Marker - Issue 4

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HAWKSLEY WORKMAN T H E G O D T H AT CO M ES

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CONTENTS 04 Intro

06 Freegans

08 Watching a Cockfight While Stuck In Leon‌Not A Homoerotic Movie

14

Artist Profile - Jeffrey Dekker

20 Hawksley Workman - The God That Comes

28 The Find - Offal Goods

Cover photo by Dustin Rabin (dustinrabin.com)

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INTRO In this latest release, we come across people and stories that challenge the idea of what is “normal”. From a Juno winner’s venture into theatre, to an Edmonton based illustrator who is carving out a name for himself by leading with his offbeat sense of humour, this issue will hopefully inspire our readers to embrace their uniqueness and ignore that voice in our heads that stops us from doing so.

This is the fourth issue of Marker, and I am beyond grateful to everyone who volunteered his or her time in making each one come to life. This whole thing started out as an idea in my head, and as much as I’m hard on myself and maybe take on too much from time to time, there’s no way Marker would’ve gone as far as it has without the support of great people, and I want to single out a few them: Jessica Bateman We met under…less than inspiring/soul-sucking circumstances (HA!) but nonetheless we clicked right away. It was evident from the beginning that you were damn good at what you do, and I was so happy when you came on as Copy Editor.

Vic Mittal I bother you waaaay too much (I know that), but since day one you’ve always come through for me. It’s been awesome watching you grow as a photographer and I’m really grateful to have someone with your talent be a part of this.

Becky Hagan-Egyir You were the first writer who signed on, before I even had a name or a solid idea for what I wanted to do. That gave me a great boost of confidence to follow through with this project and I’m so appreciative of the work you’ve done this past year.

With all that said, we have some great things planned for 2014, so keep your eyes peeled, everyone.

Brnesh Berhe Founder

Art & Editorial Director / Publisher Brnesh Berhe Copy Editor Jessica Bateman Writers Kody Thompson, Courtney Turnbull Photographers, Designers and Illustrators Tristan Brand, Matt Fontaine, Will Lauder, Trudie Lee, Vic Mittal (VSM Photo), Dustin Rabin info@markermagazine.com

10729 - 104 Ave | happyharborcomics.com

Free ganS B y C o u r t n e y Tu r n b u l l

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Meet Patrick, aka Paddy. Paddy looks like your average guy. He enjoys outdoor activities like biking and cross-country running. But one of his favourite things is jumping into the nearest dumpster to find his next meal. Paddy is a Freegan.

Freegans, also known as “dumpster divers”, are people who try to consume unnecessary waste by foraging for food. A Freegan’s goal is to live a cruelty-free lifestyle to help save the environment.

The word comes from “free” and “vegan”. Not all dumpster divers are vegan, but the idea is to conserve waste and decrease methane levels created by food rotting in landfills.

Think of it this way: a local supermarket will throw out damaged fruits and vegetables because of a bruise, which makes them visually unappealing to consumers. Food nearing its expiry date will also be tossed. It’s like munchie-stereotyping.

Paddy has been a dumpster diver for about five years. Exploring dumpsters around Edmonton, he finds most of his meals from organic fruits, veggies, bread and other stuff we find in local stores.

“The first image people conjure up is a homeless guy eating a half-eaten hamburger, and it’s really not like that, especially when I dive at the same time all the time,” Paddy says.

“You know the routines, you know what they’re usually throwing out— they’ll toss out bananas if they’re too green. It’s just crazy.”

Primetime for Paddy to score some goods is around 2:15 p.m.

As a full-time student in the Personal Training program at NAIT, he believes he’s doing a favour for the community by dumpster diving.

“I’m not letting a perfectly good thing go to waste,” he says. “If I wanted to, it would be re-

ally easy for me to never have to buy groceries.

I spend almost no money on food.”

The average Canadian household spends more than $300 per month on groceries, and that doesn’t include dining out or your morning coffee.

“Maybe it’s become so norm for me because I say, ‘I’m going to the dumpster’ exactly like someone says, ‘I’m going to the grocery store’.”

Giovanni Andollo has been involved in the Freegan lifestyle about four years. Owner of Uptown Freegan’s Organization in Manhattan, N.Y., his favourite foods to find in a dive are eggs, bananas and chocolate. He believes that so much food is being wasted because it’s no longer deemed profitable.

