the spring issue
editors in chief daniela buitrago & yili lou a rt director daniel telado editori a l director jennifer dickieson medi a director sam wong print manager thaira bouhid design te a m natalie worth, lula christman, kyu lee, naitik mehta, thaira bouhid, jordyn taylor, jonas voigt, daniela buitrago & yili lou medi a te a m olivia chaber editori a l te a m kelly chen, summer skinner, melissa johnson, mahnoor lodhi, bronwyn carere & amy bereton illustr ators juan cisneros
from the editors this issue bega n with the intention of bringing an uplifting feeling to the community as we cap off the spring semester. The idea of summary/ summer-y, as both a wrap-up and a season was bright in the collective ‘hive-mind’ of the WOO team. We wanted to make a magazine our readers could flip through light-heartedly, stretched out on beach towels with chilly drinks within arms reach. Our collective Emily Carr hive-mind said otherwise. As we considered the submissions we were both surprised and darkly delighted. With that in mind we present a hybrid: deep and introspective pieces balance out the optimism we began with. To round out the year we would like to address how overwhelmed with gratitude we are. We received more than 400 submissions in total during this school year; which was both impressive and allowed us to acknowledge that we have a huge responsibility in representing the Emily Carr community. You guys believe in us and we will work tirelessly to live up to your expectations! Finally, we want to thank all the team members and sadly say our goodbyes to those who are graduating this year. We wish luck to Thaira Bouhid our print manager and designer as well as to Natalie Worth our typographic master. We were both lucky and grateful for the work of Daniel Telado as Art Director. His skills, vision and leadership were instrumental in our success. And of course, endless props to Yili Lou, Editor-in-Chief. We would have never made it past the first page without her time management skills, energy and eye for detail. Endless thanks is also owed to the administrative support of Lori Macdonald and Fraser Ploss.
Daniela Buitrago
Yili Lou
Daniel Telado
Jennifer Dickieson
patrick james br avo hsl, 2014 mix ed medi a a con v ersation bet w een pa inting a nd printm a k ing This collection of work reflects on the development of the artist and process from beginning to end. Creating a conversation between painting and printmaking, the use of repetition, form, and gesture allows for fluidity across several groups of work despite their different mediums. Shown in groups of four, viewers can notice the similiarities in the collections surrounding them. Including the initial paintings, prints, transparencies, screens and squeegees brings the viewer’s attention to a woo
scene of curiosity, playfulness, and the process of the artist.
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daniel garrod stack, 2015 st y rofoam, wood
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emi w ebb self portr ait, 2014 w hite cr ackle r ak u, e arthen ware
joshua thom as w elsh waiting for v ictory rose, 2012 im age & words
flat. and in pain i quit cities and their failure to own their secrets. hope in change rides on the contrails of dragonflies born yesterday and the sun keeps setting. i dreamt of great lakes and dunes i haven’t yet walked from the great north or from one divided state it is no matter. the world is this canada finally shrugging american hemmed handmedowns. the world is this canada buyin flying weapons grasping for northern sovereignty digging deep holes of austerity to seek the false throne and the ice keeps melting and the bears keep swimming damn these dreams only dreams of land where poverty has no meaning trees fall on their own and souls are redistributed to nonbipedal things damn our stalled momentum and the incapacity to keep it. we are too many and the dandelion cannot weed istelf.
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m ari anne rico ch asing re alit y through the ey es of the sun, 2015 digital photogr aphy & mirror
m ari a duque acknow ledgments, 2014 v ideo watch the full v ideo at woopublic ation.c a/ spring2015
Acknowledgments is a self-reflective experimental video through which I have come to terms with my personal story; portraying the self as a space where light and darkness bound together to find balance.
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jessic a molc an he said, she said, 2015 oil on c anvas
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PROGRESS JUNKIE T h a i ra B o u h i d i lya v i ryac h e v is a graduate of the Art Institute of Vancouver (2011). Currently working as a concept artist and an animator at Roadhouse Interactive. This past March, Viryachev buckled down with WOO staff Daniela Buitriago and Thaira Bouhid to discuss hybrid practices and where things go after graduation. Viryachev’s latest work–a mural–can be seen from 3rd/4th Avenue Columbia Street. Here is an edited excerpt of their conversation:
during the breaks was great. How was the transition between school and work? Any suggestions for recent graduates? I started working in the industry three weeks before I graduated because one of my teachers worked in the industry and I made a good impression on him. Luckily my school allowed me to finish my demo reel in the evenings so for those three weeks I would work full time and go to school at nights. But it was great because all of
What skills and experiences would you say where
the worries about getting that first job were gone.
the best ones during your time at school?
