR SOMETHING LIKE THAT. BESSIE WAS [WORKING] WITH MRS. JOURNEK AND THEN IN CALGARY THAT WAY TOO.” MOVING ON TO DESCRIBE HER MOTHER, DOYLE ILLUMINATED, “SHE WORKED [AS A TELEPHONE OPERATOR] FROM WHEN SHE WAS 15 IN STAVELY FOR ABOUT 7 YEARS. SHE WAS THERE FOR THE FIRST TELEPHONES COMING IN. THEN SHE MOVED TO LETHBRIDGE. SHE KNEW MY DAD FROM STAVELY, AND THEN HE MOVED TO LETHBRIDGE AS WELL AND THEY LIVED SEPARATELY IN A BOARDING HOUSE UNTIL THEY GOT MARRIED…SHE HAD BREAKS [IN BETWEEN WHEN SHE FIRST STARTED WORKING AND HER RETIREMENT] WHEN SHE COULDN’T WORK BECAUSE OF THE WAR. [ADDITIONALLY,] I WAS BORN IN ’42, AND ONCE YOU HAD A CHILD, YOU COULDN’T GO TO WORK. EVEN WHEN THE WAR WAS OVER, THE WOMEN COULD NOT GO TO WORK BECAUSE THEY WERE MAKING WAY FOR THE PEOPLE COMING BACK FROM THE WAR FOR THE JOBS. THAT WAS REALLY HARD ON MY MOTHER. SHE WAS SO INDEPENDENT AND TO NOT BE ABLE TO HAVE HER OWN MONEY AND EVERYTHING [WAS DIFFICULT].” “[MY MOTHER] KNITTED [THIS BABY SWEATER] BEFORE [LEAVING WORK TO HAVE CHILDREN]. I DON’T KNOW AT THAT TIME IF IT WAS BLUE FOR BOYS STRICTLY, AND GIRLS FOR PINK. AND I DON’T KNOW WHETHER I EVER WORE IT. [THIS IS FROM] MY MOTHER’S HANDIWORK AND SHE WASN’T ONE THAT CROCHETED VERY MUCH. WHEN SHE WAS WORKING [SHE WOULDN’T HAD A LOT OF EXTRA TIME]. AND I GUESS AT THAT TIME AFTER SHE HAD ME, SHE WASN’T WORKING, BUT OUR OLD WASHERS THAT HAD THE RINGERS AND STUFF LIKE THAT [WERE TIME-CONSUMING]. SHE HAD TO WORK HARDER AROUND THE HOUSE AND EVERYTHING TOO,” DOYLE EXPLAINED. “I WAS BORN IN LETHBRIDGE,” DOYLE CONTINUED, “[I LEFT MY PARENTS’ HOUSE] WHEN I WAS 18 BECAUSE I WAS IN RESIDENCE WHEN I WAS DOING MY LABORATORY STUFF. I WAS A LAB TECHNICIAN FIRST. AFTER I GOT MARRIED IN ’64, WE LIVED FIVE YEARS HERE BEFORE WE STARTED MOVING AROUND. IT WAS ’71 [WHEN] WE LEFT AND WENT TO SASKATCHEWAN, REGINA.” “[I RECEIVED THESE ITEMS FROM MY MOTHER] AFTER SHE PASSED AWAY. [THEY WERE] IN THE HOUSE,” DOYLE STATED, "ALL OF THIS STUFF WAS IN THE HOUSE ON THE SOUTH SIDE. I FEEL LIKE MY MOTHER IS STILL IN THE HOUSE. I HAD REALLY GOOD PARENTS. WE WEREN’T POOR, BUT WE WEREN’T RICH EITHER, YOU KNOW. WE WERE JUST COMFORTABLE, BUT THEY WORKED VERY HARD FOR IT. THEY BOTH WORKED VERY HARD.” PLEASE SEE PERMANENT FILE P20010070001 FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPT.
Catalogue Number
P20010070022
Acquisition Date
2001-12
Collection
Museum
Images
Less detail