“Commercial goods are seen primarily as products to be sold for profit rather than as necessities for human livelihood and dignity,” Andollo says.

Not only do Freegans dive for food, many score items such as furniture, clothing, entertainment sets and more. Tim Laskey from Windsor, Ont. implements Freeganism in his life by diving for scrap items that he reuses to make unique bicycles. So far he’s created more than 63.

The Eagle is a bike that Laskey made from scrap material. Weighing about 75 pounds, the Eagle’s back end is equipped with a racecar tire. Then there is the “Herman Monsters”, aka Frankenstein’s bike, which he describes as following a grave-robbing theme. The bike is equipped with a shovel as the gear switch and brake, a spooky lantern as a headlight and a tiny coffin on the front used as a water bottle carrier. Most items are ones he found in dumpsters.

When talking about dumpster diving, Laskey says he goes one step further. “People would never guess that this came from a dumpster or alley way. It’s truly amazing what goes in a dumpster.”

Now for something completely different >>>

Watching a

Cockfight

While Stuck in leon... Not A HomoErotic Movie

Wo r d s : K o d y T h o m p s o n | I l l u s t ra t i o n : M a t t F o n t a i n e | P h o t o s : W i l l L a u d e r

Yeah, travel is good, I guess. Self-discovery, yoga on the beach and all that crap. Being a privileged twenty-something of the upper middle class social strata, I recently had the good fortune of doing the same thing as pretty much everyone else in my age group— taking a trip whenever possible and capturing finely tailored aspects of it on Instagram as evidence. Although most of my excursions these days revolve around surfing, I found myself stuck inland between shuttles in Leon, a city without a break of any kind (or even beach for that matter). So when the opportunity to take in a cockfight came along, I didn’t really have anything better to do.

Before I get into the details of artisanal poultry melee, a bit of pseudo-intellectual history for your troubles: In a matter of decades, Nicaragua went from being a country torn by civil war fraught with USbacked guerilla Contras, to a tourist hot spot and hipster surf Mecca. Because of the country’s sordid past and the fact that it has changed in a relatively short amount of time, Nicaragua is still somewhat elusive as a mainstream getaway. Rather than being an out-and-out tourist retreat like so many tropical locales, it has become something of an ex-pat paradise for privileged Gen Ys. But unlike the Lost Generation of yesteryear, struggling to seek out a creative living in the prohibitionfree backdrop of 1920’s Europe (see: Midnight In Paris), Nicaragua is a cheaper surf getaway than Hawaii and is mostly attractive to fashionable indie travelers with deep pockets and a penchant for cheap rum.

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A group of about twenty such types including myself boarded a mal cruelty—on par with how I imagine dogfights or Japanese carcanopied, decommissioned military vehicle that arrived at our hos- toons—in reality, the combat was quite anti climactic: composed tel and made our way to the main event. The only thing worse than of infrequent pecks and the odd flippy-kick maneuver to the face. the roads and the collective body odors of everyone mixed togeth- Whether this lack of effect had something to do with me personally, er was a drunk Aussie who singled me out of the group and pointed such as desensitization through violent video games or just being an at me while shouting that I liked to “take it in the ass.” Don’t know asshole, I think closer to the mark; fights were well organized and why; I just have that sort of look I guess. Upon our arrival, our cock- accompanied with a tone of cultural familiarity, making them less tour guide greeted us warmly as we exited the truck. He was an exotic and therefore socially acceptable. If nothing else, cockfightaverage sized man from the Netherlands with a nose that left him ing more closely resembles modern day ritualized animal sacrifice with a resemblance far too close to Dr. Evil. He walked us through than a recreational blood sport... which is still pretty bad, I guess. the grounds where a substantial mob of locals had already gath- I honestly couldn’t say the purpose of the fights wasn’t so much ered, crowded under sheer entertainment as it a tent at a makeshift was appeasement from roulette wheel, plac- Although it must be understood that the drudgery of a six-day ing bets and drinking workweek— and maybe beer. The arena itself the opportunity to make was nothing more a little beer money on the than a janky circular side. Of course, violence ring about the size of a is violence and I suppose backyard skating rink, there’s no excuse, but pieced together from compared to the most pallet wood and corrudominant use of poultry gated metal roofing. As in the western world— someone who grew up a system composed of in the early ‘90s, ever mass produced chickens since I was a kid I’ve with chopped off beaks, always wanted to be mutated by growth hora part of a hideout or no trainer would dare believe that this mones as they ride on “base”—like the Foot conveyor belts awaitSoldiers lair where ing to be deep fried and people just plan jewel packaged in a box as part heists and practice of a meal that includes a martial arts all day—and this wasn’t too far off. This place had cheap toy from China that probably has just as much salmonella everything necessary to build a Never Land for miscreants: cheap and more nutritional value— it’s really tough to say who takes the booze, gambling and feats of strength—not to mention regular moral high ground between the two cultures. and menthol cigarettes.