Getting the first opportunity in the industry is the
Working with a team of like-minded and dedi-
hardest step to make, so I would suggest to grads
cated friends was a great experience. For the later
to do everything it takes to get there. Once you are
half of the school program I was at the institute
in, you can meet other artists and make connec-
every day of the week, for about 9-10 hours five
tions that will last you a long time and propel you
days of the week so I spent more time with my
further as long as you are nice to work with.
friends than my family. They became my family and helped me push myself harder than I knew I could. The best skills I have acquired were probably persistence and will power towards hard work, because before I went into animation I have never put so much time into a single piece of art… Also, playing foosball with those friends
Even though you are pursuing it less, do you feel like studying animation turned into an advantage in your career as concept artist, and personally as a painter? Studying animation has definitely made me a better concept artist and painter. Animators have a certain aesthetic that focuses a lot on motion, emotion, and technique. All of those are now very important to me, and those are the elements that
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What is the largest problem you have face as a young artist/animator in Vancouver? I feel very lucky that I haven’t had to deal with
sure there’s time for everything (but let’s be honest, there’s never enough time for everything). Ask me in a year, maybe I will have a better answer. Animation involves a lot of technical work by
this problem myself too much, but I know many
yourself. But how do you feel about working col-
people who have and it is how the job market
laboratively or alone?
fluctuates in the animation industry. Some years
Animation still involves a high amount of col-
are good and some years are bad and you can’t
laboration; and a lot of back and forth between di-
really do much about it. Another challenge I have
rectors and animators so all mistakes are noticed.
faced is that Vancouver doesn’t have as many an-
I personally like working both collaboratively
imation feature film companies as the U.S. does,
and by myself. I find it important to be working
which makes it a lot harder to get into them. The
with someone who is better than me and can act
U.S. has a lot more jobs and internship opportuni-
as a mentor to guide me in the right direction.
ties in such studios which makes it easier to then
Also, when working in concept art a big part of
get hired – if you are sponsored (or an American!).
our job is to come up with creative solutions and
It is my long term goal to try to get a job on an an-
ideas - something that is done much better when
imated feature film and I know it is going to be a
working in a team. The more I think about it, al-
lot of work, because most jobs are in the U.S. and
though working by yourself may not have as ma-
it’s tougher to get a work permit in a land full of
ny benefits, I do need those days once in a while
amazing artists.
where I can put on some music and just focus on
We know animation takes a lot of time and energy; and we can only imagine the extra time you put into paintings. How do you balance everything? Balancing my time is a never-ending struggle. Maybe it’s a curse of being an artist, wanting to follow so many areas of art, but I try to manage it as best I can. I try to make sure I do traditional painting at least three times a week and I attend life drawing twice a week…I am a junkie for progress and I need to know that I am on the right track
producing art.
I try to make sure I do traditional painting at least three times a week and I attend life drawing twice a week…I am a junkie for progress
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I admire in other people’s art.
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planning my day/week as best as I can to make
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and improving. So far my solution to this has been
Do you ever have to deal with self criticism and doubt your own work?
What can you tell me about your latest projects? ...I am working towards an art show which is
99% of the time I doubt my own work. Or may-
probably going to happen in mid to late summer,
be 101% of the time, but I believe that is how art-
thus I try to paint at least a couple of nights a week
ists get better. You can’t be satisfied with what you
and build a group of work on the same theme. My
make, otherwise you stop learning and become
studio mate and friend motivated me to do a larg-
soft. It’s a dangerous territory and I try not to be
er, more complex piece of art for this show than I
overconfident, although it does happen rarely.
have ever done before, so I am about to embark on
Have you reached a painting style you are happy with? how did you get to this point? People tell my art has a look to it, and I realize my animation background has had an impact on my paintings. But personally I rarely think of my style. Usually I try to find a way to execute a painting as best as I can, and reach a certain level of finish with it. I am still trying to find what my voice is, but that is a combination of taste, time, PROGRESS JUNKIE
inspiration (by other artists), and subject matter.
a pretty ambitious task and I am actually feeling a little bit nervous about it.
