Woo Fall 2014
Woo Fall 2014
Contributors Alicia Marie Lawrence Me ga n Kwa n Dan Brown Hozjan Flavia C Brent Haddow Scarlet Lam Tim Bauer Josepha Evans Chen Guang Wang Cecil Lu Gabrielle Faludi Klaudia Niwa Jessica MacDaniel Anastasia Andrianova Aida Miri Jennifer Dickieson Victor Valero Jon McElyea Ester Tothova Bronwyn Carere Melanie Whorton Lauren Henderson Julie D. Mills Tamara De La Flor Kevan D’Agostino Kate Fearnall Logan Mohr Margaret Royena Daniel Telado Laurel O’Brien Paul Grawitz Kelly Chen Sarah Davidson Jesse Coons Zora Sauterieg
Editors in Chief Daniela Buitrago & Yili Lou Art Director Sami Barker Executive Director Jennifer Dickieson Media Director Stacy Ingram Print Manager Thaira Bouhid
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Design Team Kyu Lee, Daniel Telado, Natalie Worth, Danica Norton, Marianne Yoshiyassu, Lula Christman & Naitik Mehta Media Team Olivia Chaber, Lauren Ray, & Sam Wong Editorial Team Jamie Chen, Kelly Chen, Melissa Johnson, Summer Skinner, Bronwyn Carere, Mahnoor Lodhi, & Amy Brereton Web Design Tori Ziliang Zhao Illustrators Juan Cisneros & Tamara De La Flor Public Relations Farrah Olegario Nazareth Apprentices Christine Wei & Dennis Valouiski
Masthead
Letter from the Editors
There is no question that the Woo Publication has grown and improved in unprecedented ways in the past few years. Building on the hard work of former editors Jacquie Shaw and Sarah Wilson we have established a vision with the intention of remaining an integral part of the Emily Carr community. We began this year with positive energy, strong direction, and interesting projects. The revival of Faces of Emily Carr combined with the revamping of our online presence has laid a stage for more growth. This issue kickstarts our endeavour to reflect on the collective energy and lifestyle of Emily Carr students. Showcasing your creative brains and bodies as a continuing series throughout the school year to round off as a cohesive collection. You hold in your hands the baby of the biggest, most dedicated team Woo has ever had. Nurtured and tended to with time, skill, intel and steadfast commitment. So grab a cup of coffee, lie down somewhere cushiony and enjoy the rest of the journey through this year.
Cheers, Daniela & Yili
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Field Notes
I’ve drawn with black ink on a napkin to indicate where I have been walking in the last few months. Interlocking lines that
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represent Broadway and Main are interspersed with box’s and x’s that mark galleries, artist-run centres, studios and a few bars. A small branch (East Pender) peters out towards the right corner with unit/pitt and the Dunlevy Snack Bar as blank boxes on either side. Outlying, in the left corner, the Vancouver Art Gallery is a circle. Removed from the bustle of sharper shapes in the east. The ink bleeds into the soft white creases and turns purple.
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The data that artists collect often manifests in the form of response, it is in itself a ‘note from the field’, a physical record of an activity, observance or idea. In the collecting of raw data: phrases, objects, images and experiences, I propose that there is a sense of amateur cartography. To create a map is to reduce chosen elements to an abstract form and place them in a space. With consideration, those arrangements take on emerging qualities. Bringing ‘field notes’ together from select individuals creates a text that has a multiplicity of readings and builds to develop a narrative that moves outwards in response to its conditions.
To use a map as a form reveals data sets that were once invisible. These ‘emergent qualities’ deserve our attention and investigation. They deserve criticism. They deserve action. Here in this issue of Woo Publication, we feel we have built a landscape for readers to walk through. Bringing together textual elements that speak to the specificity of where we exist with images, designs and imaginative diversions to produce a: ‘ you are here ’ statement. It seems to be the topic of collective consciousness to explore the world in this way, to wander out into the field and bring back snapshots as evidence of our adventures. It is in this act of collection we offer to you a new idea, an atlas of a journey. Here on the coast the landscape is beautiful, but it is demanding. Commanding constant visual attention as we push the scenery past. What are our tools for garnering direction, recording action and charting new territories both outer and inner? We do not offer an answer, only the records of wanderings that have passed. Maps, walkings and notes from the field. Jennifer Dickieson
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Part 1
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Utah B y Alicia Marie L awr enc e
Your snowflake eyes, like shattered glass with a world of stars in the water beneath,
are my sky that sings its unending night
and shelters us, guests against rock with sand outstretched, together in this desert.