Regardless, the events surrounding the fights were far more inUp until this point I was certain that despite its name, “cockfight- teresting than the fights themselves; the culture surrounding it ing” had little to do with dueling penises. However, what took me was governed by a system of folkways and codified ethics which by surprise was just how less barbaric the ordeal was than expect- all participants upheld with the deepest regard. Dr. Evil explained ed. Although violence is undeniably integral to the whole system, that because of the multiplied return on a successful bet, it was the shock factor really failed to present itself with any true poi- understood by all who participated that anyone placing over $10 gnancy. Whereas I was expecting a violent demonstration of ani- US would be immediately kicked off the premises. Such an act

at least one

rooster

could die,

would be the fate of his rooster.

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Freegan? Vegan? Dumpster Diver?

10 12

offset the opportunity for universal social inclusion. He went on to inform us that that death wasn’t a guaranteed outcome and that there were several possible ways a fight could end. “First, a rooster may submit immediately after the fight begins, in which case he either puts his beak to the ground in display of submission or runs away from his opponent. Second, both roosters might quit fighting simultaneously— at which point the winner will be decided by the judges. And finally, the losing rooster either submits after a severe pummeling or… dies.”

At infrequent points between rounds the trainer of each rooster would pick up his bird, place the bloody animal’s head inside his mouth and spit its blood to the ground. “Do you see what he’s doing here, huh?” Dr Evil asked, his accent sounding ominous and sincere.

“The man is emptying the blood from the bird’s nasal cavity; otherwise it will surely suffocate in combat.” He paused and continued, “In other words…he’s sucking a cock!” And it was true. There are 12 possible sources for the etymological origin of the word “cocksucker” and this was one of them. Immediately as I heard this I was sure, as every family has a pervy old uncle, I could hear mine somewhere far off making a dumb joke asking, “What came first…the blow job or the cockfight?” accompanied by overbearing laughter followed by a ruined birthday party/funeral/childhood.

After a few fights had already passed we were instructed to take a break for bottomless beers and cheap rum labeled “Cabbalito Suave”—a local drink that had a taste on par with rubbing alcohol. We sipped our beverages while Dr. Evil introduced us to a cock-trainer named Esteban who provided an informal overview of his conditioning process, presenting us with the tools of the trade: “boxing gloves” which cover the feet of his bird during practice, and a leash used to build stamina by yanking the bird backwards each time it goes to strike. And finally— it’s a big misconception that prize cocks fight with their natural spurs.

Instead, these are actually removed and replaced with a small metal “knife” tied to the left foot of each bird (since they would otherwise end up killing each within mere seconds).

Esteban gave further instructions warning not to take pictures of anyone’s defeated rooster: not only are cock-trainers sore losers, but they also love their birds dearly. In both Canada and US cockfighting is illegal and regarded as ruthless, (where objectified, mass-produced animals are sent to the slaughter continuously without any connection to consumer consciousness), and in Nicaragua, cockfighting is a legalized death sport—but one of honor and reverence. Although it must be understood that at least one rooster could die, no trainer would dare believe that this would be the fate of his rooster. Accordingly, if all ends well, the winning bird receives veneration from the community as a cherished mascot and symbol of neighborhood pride. As for the trainer, he can be seen walking with his bird; greeted with shouts of praise and admiration from the townspeople as they walk by.