99% of the time I doubt my own work. Or maybe 101% of the time, but I believe that is how artists get better
Luckily, I have matured to a point where I do not
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worry about “style”, but more so about what kind
I have also recently completed a mural – which
of mood I would like to achieve, and what kind of
I had to do after my work hours in the night –, it
look to go for. Those are aspects I admire in other
was a challenge because it was during the colder
artists’ work which I’m working on mimicking
months and I had to do some work on low light.
and then making them my own.
But now I am looking for more walls in the city.
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I’ve got a couple of designs in development and I
Finally, do you have any advice for students and
am really looking forward to creating larger scale
recent graduates?
work since it is really gratifying to see the final result and have others enjoy it as well. What are your feelings or comments about the differences or similarities of fine art and Animation, at least in Vancouver? They are two different crowds, but I don’t think they have to stay so. Lifestyle of a fine artist differs from a person in the animation industry but our aesthetics and interests are similar and they do overlap. There are many talented artists
My advice for students and grads is to continue to be hungry for knowledge and progress. I notice many people slow down and fall into the comfort zone which is unfortunate, but it is also understandable. I remember my teacher in school saying: “If I can only give you one advice that will make you better, it is to keep going to life drawing and sharpening your skills”. I don’t think I know a single person from my class/institute who has followed that advice.
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but those people either think they are too busy or lack interest in participating in that world. Therefore, I have a lot of respect for the artists who manage to do both successfully… Animation industry people are a busy crowd, but I am hoping I can do a small part of motivat-
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ilya v iryachev acknow ledgments, 2014 through the cr acks : spider-m an
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ing them to get out to art shows more often.
sc arlet l am summer he at, 2015 ink
Feet slap on concrete heat. Ice-cream melts that sweltering sweet, sun sickening, ash flickering, slow summer Sleep.
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cecil lu roadside assistance, 2015 watercolour
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summer skinner fruits of secrecy, 2015 watercolour & m aga zine coll age
th air a bouhid rio, 2014 digital print
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petr a zeiler think before you use, 2014 digital illustr ation
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joni tay lor w h at was left unsaid, 2013– ongoing ink & watercolour
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juan cisneros a short guide for m aking neo-coloni al h and m ade tortill as,2015 print public ation
y uriy k y r zov battle zones, 2015 35mm film
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m atthew wong faceless patrons, 2012 digital photogr aphy
silv i a sasaki m ac aum ac ao, 2014 print public ation & bookm aking
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joo hy un y un jeong iii, 2014 acry lic on c anvas
bree galbraith:
DESIGN WITH CARE Je n n D i c k i e s o n a lmost a y e a r ago to the day I sat down to speak with Bree Galbraith a Masters Student at Emily Carr Art and Design. Warm and bubbly, It immediately became clear to me that she strives to make her community a better place through design. Whether it is through authoring/illustrating children’s books or her latest work in health design the Caregiver Access Network – meant to bond communities through supporting one another’s health- Galbraith’s ambition is only overshadowed by her kindness. Galbraith is one of the first students to matriculate through a new design program offered at ECU. When I asked if she felt like a ‘guinea pig’ for the program, she took a confident stance and referred to her and her peers as “trailblazers” for those that follow. She also outlined some of the important shifts that are taking place in this new program: “Design changes so quickly that programs could become obsolete if they are too rigid… ” She explained that this kind of constantly changing research has pushed the program closer to social sciences opening up opportunities to include ethics boards and adhere to other forms social science expects. While the development of the program has led many designers to take up aspects of environmental issues, Galbraith’s project reflects her care and concern for communities. SPRING TWENTY–FIFTEEN
The concept for her thesis, “The Social Health Project,” is directly inline with her social research. It is a system meant to foster community around an issue troubling Canadian health system, supporting caregivers. The goal of the Social Health Project is to create an environment of support for unpaid family caregivers caring for loved ones with a chronic health condition (cancer, diabetes, Alzheimer’s, depression…)… In registering in the system (the Caregiver Access
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Network), the caregiver has access to discounts in their local com-
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munity, can attend community-centre based
ideas and practices.” This term, to me is another
workshops, and have access to condition-specific
wonderful example of Galbraith’s community
caregiving resources - simple concepts that both
oriented mind – it is important for the structure
supports and raises awareness of the valuable
to be filled with interactions between all students,
role these people are playing in society.
masters, undergrads, professors, faculty. Every-
Part of the research and development in
one is included.
