FOUR WALLS WITH NO ENTRANCE / P.16 ____LIGHT AND TRANSPARENCY / P.35 UNTITLED, SELF-EXPRESSION / P.53 A ROCOCO PORTRAIT / P.70 CODE:SWITCH / P.23 APPARITION / P.38 SIARGAO: AN ISLAND OF LETTING GO S/S 2020 / P.56 AFTER 12 / P.77 HOUSE OF PAWS / P.28 UNNAMED LANEWAY / P.46 FLAT PACK FURNITURE / P.67 THE NEANDERTHAL PARLIAMENT OF CANADA / P.84
HI—WE ARE RAD!
RADmag is more than the bi-annual magazines we produce or the online content we share. Over the years we have grown from a small team, to a collective of individuals who are unified by one goal — that is to create a platform for young creatives to feel represented in. The community of: faculty members, team member, students, sponsors, friends and family thatbelieve in and support RADMag is what pushes us to do better & be better. As individuals we are always changing. As an industry we are always changing. It only seems fit that RADmag is granted that same opportunity to change.The 2020 rebrand is meant to pay homage to the years of work put into RADmag in the past and also look forward smilingly on what is in the future for our platform. We are excited to continue to grow with our community and we hope you are too!
FASHION PHOTOGRAPHY DESIGN
drinkacehill.com
@acehill
THE TEAM
Editorial
Administrative
Incoming
Editor in Chief Maxine McCarthy
Publisher Ena Nikolic
Editor in Chief Kaylah Wilson
Managing Editor Connor Garel
Assistant Publisher Claire McCulloch
Managing Editor Abigail Chevalier
Photography Editor Lelya Godfrey
Sponsorship & Distribution Manager Alexandra Anisman
Photography Editor Yanlong Sha
Interior Design Editor Emily Allen
Marketing, Events Director Amelia Ball
Interior Design Editor Katie Regis
Fashion Editor Angelina Vaah
Marketing, Events Assistant Kaylah Wilson
Fashion Editor Mia Yaguchi-Chow
Copy Editor Danielle Howson
Social Media Coordinator Kaylah Wilson
Content Creator Aisling Gogan
Copy Editor Cheyenne Bholla
Social Media Graphic Designer Adrianna Madore
Content Creator Lauren Knowles
Content Creator Dominique DiLibero Content Creator Mia Yaguchi-Chow
Art
Pre-Press Manager Winnie Lee Publisher Amelia Ball
Art Director Alexander La
Vice President, Finance Avery Tarek-Kaminker
Pre-Press Manager Justin Chan
Admin Assistant Sabrina Yussuf
Graphic Designer Afrah Idrees
Marketing Manager Zerlina Lac
Graphic Designer Emmanuelle Cabaltungan
Marketing Assistant Marly Bromstein Events Manager Claire McCulloch Events Assistant Cory Pitman
EDITOR’S LETTER
ART GETS CUT FIRST. Art gets cut first. Ontario Premier, Doug Ford, defended his decision to make student fees optional on the basis of the “crazy Marxist nonsense student unions get up to.” When Publisher, Ena Nikolic, and I embarked on this journey of leading the RADmag team it was during a period of celebration. With our first publication together being the monumental Issue 10 and fifth anniversary magazine, there was a sense of overwhelming excitement. As we entered into production of Issue 11 we experienced the adverse…compelling fear. The RADmag team successfully launched a 114 page magazine, featuring twelve phenomenal student submissions and five in-house produced editorials. Then were faced with the harsh question: will we even have the funding to print a physical magazine for next issue? With the progression of the production calendar RADmag returned to our roots. Ryerson’s Art + Design Magazine was born to create a collection of student work showcasing top talent in Fashion, Photography and Interior Design. So, Issue 11 is just that. A body of student submissions. The current landscape which student groups are entering is one of survival. The unknowns outweigh the known, but the faculty at Ryerson is doing everything possible to maintain the communities outside of the classroom. But we all need your support. If you only gather one thing from reading this letter, please opt in for student unions. We must fight back against this administrations rhetoric. The plethora of opportunity provided by all Ontario student groups will be lost without peer support. They cannot win if we stand together.