As the evening went on—if the melee and mayhem weren’t enough— the festivities ended with a loud crash. Everyone turned with surprise, seeing that a young, local man had run his crotch-rocket into a dirt pothole, flinging him over the handlebars. He was fortunate enough to land in the middle of a rickety wooden bridge. He just lay there; his motorbike on its side with the back wheel spinning and the horde that had just been watching the fight now crowded around him. I asked an old man next to me if the guy was drunk. In Spanish he replied, “No. Just an idiot.”

jeffrey dekker artist profile

Interview by Brnesh Berhe

The Mouth 8�x10� Hand drawn, digitally coloured

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Milk Tits 8�x10� Hand drawn, digitally coloured

Camping 8”x10” Hand drawn, digitally coloured

So what made you want to venture into a creative career?

I’ve always drawn, but when I started high school I had a teacher who showed me what I could do with it. He mentioned being a political cartoonist, working on comic books or animation. I job shadowed a political cartoonist and I didn’t like it, so I went to Vancouver for two summers and took some animation classes. I enjoyed it so much that I decided to return a few years later and take the two year 2D/3D animation course.

When I started working remotely from home for New Machine Studios in Calgary, I realized that I could look for other work while I was working. I looked online and found an ad doing a couple quick drawings for a local school and thought, “Hey I could actually do this.” I applied, they hired me, I did the work, and I got paid for doing art that I liked to do.

I had fun and that’s where I’d get ideas. Now I think more about what will catch people’s interest, and it helps me focus.

In the spring at a comic convention I brought one print of a jelly doughnut changing its tampon and the guy I was sharing the table with asked me not to put it out. So I thought maybe it was a little too crazy, and because I was sharing the booth with him I understood why he wouldn’t want it out. But there was a point in the convention when it started slowing down and I was rearranging prints, so I decided I’d display it. Lo and behold, someone came by, laughed and bought it. That print is on its second run now, and I just sold one to a family with three kids at the Edmonton Comic Convention. The mother came back on the second day still laughing.

Oh yeah, some people get very offended.

They’ll make sounds then walk off, or look at me, disgusted, and walk away.

So the leap from animation to doing what you’re doing now is pretty recent then?

Yeah, I started selling prints three years ago. It started with sharing a booth with a coworker at a comic convention in Calgary. I went down there with four prints and some business cards and I didn’t really have any expectations. I figured I’d just see what happened.

When I sold the first one, I thought, “Oh my God, here we go. This is it. I can do this!”

What inspires your subject matter?

A while ago I started a blog as a visual diary. So if my wrists hurt that day, I would draw a picture of my hand going through a meat grinder, and on the other end would be this chopped liver hand.

I don’t think I’ll ever lose that weird humour, but I could see if I had kids, maybe I wouldn’t want them to see that kind of stuff. I don’t normally feel awkward, but when a kid walks up and asks his mom, “What is that?” that’s when life can get a bit strange. But I hope it doesn’t change.

Has that changed your perspective of what you think the average person’s artistic taste is?

Yeah, now I have to step it up. The next one has to be stranger. I have some that are funny but kind of gross and I would love to get them into people’s homes. I want to keep doing the gross ones and eventually have a show… basically a shit show of bathroom prints and weird, over the top stuff. I was never working towards that, but now I feel like I am, which is really sad [laughs].

Wedding Smells 8”x10” Hand drawn, digitally coloured

Do people ever get offended by your work?

Oh yeah, some people get very offended. They’ll make sounds then walk off, or look at me, disgusted, and walk away. It’s usually the kids who like it and the parents will see it and have to explain to the child, “Why yes that bunny is sitting on a pile of poo”, or they’ll just cover their eyes and drag them away.

To be honest, I get more awkward when people like it. It’s weird to be standing across from my work at a show and watch people look at it. I think, “Well they’ve been staring at that for a couple minutes now. What are they thinking? Should I go up and say something?”

It’s weird, but I’m gaining confidence.

Who are some of your creative influences?

In the beginning my influences were more scratchy drawings— that Ren and Stimpy, Spumko, Saturday morning cartoon style. And Basil Wolverton, an artist that drew a lot of strange faces…so over the top. Also, Ralph Steadman, that whole gonzo style with Hunter S. Thompson. I love the energy of his work. There’s always a market for the weird stuff.

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Do you digitally paint most of your pieces?