Galbraith’s work she attributes to growing up
So a year since we first originally talked, on the
in co-ops “People were neighbourly, and with
cusp of her graduation from the masters program
close relationship’s people have an easier time
I checked back in with some questions for Bree to
asking for help, and offering it. People could care
update and expand on our initial talk:
for each other, even if it is a simple gesture like offering someone a ride to get groceries.” – in her
How has the last year of the program changed
Caregiver Access Network platform, she means
your trajectory of your designs? Are there major
to re-address the balance and try to encourage
differences? Minor?
As we discussed support systems we come
is more focused on the aspect of caregiving. As
back to the topic of ECU in general. She says
Nadine Henningsen, President of the Canadian
that ECU has been completely indispensable to
Caregiver Coalition said in the 2013 Canadian
her development of this project and encourages
Caregiver Strategy Report: “It’s not if, it’s when
students to “lean on Emily Carr’s support”. In
you will be a family caregiver.” These unpaid
our conversation she excitedly brings up the
family caregivers can be a husband or wife, son
term “strategic inconvenience” as being both
or daughter, family friend, some live in the same
something she values about the program and
home as the person in their care, some live in the
something that could be emphasized, specifically
same city, and some have chosen to have their
in relation to the new campus being built. When
loved one placed in a facility to better meet their
I ask what she means she explains: “People need
needs … What they have in common is that they
to run into each other, and bump up against each
are not educated or trained to provide care for
other in a way that shares and can expand their
their loved one.
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There are differences in that now my project
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some of the exchange of support she grew up with.
A fact that really brings the enormity of this
Now that you are graduating are there more in-
situation home is that in 2012, these unpaid fam-
sights you can offer about ‘trailblazing’ in the
ily caregivers accounted for nearly 30% of the
program? What was most beneficial about that
Canadian population over the age of 15. This is a
experience? – what would you change?
huge portion of our society who have been thrust
The most beneficial experience was listening
into a role that has them undertaking such tasks
to the people involved in my research and design-
as bathing, cleaning, cooking, dental care, dress-
ing a system that supported and anticipated their
ing, emotional support, exercising, feeding, gro-
needs instead of simply designing a flashy app
cery shopping, grooming, hospital visits… and
that would be easy to produce and distribute.
the stress of these tasks coupled with the emo-
have negative effects on the life of the caregiver and the loved one in their care. Tell me about the Mitchell Building. Does it embrace your ideas of ‘Strategic Inconvenience’ (a term which I LOVE)? – How does your interaction with other masters students affect your way of thinking? The other (4) Master of Design students are together one of the most important elements in the development of my project. They constantly ask the hard questions that you know you need to address but didn’t want to. They don’t let you take the easy way out, and constantly want more… I can equate it to running (not that I do) - you always run faster when you’re with someone else… they push you to be your best. I only hope I’ve
People need to run into each other, and bump up against each other in a way that shares and can expand their ideas and practices And of course, the age old post grad cliché: What is coming up for you? More books? More apps? Good question! I have accepted a contract to work with the Provincial Health Services Authority on an upcoming project, and have another book coming out soon… and if Emily Carr decides to open up a PhD program, well obviously I’d like
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as “caregiver burnout” - a condition that can
to be part of the first cohort ;-) woo
tional strain can lead to what has been described
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done the same for them.