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Previous: Megan Kwan Steaks Digital, 2014
Dan Brown Hozjan Sphagnum Cordillera Pen on Paper 2014
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Flavia C Don’t Forget to Smile, Balthazaar Ink, 2014
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Brent Haddow Work from ‘Mission’ Series Ink, 2014
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Road Trip B y S c arle t L am
Heading for the world in our old sedan With only four tires and full of cheap gas; Eating at bad diners was not the plan, Should have stayed in school in order to pass.
Singing to David Bowie all night long, Snoring in the back with the headlights off; You want the Young American in song Hollering and hollering ’til you cough.
Watch the trees sail past in a blur of green, Motion parallax; too drunk to recall. Parents are worried you have not been seen; Jump into the lake, you take the cold fall.
Fading stars scatter the night before you, A fading star and you know you’re one too.
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Tim Bauer, Kim Jong Together, Ink and Photoshop, 2014
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Chen Guang Wang A Little Girl in Pink Sucks Oil on Wood Painting Panel, 2013
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Josepha Evans Untitled Painting, 2014
Scarlet Lam Supernatural Oddity Col-Erase Pencils & Ink, 2014
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Cecil Lu Warped Gouache on Paper, 2014
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Gabrielle Faludi I am a Passenger Embroidery, 2014
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Jessica MacDaniel Northern Lights and Phone Photographed Installation 2014
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Klaudia Niwa Family Portrait Acrylic, Soft Pastel on Wood 2012
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Anastasia Andrianova The Crane is in the Arms Watercolour, 2014
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Aida Miri Life is the Alien Sense of a Migrating Bird Photography, 2014
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Part 2
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Wake up, call me, and tell me your dream B y Jennif er Dick ieson
TEXT from S: “wake up, call me and tell me your dream” J: Ok, so listen, I was lying in the bathtub mostly underwater and imagining that I am a whale. It seems so stupid, but just stay with me. My head is hinged all the way back as if I am watching something above me. The underside of my nostrils lie flat to the surface of the steaming water, the blowhole. My lips and chin poke out of the water, the dorsal fin. I rest my hands loosely on my sternum so that my elbows make perfect pectoral fins. A smooth oval stretch of skin makes the back of the whale and I don’t know where my legs are at because it’s a warm kind-of-everywhere temperature and I can’t feel that I have legs. You might think it would be uncomfortable, all pretzeled up in the tub like, because you know how long I am and how very small my yellow bathtub is. But it’s in the water and so gravity has loosened me, I can let out all the air and sink to the bottom of the tub, then I can take in a lungful and be lifted up. That must be what it’s like to have a swim bladder, or whales don’t have swim bladders do they? S: Fish do. J: Anyway, it was a nice feeling to think about my breathing in that way - up and down. So I’m there, eyes closed in the tub breathing and pretending I am a whale like whatever brand of psycho I am, and suddenly my brain feels funny and there are snowflakes. Snowflakes. Falling gently through the black abyss, they don’t land or collect anywhere they just fall. There isn’t cold but there is a windy sound, a whooshing sound that makes me lose the sense of where down is. Then I woke up and all the water had drained out of the bathtub, and I was sore and freezing and had to go to bed with wet hair. S: So wait, what part of that was the dream? J: The snowflakes.
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Rebuilt Jennifer Dickieson Manipulatable Collage, 2014
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Victor Valero Work from ‘Ambivalences’ Series Photography, 2014
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Jon McElyea White Cap Painting, 2014
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Ester Tothova Lonely Photography, 2014
Beach Day B y Br onw y n C ar er e
Sandy and warm. Grit in my eyes and salt on my skin. She swims in the water, then up the beach. Sometimes with one head, other moments with two. Always wavering behind a film of heat. She is two-faced, standing above me, coming into focus as she slides across the sun. Now a shadow with a human outline, now a half-moon of light- one eye and a nostril. Half a curved lip. When she moves her image remains, a white stain on my eyelids. So I keep them closed. Feel her wrap her arms around me. We tan.