PUBLISHER’S NOTE
Days before orientation, I stumbled upon RAD for the first time. As I held issue 03, I was captivated by the high quality visuals and the thought-provoking narratives put forward by students. I was determined to find my way in. While filtering through the available roles, I quickly became consumed by my own self-doubt. Do I know how to execute marketing campaigns and host events? Do I know how to balance budgets and generate cash flow? Fast forward eight issues and several roles, I have finally found the confidence I once lacked. Not only does RAD give a voice to artists, but it creates an opportunity for students to operate a business and drive their entrepreneurial spirit. We place confidence in our team members to find innovative solutions to optimize our channels. During my tenure as Publisher, I learned that it is easy to oversee the tremendous amount of work and effort that goes on behind the scenes. From accounting to distribution, our dedicated team members do it all. Thank you to each one of you for being a pillar of our publication and making my time with RAD so meaningful. As always, I hope issue 11 can be a source of inspiration to all our readers as it is for me.
FIND US HERE STOCKIST INQUIRIES CONTACTRADMAG@GMAIL.COM
Soop Soop 1315 Dundas Street soopsoop.ca
A Different Booklist 779 Bathurst Street adifferentbooklist.com
Swipe Design 401 Richmond Street West swipe.com
Campus Bookstore 17 Gould St
Likely General 389 Roncesvalles Avenue likelygeneral.com
Ryerson Art Space 401 Richmond Street ryersonartspace.com
Tusk 888 Queen St West shoptusk.ca
Necessary 1411 Dundas St West shopnecessary.com
#ANYTHINGISPOSSIBLE
TABLE OF CONTENTS
FOUR WALLS WITH NO ENTRANCE PG 16
IMA
APPARITION PG 38
FASHION CODE:SWTICH PG 23
SIXARGAO:AN ISLAND OF LETTING GO S/S 20 PG 56
INTERIO
HOUSE OF PAWS PG 28
UNNAMED LANEWAY PG 46
AGE ARTS UNTITLED, SELF-EXPRESSION PG 53
_______ LIGHT AND TRANSPARENCY PG 35
A ROCOCO PORTRAIT PG 70
AFTER 12 PG 77
THE NEANDERTHAL PARLIAMENT OF CANADA PG 84
FLAT PACK FURNITURE PG 67
OR DESIGN “IT’S OKAY TO NOT BE OKAY.” PG 11
RADMAG
RADMAG
“It’s okay to not be okay.”
Creative Director: Ena Nikolic Photography: Emmett Charuk & Alejandro Aguiar Make Up, Hair & Post Production: Nicole Weitzel Models: Maxine McCarthy, Clay Conrad, Faizan Sheikh, Tianna Stimpson, Anna Melendres & Dre Selassie 11
Explore your darkness and learn to navigate your sadness. It is not a sign of weakness; it’s a sign that you are human. Try to find the beauty in your pain and the resilience from your tears. It’s okay to not be okay.
IMAGE ARTS
Four Walls With No Entrance Leyla Godfrey
leylasgodfrey@gmail.com @leylagodfrey leylagodfrey.ca
Leyla Godfrey is a recent graduate of Photography Studies at Ryerson University. Her work consists of portraiture and still life images. 16
Artist Statement This series depicts the relationship between my grandmother and I. We have grown extremely close, and despite living together my entire life, she still has secrets that remain hidden. Through her portraits I have discovered that her secrets do not relate to our relationship. They are integral to the way she sees
herself, her uniqueness, and her ability to maintain her own independence. This series highlights the contrast between what I desire to know and what she wishes to share. The careful way she holds or reveals secrets and the tension it causes in our relationship is what I wish to capture on camera in response.
FASHION
Code:SWITCH Angelina Vaah
angelina.vaah@ryerson.ca @angelina.vaah
Angelina Vaah is a fashion student at Ryerson University who finds inspiration from her fractured West AfricanAmerican Diasporic culture. Through clothing, she finds purpose in telling the stories she observed on her mother’s lap as her hair was strung into tidy braids before school.
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Artist Statement Code-switching is defined as the transition between professional and colloquial speech in accordance to our surroundings. For descendants of the African diaspora in the West, the full-bodied art of code-switching is an invaluable skill. It is the ability to move seamlessly between the different facets of life as a black man or woman in familiar and foreign spaces.
It can mean the difference between poverty and prosperity. The styles that reflect African-American culture are a direct result of their interactions with the society around them. The oversized garments represent the generational poverty, to the decadent accessorizing that comes with the territory of coming from humble, inner-city communities to a higher class through music or other avenues. Nothing in fashion just appears, there is always a reason. Code:SWITCH works to challenge these ingrained ideas of what is and what is not proper. Each of these sentiments change depending on the different bodies that are showcased. This series is meant to make the audience ask themselves - why can a hoodie be seen as an item of leisure or as a weapon? Are these latent biases contributing to the toxic societal structure that still divides us today? It is clothing that speaks volumes. Listen closely.