Yeah, and that’s one of the reasons I started taking oil painting classes--I needed to figure out how to really paint. Everything had thick black outlines and solid colours, it was getting old and I wanted to take it a bit further. The painting classes are helping; I’d never done it before and I’m better than I thought I’d be. But I can’t paint the same way I draw, so I go back and forth between the computer and the canvas.

How would you describe Edmonton’s art scene?

I’d say it’s pretty good, I mean, it’s given me a chance [laughs]. Art Walk blows me away. It’s so great to see so many artists out there and so many people actually buying art. When I got a chance to sit down and sell stuff I couldn’t believe there were that many Edmontonians who cared.

Any upcoming projects?

Well I’m putting out an illustrated book of poetry called “Wondering, Wandering” with some of the art and doodles from my blog.

And my Tits in a Cone drawing is being made into a 6” figurine and painted to match the prints. I’m kind of working towards having four of my prints made into large figurines. I don’t have any crazy goals yet, I just want to have more fun.

Conjoined Twins 8�x10� Hand drawn, digitally coloured

Hawksley Workman

the god that comes Wo r d s : B r n e s h B e r h e | P h o t o s : Tr u d i e L e e ( t h i s p a g e ) , Tr i s t a n B ra n d

12 22

Hawksley Workman has never been one to bridge their two worlds in their collaboralean on the side of convention. While he tive process. has been performing rock n’ roll on stages across the world for years, the Juno Award “Christian was this wonderful guy when winner has been busy with his latest proj- we were working together. He’s obviously ect, The God That Comes; a one-man musi- steeped in theater and he made it feel like cal reimagining of the ancient story of Bac- a very safe place for me to be whatever I chus, the God of wine and ecstasy. While wanted to be.” he admits to being green to the world of theatre, Workman was up for the challenge While Workman was used to having the and itching to do something he hadn’t freedom to improvise sets and change-up done before. Co-written and directed by his songs during a show, having to really focus friend, Christian Berry, the play has already on doing the same performance night afgarnered praise in its early stages of release. ter night was an interesting challenge.

“I didn’t really have anything to compare it to”, “As a rock n roll guy, I never do the same says Workman, “so when the good reviews thing twice, so to sit and really meditate were coming in I was like ‘Wow this is great!’ on a show for a couple weeks and live in It’s not like I’ve been a regular subscriber to it for an hour and a half every night as a theater, so in a way I was a bit of a rogue; performer was new for me.” operating in a world that I didn’t understand, or maybe didn’t even quite belong in. Again, The guys worked on the play in various cithow better to try and come up with some- ies across Canada, including a stint at the thing new when you don’t know the rules.” renowned Banff Centre where they were granted a two-week residency. The Centre The play tells the story of a tyrannical king is a beacon for artistic growth and expreswho lashes out against his people for fol- sion, and as Berry explains, a backdrop lowing the God up the mountain to indulge that fit almost too well with what they in a life of hedonism. were working on. “[It’s] a celebration of our animal impulses”, “Here’s this story that talks about going says Berry. “To have a drink, to dance, to let to the mountain in search of some kind go; to give over to some very human im- of spiritual revelation, and here we were pulses that sometimes we leave a little bit amongst the mountains drinking wine and too buried. We need to be alive.” playing music and doing a version of that very search.”

The spark to collaborate came about 10 years ago. Berry, an acting graduate of This wasn’t their first attempt at a creative Dalhousie University and founder of the partnership; they almost collaborated on 2b Theatre Company in Halifax, was study- a different play about five years ago, but ing directing at the National Theatre School scheduling conflicts got in the way of it in Montreal when he decided to check out ever coming together. When that fell one of Workman’s shows. Through “youth- through, Berry ended up finding inspiraful hutzpah” as he calls it, Berry went up to tion from a somewhat unlikely source: Workman after the show and proposed a Canadian politics. Shortly after Toronto collaboration right then and there. elected Mayor Ford into office, he started to recognize some of the characters of the “I told Hawksley, ‘I don’t know if I want to Canadian political scene in the Bacchae. bring what you do to the theatre, or bring some theatre into what you do, but some- “I had this funny feeling that some of the how I want to work with you on something kings of Canada were a little bit suspicious someday’. For whatever reason we con- of some of the things that go on in dark nected over another drink (or two) and rooms at night”, added Berry. “So it seems started to talk about how we might partner.” like a story that had a political resonance, a topical feel to it, and it seemed like HawksBeing new to theatre, Workman found a ley had the potential to unlock something valued partner in Berry who made sure to great in it.”