iv y c ardinal tr ansatl anticism, 2014 digital illustr ation
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deniz bilgin rick the tatooist, 2015 digital illustr ation
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mel anie bl and fortuit y, 2014 cer amics
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c assidy w est super homunculos, 2014 cer amics
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natalie worth h arper’s m aga zine ebook concept, 2014 digital public ation
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bergthor a jonsdottir bern, 2014 digital print
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cole pauls salmons, 2015 ink & watercolour
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TWENTY YEARS OF QUIET C h r i s t e l l e Ag a h o z o t h e t r ac e s of l a st n igh t's rainstorm were quickly fading as the mud that covered the landscape began to harden beneath our aching feet. During most December nights, when the rain was so heavy it gathered in the sewage system and flooded the streets, the power would go out. The city would be submerged in darkness and forced into an uncomfortable stillness as the air became thick with memories of the past. As the rain settled, no longer beating mercilessly on the rooftops, the sun would rise and the people could collectively breath a sigh of relief. After dusting off the quietness of night, we could to find ourselves once again in the light. That morning, I stood painfully still watching the people around me, their dark faces highlighted with the tasks of the day. There was the mother; with her child wrapped around her back, balancing a basket of corn on her head, her face coloured with exhaustion, the market woman; with her produce displayed onto a thin piece of cloth that laid on the dirtied ground as she lobbied for customers, and the continuous stream of people making their way up and down the street, lost in either conversation or thought. Yet despite all of the chaos, I remained unmovedÂ, watching, waiting. For what, I was no longer entirely sure. SPRING TWENTY–FIFTEEN
The sun had begun to set when I first saw him. My gut clenched, turning on itself as my throat closed and captured every breath. My eyes, now clouded with unwashed tears and pity, attempted to memorize every curve, line and indentation that had composed his body.
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Painted with the orange glow of the evening light, the right side of his face was covered in long gashes and aged wounds that extended from his ear to the side of his mouth. His wire trimmed glasses remained perched on the bridge of his nose as one eye barely opened to look down while the other remained hidden behind scar tissue. All the while, the sleeve of his loose dress shirt continued to dangled aimlessly in the breeze.
It existed in the corners of my mind, creeping up on me every time the lights were dim and loneliness set in. I knew from the first glance where the scars had come from. I had read about it, spoken about it and even lived it. It existed in the corners of my mind, creeping up on me every time the lights were dim and loneliness set in. As I traced the burnt tissue from the top of his head to the curve of his jaw and the side of his neck, I realized I was being overtaken not by pity or sympathy but by beauty and strength. His body did not only mirror the atrocities of the past but openly displayed its ability and willingness to fix and rectify itself. He was whole in a way that did not neglect the past but embraced and celebrated it. Though we had both lived those hundred days of darkness, he stood before me choosing light and the life his body had fought so desperately to hold onto. That night, as I felt the first drop of rain hit my shoulder and began to anticipate Rwanda's imminent slip into darkness, my hand
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reached for the scar on my forehead I often fail to forget.
k atie kerluke new york, w hy are you so cold?, 2015 35mm film
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jordy n tay lor-robins pe aking, 2015 35mm film
k ay l a kerrone sandstone, 2015 35mm film
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stefan obusan m atch, 2015 v ideo watch the full v ideo at woopublic ation.c a/ spring2015
“Match” is a short video that deals with self reflection and the idea of undoing regretful
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decisions.
k a l i n a a t t h e a m a z i n g g a l l e r y, d e c e m b e r 2 0 1 4
K ALINA Ju a n C i s n e r os t h e mom e n t i s aw a hammock in the room, my Latin American self was seduced to go sleep on it. I felt like taking a nap and forgetting about my daily chores, but there was a problem. A fluorescent light was shining above the canvas bed. The light suspended from a wooden beam and a sign with the words: “this is not a swing”. If you perform a search on Youtube for the term “Neoliberalism” you will most likely run into a video called “Neoliberalism as a Water Balloon”. In the video an unidentified man wearing glasses and a lab coat exposes with the help of a few diagrams the inner workings of neoliberalism. At the beginning of the video the man introduces a model that he has put together by himself. He continues by listing all the objects he used to put it together (balloon, plastic net, wood, string, bicycle air pump). The balloon, filled up with water, rests on a plastic net that holds its weight in place. The balloon hangs suspended from the frame, which at the same time holds the net that sustains it. He labels the net as “the social safety net”, which is a term given to loans made from the richer (northern) countries to the poorer (southern) ones. Just before the man begins to perform his experiment he provides a brief explanation of the word Neoliberalism. He claims that one of Neoliberalism’s goals is to take control away from the govSPRING TWENTY–FIFTEEN
ernments and hand it to Trans-national corporations, on the other hand reduce taxes payed by the wealthy that give life to this so called “social safety net”. The man proceeds to perform his experiment which leads him to blow up the balloon leaving an empty net in place. As humans we tend to find relationships in the strangest of places. As artists we are forced to make these connections in order for the public to see them. As a person walking into a room where there is
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a hammock I naturally tend to gravitate towards
frame surrounding the images is also made out
morpheus’ arms, it is an instinctual practice,
of wood, resonating with the sculptural object
maybe perfected through hours spent at the
framing the hammock. Sand covers the bottom
beach in warmer southern climates. I tend to
of the frame creating a tropical notion of ground.