INTERIOR DESIGN
House of Paws Kelly Walcroft
kelwalcroft@yahoo.ca
Kelly Walcroft is a recent graduate from Interior Design at Ryerson University. Throughout her four years, she has served as an active member in the school and design community. She is currently pursuing her passion and role in the industry as a Designer at an architecture and design firm in Toronto.
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Artist Statement As an extension to existing animal shelters, this site offers a place of refuge for stray animals who may need a safe environment and a new beginning. In opening its doors to the greater community, this shelter offers a holistic approach that redefines animal welfare, encompassing a revitalized face to the relationship between humans and animals. Referencing the Cat Colony on Parliament Hill that closed in 2013, this space looks to reenvision a new role of community engagement with animal shelters. In an attempt to reconsider the traditionally hard and rigid properties in the interior of older shelters, this space aims to reimagine a new role of community engagement with animal shelters, while simultaneously redefining the firm and fixed architectural traditions of older shelters. As a permeable space between Ottawa and its surrounding area, this site will serve as a neighbourhood locale by reclaiming prosperity in celebration of animal welfare. Site Location: 100 Wellington Street, Ottawa.
IMAGE ARTS
Light and Transparency Mackenzie Meek
macellismeek@gmail.com @mac__meek macmeek.space
Mackenzie Meek is a Calgary native with a contemporary approach to photography. He uses aspects of architecture and design to inspire his personal work. He looks to Edward Moybridge’s study of clouds and motion photography from the 1800s, finding it resonates with his own curiosity. Meek began learning the fundamentals of photography at a young age through his grandfather, a photographer himself. 35
Artist Statement Inspired by opacity variance, and lights ability to transform through inanimate objects, this series displays the contrast between elements of light and surface materials. I became inspired by the shadows forming from the
non-transparent objects, while reflecting different types of light and surfaces surrounding me. Using varying amounts of light with transparent materials, I was able to create a display of transparent frames.
FASHION
Apparition Sabrina Rose info.sabrinarose@gmail.com @sabrinarosedesign_ sabrinacapista.com
Sabrina Rose Capista is a Toronto-based designer and a recent graduate of Fashion Design from Ryerson University. She has an affinity for couture and hand craftsmanship, which she combines with conceptual design to create unique and wearable pieces for the maximalist. Finding it difficult to commit and constrain herself to one specific style, she inherently melds genres together to create something unfamiliar. Capista looks toward cinema for inspiration and loves to experiment with different mediums - digital illustration, painting, 3D design, and filmmaking. Taking a strong interest in textile design and the development of fabrics that contribute to sustainability within the fashion industry. Through innovation and aesthetics, Capista strives to create thought-provoking and meaningful garments. 38
Artist Statement Phantom limb syndrome refers to the sensations or pain felt in the presence of a limb following its removal. This phenomenon is explored in the exhibition and film Reflecting Memory, where mirrors are used therapeutically to minimize phantom pain by creating an illusion for the brain. In literature, the idea of phantom limb is often used to represent grief and our body’s neurological response to loss. This results in memories that linger long beyond existence. This can be true for less tangible things in our lives such as feelings provoked from the demise of a friendship or the absence of something that once played a great role in our lives. Apparition is a luxury women’s wear capsule collection drawing on a more romantic and maximal style. Shapes and silhouettes throughout the collection reflect the aesthetics of a missing limb - asymmetry, illusions of disproportion, and physical abnormalities. While the surface details draw on the emotional and mental struggles of living with phantom limb pain, they conceptualize themes of persistence, reclamation, and revelation.
INTERIOR DESIGN
Unnamed Laneway Emily Allan
emily.allan@ryerson.ca @em.allan
Emily Allan is a freelance designer and artist who studied Interior Design at Ryerson University. Emily’s work spans twodimensional and 3D mediums with an emphasized interest in small space-living and sustainable practices. She continues exploring the integration of her illustration practices with 3D modeling software.