“

Challenging convent

the status quo is

24

“

tion is going to become very important, because

going to get harder and harder to maintain.

reviews

“Workman sits at his drum kit and pounds out beats that are so darkly seductive in their insistence and complexity that I would have ripped off my clothes if he’d winked at me.

The God That Comes gives you a ride you’re not going to get anywhere else.”

The Georgia Straight

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“It’s a tour de force performance that mesmerizes with its deft wit and razor sharp humour.

What a production it is from Christian Barry’s slick, sardonic staging to Leigh Ann Vardy, Dana Osborne, Jesse Ash lighting, costumes and sound designs.”

The Calgary Sun

Art, literature, and music have a long history of thriving (although not always condoned) from political dissatisfaction and unrest. The frustration of ones’ surroundings has the tendency to push one’s creative limits, while enabling the courage to say, “Fuck you” to the powers that be. For Workman and Berry, it was important to be critical of those who held that power. Workman, a self-described “news addict who’s obsessively angry about everything”, saw the similarities in the megalomaniacal king he portrays in the play parallel those in certain politicians today.

“When you’re watching the news, whether you’re looking at federal politics, tons of different municipal politicians - including our esteemed Mayor in Toronto - and I’m sure there’s lots of provincial situations, you see these morally self righteous sociopaths point their fingers at us through the TV and talk about who’s right and who’s wrong. I mean, if you’re lying and scheming to keep this image of yourself alive then it wall always fall apart.”

The accolades and sold out shows have made The God That Comes a hot ticket, with dates already scheduled for the Edinburgh Festival in the summer, and the Stratford festival the following September. Their work is a battle cry of sorts, to remind people to question things and indulge in what life has to offer once and a while.

“Every passing year”, adds Workman, “I feel less and less connected to convention, and I get more and more frustrated with humans who are obsessive about it. Challenging convention is going to become very important, because the status quo is going to get harder and harder to maintain.”

Check out markermagazine.com for an extended interview with Hawksley Workman.

“The effect of putting The Bacchae into a single person’s body, ultimately, is to make the story less about a struggle between a king and a God and more about the struggle between order and chaos that lies within each of us. This is how all the Greek myths resonate with us since psychology came along – we no longer speak of Oedipus, but of his complex.”

The Globe and Mail

The God That Comes

will be playing in Edmonton at the Citadel Theatre from January 15-25.

T H E

F I N D

Offal Goods Following in the footsteps of Charles and Ray Eames, proving that couples that design together stay together, Offal Goods is a joint collaboration between local fashion designer Karen Sweet and print designer Pete Nguyen.

The couple currently works out of their home to create handmade, high quality bow ties and accessories that exude a powerful unity between the traditionally polar industries of utilitarian necessity and creative innovation.

Nguyen tells me that the name of the company is a play on words. It’s derived from “offal”, a term used in the meat cutting industry meaning the off-cuts of basic meats. Nguyen explains, “It’s things like stomach, tongues, hearts and heads. The bow tie is very much like an off-cut of meat— it’s not for everyone— it’s a delicacy of dress for the adventurist and refined.”

To me, the resulting effect of the couple’s product accurately personifies a quote by French Philosopher Henri Bergson who fa-

mously stated: “Act like a man of thought and think like a man of action.” Together the duo has created a product that demands acknowledgment of its quality and craftsmanship while demonstrating a playful and standalone artistic value.

Likewise, the merging of the couple’s individual talents attests to this balance, ensuring they bring forth unique, independent gifts.

Nguyen says, “As a print designer and art director I see the end product; I work towards the presentation, whereas Karen is focused on the quality and production.” So far this partnership has proven to work exceedingly well for the creative couple and has made a refreshing contribution to Edmonton’s expanding independent fashion scene.

Offal Good’s can be found in such local Edmonton stores as Gravity Pope, Tailored Goods and Barber Ha.

Wo r d s : K o d y T h o m p s o n | P h o t o : V S M P h o t o | M o d e l : T i m S t a r c h u k

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