“read” hammocks as a resting ground, but when
A single sheet of Plexiglas, that allows the viewer
fluorescent light becomes part of the object, that
to look but not touch. The text accompanying the
is a moment to begin asking questions. Sharing
frame informs the images we are presented, but
the space around the wooden contraption lie
also informs the viewer’s participation with this
three plinths covered at the top with a material
piece as much as does the statement “this is not
called crystal sheen. The material is reminiscent
a swing”.
of glass. Three different shades of blue lie on top
I’ve chosen to frame Kalina from a perspective
of these rectangular devices. Juxtaposed to these
that suggests relationships. Relationships speak
pieces lies a third installment, a frame hanging
to me as a connection drawn between two differ-
dead centre on the wall. The wall is painted
ent sources. Relationships can also speak about
yellow, and lit in a way that provides an air of
the direct correlation between two sets of ideas.
warmth to the rest of the installation. Inside the
Relationships can be based on mutual growth. I
frame we see the Kalina people represented in a
think Kalina points beyond a simple compari-
pair of images. An old French engraving depicts
son of concepts. However it is important to start
a group of Kalinas during an initiation ceremony;
somewhere to draw these correspondences. My
which involves the use of a hammock. Behind the
duty here is not to define one single point of entry
illustration lies a photographic representation of
towards this artwork, but maybe open it up to a
a Kalina young from 1892. A sign at the top reads:
broader discussion in the future.
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“We never thought they would get this far”. The
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chelsey doy le anatomy of letters, 2014 print public ation & ex hibition displ ay print
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k aitlin w iebe prett y aw ful, 2015 estisol tr ansfers
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k y u won lee snackit, 2015 pack aging
ti an y i tang the be aut y of process, 2015 v ideo watch the full v ideo at woopublic ation.c a/spring2015
sam wong cultus, 2014 digital photogr aphy
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k arim k adi exodus m aga zine, 2014 digital public ation
SUMMER’S FORECAST S u m m e r S k i n n e r w i t h i l l u s t ra t i o n s b y Ju a n C i s n e r os
gemini
Cherish your friends and
family, and don’t forget anyone’s birthdays! You will need them for support in the coming months. This is going to be your best summer yet! Treat yourself, but save your usual summer spendings! You may need it soon. Love life is looking up, especially after all those cold
taurus This month and the next
days cramped up at home during the
cancer
are going to be eye-opening for you as
winter months! You feed off of others’
this summer, but not without reason! Keep your emotions in check by ditch-
You are crazy sensitive
you discover new things about your-
energy. Seek company and it will come.
self and those around you. Don’t be
Your energy is attractive and you should
ing your favourite flicks on Netflix,
hesitant to try new things. Open your
feel attractive.
and getting back in touch with nature.
arms and be tolerant; it is your strong
Focus on others, but don’t forget your
suit. Remember to take care of yourself,
self-care. Your friends will definitely
whether that means going out for bub-
need you these coming months, so be
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ble tea with your best friend, or getting
prepared with a box of Kleenex and a
an extra hour’s rest on the weekends!
cozy shoulder to weep into. You may
The rest of your year is looking up, and
feel a drop in confidence but don’t
you’ve been preparing for it! Keep a
worry because people are checking you
to-do list on hand because you’re so
out! Stay away from knitwear, as you
overwhelmed and excited by all these
are likely to become tangled in it. And
new people and events! Remember to
lastly: remember that this is your time
document your newfound treasures.
to wind down, be calm, and enjoy the summer heat.
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leo Be moderate in your indulgenc-
libra
es! You’ve been tempted towards your
from all the social networking you’ve
You must be exhausted
favourites because you’re in a comfort
been doing over the year. Order some
zone, and you need to get out of it!