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Artist Statement The site selection falls within the Bloordale neighborhood, abutting the old shores of the Garrison Creek. Tasked with a light-handed DIY laneway infill project, my interior proposition aims to bridge an abstracted nostalgia of larger networks within an intimate scale. Within Toronto’s urban core exists a challenge of promoting urban densification that counters the current polarization between our heritage neighborhoods and new dwellings. Unique efforts towards sustainable urban densification and affordable housing within cities are more necessary than ever before. Although laneway housing is not a complete
solution, it offers a community-oriented approach within established neighborhoods. Laneway infill projects help to maintain the architectural diversity of our cities, while promoting a bottom-up heritage oriented development. Laneways exhibit a world of the ad-hoc, explained by David Winslow as “casualness and improvisation shape the use and presence of buildings, and the life that occurs between them�. Inspired by this notion, my studio project is a spatialization of design and social rhetoric, drawing on DIY initiatives within contemporary city living and laneway spaces. Considering the historic identity of the Garrison Creek, and its relation to the original structure, I looked to the available material and conditions of the site to help identity and showcase heritage. The iconic concrete brick of the site and the industrial nature of the garage is highlighted in contrast with new features. We see the site’s past character within its new future. Site Location: North-West of Bloor Street and Ossington Street, Toronto.
IMAGE ARTS
Untitled, self-expression John Delante
jdelante@ryerson.ca @jmdelante
John Delante is a first-generation immigrant and a Torontobased photographer studying Photography Studies at Ryerson University. Although Delante is new to the practice of photography, he has always had a passion for it. He continues to explore his personal style, but is drawn to documentation, landscape and sub-portraiture. He enjoys capturing moments with his friends and strives to document individuals underrepresented in the media. 53
Artist Statement Completed as a class assignment, this triptych series documents my friend Steve and his unique ability to stand out in a crowd. Showcased in his favourite garments, he demonstrates his selfexpression and liberation from standard gender norms. I left this series untitled to represent his ability to grow and evolve, while remaining honest with himself. He embraces this fragility as part of his selfexpression and creativity.
FASHION
SIARGAO: An Island of Letting Go S/S 2020 Joyin Rey Pagalan
joyinrey@gmail.com @joyinrey
Joyin Rey Pagalan is creating a new conception of femininity — a fresh blend of modern conceptual and contemporary wear. Inspired by the brand’s core vision of contrast blending that transcends to its designs, consumers, and culture. Pagalan loves designing garments that have a voice, structured with a compelling narrative and strong principles. 56
Artist Statement The intangible phenomenon of feeling oneself being removed from heartbreak inevitably leads to feelings of vulnerability, exposure, and fear of delving into the great unknown. The natural beauty in these images invokes inner peace, while paying homage to the island of Siargao, which helped bring this to life.
INTERIOR DESIGN
Flat Pack Furniture Zoe Galipeau
zoegalipeau@hotmail.com @designedby.zo
ZoÍ Galipeau is a Toronto-based designer in her final year of Interior Design at Ryerson University. She has a passion for creating and exploring different mediums of design that include graphics, furniture, and photography. Over the years, she has developed a dedication in designing for human experience through the array of mediums she works with. Much of Galipeau’s work follows a distinct motif that gravitates towards a minimalistic style with a contrasting pop of colour. She is passionate about setting goals and overcoming obstacles in each project she works on. Through research and personal experience, she attempts to create accessible designs and push boundaries with new material selection, textures, and lighting. She looks forward to making a definitive change in the world we live in.
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Artist Statement This piece is designed with the intent of creating a minimal and simplistic design, while challenging the structure of a traditional lounge chair. I removed any back support on the chair and replaced it with two simple straps that are functional in support. They maintain the original chair’s shape, holding the back at a 110° angle, and intend to assist the user in aesthetic support. The curve of the cylindrical dowel holding the strap in place, mimics the curve of the seat and the curves found in the legs. The arch in the back of the chair is created using twelve simple-cuts allowing for the bottom and seat to connect seamlessly with little to no right angles throughout the design.