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Melanie Whorton Take Out Mixed Media, 2014
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Klaudia Niwa Impassivity Graphite, Black Ink, Charcoal on Paper, 2011
Lauren Henderson Trigger Black & White Photography, 2013
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Klaudia Niwa Pasta Will Get Cold Acrylic and Oil, 2012
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Julie D. Mills Work from ‘ fan art ’ Series Digital Photography & Painting, 2014
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Tamara De La Flor Mana—Huachayujg Watercolour, 2013
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Kevan D’Agostino Mate Moro Monograph Printed Book, 2014
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Kate Fearnall Cactus Head Digital/Print Branding, 2014
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Logan Mohr & Margaret Royena String Tone Industrial Design, 2014
String Tone was designed and built by Logan Mohr and Margaret Royena in collaboration with Co-Creators at Kenneth Gordon Maplewood School. String Tone takes into consideration the interests of our Co-Creators Arlo and Ethan. Arlo is interested in electronics and wants to be an electrician. Ethan has fun tying knots, weaving, and making things with his hands. Both students enjoy looking at detailed exploded view illustrations and complex visualizations of mechanical systems. We developed a system that the students can engage with mentally and physically by embedding their interests into the design. The design of the interface creates an interdependent relationship between those who use it. When stretching the strings on, you must pass it through the mesh to someone else on the opposite side so that they can loop it onto one of the pegs.
Once the strings are looped onto the pegs, they are amplified by a series of contact microphones affixed to the interior of the notched bridge. When plucked each strings vibration is amplified by the microphones and speakers into a musical tone. By playing and creating music with String Tone, students can develop an understanding of the way sounds change when you modify a strings length and tension. The final design allows for the construction and deconstruction of a system, and utilizes a fabric mapping system that indicates the layout of different components. We also wanted to have transparency in the final design so that the students could visualize the way in which the instrument works. We accomplished this by covering the back of the speaker boxes with clear acrylic panels, which provide visibility of the electrical components.
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Daniel Telado “Now I Know: Daily Fact” Cof fee Cuf fs Digital Print , 2014
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Laurel O’Brien As Above, So Below Ink, 2014
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Part 3
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Paul Grawitz Col de Salenton—Alps, FR Photography, 2012
Journey B y Ke lly C h e n
Day 1. walking down the view that sounds like birds, the sea and cycling wheels, I’m not sure, where I’m heading to.
Day 2. eyes filled with light rods and cones busy processing not sure... what I see is true, or of significance looking back, I can’t make sense of anything
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Day 3. The horizon is no longer still the ground is no longer stable I can’t seem to keep myself steady my mind unsettled, my eyes wavering... where have I been?
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Paul Grawitz Refuge de BĂŠrard- Alpes, FR Photography, 2013
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Paul Grawitz Lever du Soleil, Refuge de BĂŠrard - Alpes, FR Photography, 2013
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Paul Grawitz Aiguilles Rouges - Alpes, FR Photography, 2013
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Paul Grawitz ValĂŠe du Trient / Influences Estivales - Alpes, CH Photography, 2013
The maps were with me always—printed in an office, very matter of fact. Wrapped in plastic bags, since it always rained. I folded and re-folded them, oriented them to the land, reframed my location. I saw the glaciers: grey expanses in print, as big as my palm, half a mile higher than me, usually nowhere in sight. I looked for wide, rolling couloirs to cross. Fewer contour lines, further apart, the further the better. That pattern, the plan. When my day was done nothing changed. There was no night, and the glaciers churned slowly on parallel planes, eating the rock and paying no mind.
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59.812139, -136.045212 Stikine Region, BC
Sarah Davidson Wander Digital Collage Printed as an Artist Book, 2014
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Jesse Coons Some Developments in the Life of Catriona Glint Ink on Paper, Digital, 2014
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Let me out! The voice yearned from the vault of shrivelled skin and skull. An awakening from the coma ecstatic hypnotized transfixed delirious - then, it began dreaming of yonder seas.
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Zora Sauterieg Visions of Yonder Seas Silkscreen, 2013
Woo is available at: Emily Carr University & READ Bookstore The views expressed in this publication do not necessarily reflect those of Emily Carr University, the publishers, or the editors. Inquiry may be addressed to the directing team at woo@ecuad.ca Š 2014 including all content from the artists, authors, and editors. All images are reproduced courtesy of the artists. Woo gratefully acknowledges support from the students, alumni, faculty, student union and administrative board at Emily Carr University. Woo Publication Room 241B 1399 Johnston Street, Granville Island Vancouver BC V6H 3R9 Website: www.woopublication.ca Email: woo@ecuad.ca Facebook: /woopublication Twitter: @woopublication Blog: woopublication.tumblr.com Printed by: Made in Print 88 W Pender, Vancouver www.madeinprint.ca Cover design by Sami Barker, with original artwork by Marianne Yoshiyassu