IMAGE ARTS
A Rococo Portrait
Lisa McElroy
lisamcelroyphoto@gmail.com @lisamcelroy lisamcelroy.ca
Lisa McElroy is a Toronto-based photographer studying Photography Studies at Ryerson University. Her practice focuses on concept driven narrative work that uses portraiture as a structure. She works with humour and the dramatization of costume design when illustrating the representation of females, historical influences, the self, and family identities. Surrounded by her humorous and artistic family, the bizarre moments in her adolescent years formed heavy influence upon her work. She is notorious for having an unusual Amazon order history, an absurdly large wig collection, and a chaotic costume storage container. Outside of her portrait work, she experiments with film processing by fixing her images in natural lake water and dirt to create divergent environmental photographs. 70
Artist Statement During a trip to France, I walked through Palace de Versailles overwhelmed by the divine nature seen in the portraits of women and men. After nine hours in the Palace, I was struck by the lack of representation of women. Why is it that women were represented as exquisite and delicate, but never as strong and omnipotent as men? What did other women think of these dainty poses, and were they looking to been seen as voluptuous and androgynous as their male counterparts? This is a photographic series reacting to the absurd presence of Hedonism in paintings of women. The Rococo Art Movement looked to display women as fragile objects that were sensual and dramatic in their grandeur. With Hedonism, an ethical theory surrounding the pursuit for pleasure, artists were thought to have used the feminine aesthetic as a way to please a male’s own pursuit for sexual pleasure. The men were painted as a divine pleasantry that women had to earn to become established. This series uses Western European fashion from the 17th century to highlight the integrability of genders. These portraits challenge the ideas of Hedonism, The Rococo Movement, and the portraits throughout Palace de Versailles.
FASHION
after12
CONTRIBUTORS Head of Pattern Drafting & Production Manager: Mariia Nazarova Graphic Designer & Marketing Executive: Arielle Stewart Olouna Merchandising Manager, Tech Pack Supervisor & Stylist: Daniel Bosco Lead Technical Designer, Textile Buyer & Communications Editor: Julie Oon Accountant Executive, Production Manager & Textile Buyer: Olivia Da Cruz pavestudio19@gmail.com @pavestudio19
p/ave is a collective menswear company designed by third year Fashion Design students - Daniel Bosco, Olivia Da Cruz, Mariia Nazarova, Julie Oon, and Arielle Stewart Olouna. Each designer took on a three piece outfit consisting of a top, bottoms, and outerwear. p/ave is derived of five looks, fifteen garments, and five designers. Together, p/ave is dedicated to ‘paving’ a way for customers seeking the unconventional in their dayto-day garments. With modern takes on fabric choices, colours, personalized graphics and styles, p/ave sets itself a diverse, and expressive future in menswear fashion. 77
Artist Statement after12 pieces become wardrobe staples, breaking professional dress conventions with a modern take on tailored garments. This collection imagines a man working late in his tight cubicle space, leaving in a rush to catch a last minute party with his coworkers. As he leaves the party, he finds himself taking the jackets of a stranger, layering unconventional workwear clothing. after 12 merges both
streetwear elements and tailored techniques. This collection looks to showcase an unorthodox vision, drawing inspiration from the modern working man to reinterpret menswear pieces. We look to provide men with the flexibility to choose what professionalism means to them - and with our dedication to innovation and quality, we strive to change and disrupt the norm.
INTERIOR DESIGN
The Neanderthal Parliament of Canada Brett Patychuk
brettpatychuk@gmail.com @urbanfratboy
Brett Patychuk is a recent graduate from Interior Design at Ryerson University with an unwavering commitment to creating spaces that value and respect the human condition. With another degree in Anthropology and experience living worldwide, he values the importance of incorporating and respecting the diverse epistemologies of the clients his spaces are designed to serve. Following graduation, Patychuk applies his skills as a Junior Interior Designer at one of Canada’s largest architectural and workplace design firms.
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Artist Statement Mourning is one of the most defining characteristics of humankind. Why, then, do we not mourn the loss of our closest evolutionary kin? For the last 150 years, the images painted of Neanderthals as simple-minded, static, and primordial primates have dominated our popular discourse. Neanderthals were equally complex, intelligent, insightful, and imaginative humans, just as capable — if not more capable — of innovation, art, and culture as homosapiens. This is a fact increasingly acknowledged in academic fields, but still largely ignored by the general public. Neanderthals continued to exist into present day alongside us, to create a paradoxically more accurate depiction of their humanity.
This series seeks to employ an alternate history wherein this scenario, Neanderthals engage in the growing trend of identity politics and claims of autonomy in our contemporary society, adopting a semi-autonomous parliament and representation system within Canada. This parliament acts as the governing heart of Neanderthals in Canada while also acting as the primary institution for establishing an official Neanderthal cultural narrative and design vernacular. The Neanderthal Parliament of Canada becomes a space for the legitimization and transference of Canadian Neanderthal culture within this alternate history, while also becoming an abstract insight into the more humane depiction of our evolutionary cousins.
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