Chinese takeout, because you need a
Explore out-of-bounds, make some
break. You’re going to face some hard
mistakes, kiss some new people (if you
decisions in the coming months, so
are not in a committed relationship)!
make sure you’ve got great support backing you up, or you’re going to be in
of taking, you need to give back, and
virgo
You are overwhelmed with
for an unpleasant surprise. You need to
by the bushel! Be selfless. Dig down
everything you want to become! You’ve
recharge through natural remedy. Try
deep and become self-aware. You have
seen so much potential for yourself
to stay away from your vices, and seek
some soul-searching to do, but it can
over the year that you are just bursting
happiness from people around you
wait until winter. For now, keep your
into a handful of different things, leav-
and outdoor activities, but don’t wear
wallet close to you and always be ready
ing you without direction. Keep an eye
yourself out! Treat yourself to laser tag
to share.
on your stuff, and try to focus your en-
if possible. It will help in preparing you
ergy in one or two directions right now.
for stress after your break.
Your luck is blossoming this summer, and those around you are feeding off your positive energy. Try to get a group around a campfire this year! It’s going to be a busy rest of the year, and you need your strength, so eat right, sleep well, and surround yourself with loving people. Clean out your fridge! I prom-
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ise you’ll feel better.
57
Leos in love, be sure to show it! Instead
scorpio
capricorn It might be hard for
You’re a firework, and
a little startling to people around you
you to transition from lower-than-av-
not used to your energy! Calm down
erage self confidence to a self-assured
and use your indoor voice around
champ, but you need self-love to get
others, but don’t keep it bottled up. Let
through this year intact. Trust your
loose, especially on weekends and the
stomach; you can’t get in much trouble
upcoming break! You’ve been through
this year. Stretch your arms and dive
a few ups and downs over the year, and
sagittarius
You’ve been on
into different worlds as you will love
you might be getting your hopes up for
a pedestal for most of the year, and
whatever you come up with this year,
a huge breakthrough. It’s hard being a
you’ve earned it. But it might be get-
and you are sure to be noticed. A few
water sign, but you’ve got a lot of earth
ting to your head. Be calm and polite,
hiccups are minor setbacks for this
energy anchoring you down. You’ll
and most of all grateful. You’re tasting
summer, but you are definitely on the
make it through this year, but be wary
things (both figuratively and literally)
right track. Keep loved ones close, but
of a few surprises! Try decaf.
you’ve never had before and it’s easy to
respect their space. Nurture yourself
indulge, but you should only take what
every way you know how to, from the
you need. Make the effort to listen to
right diet to the right sleeping schedule.
those who have listened to you, and let
Your best inspiration comes from your
others know how much you value them.
dreams. Watch for oncoming traffic
You have a fantastic network of support
and mysterious food.
SUMMER’S FORECAST
that is happy to fund your dreams, so let them know how much you appreciate them. So hush and buy some thank you cards.
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summer sk inner is an am ateur astrology w riter interested in crystals, spiritual energy and petting kitties.
pisces You are in luck this year, as doors are opening in places you never thought of. Be sensible and gracious. Never forget to write a thank you card. Pay back those you owe. You may want to spread yourself thin this summer trying to please others but remember yourself and prioritize me-time. Fruits
aries
failing, no one else is the wiser. Find
and vegetables are your friends this
from the beginning of the year is sim-
a new way to market yourself and your
summer, and you will find some great
mering down to a rolling boil, but that’s
skills. You’ve got the people you need
deals with local producers.
okay! You can channel this energy into
wrapped around your finger. Everyone
doing literally whatever you want to
is impressed with your work. You are
do. You’ve got time to look back and
doing fine independently, but don’t
make sure that you’ve made the right
be afraid to ask for help. Your posi-
decisions, whether that means food
tive energy makes you hard to refuse.
choices, love choices, family choices,
Be cautious and sharp and you will
and school choices. Don’t be afraid to
be successful. You are trusting in
change your mind, but realize you’ve
yourself and it is refreshing and new,
got to start thinking seriously. Your
but you need to keep an eye out for
spirit animal is morphing from a head-
slippery floors and careless mistakes.
buttin’ ram to a kind, loving sheep. You
Remember to turn the oven off when
are ready to get your priorities straight
you leave the apartment!
SPRING TWENTY–FIFTEEN
Your rambunctious energy
and take on some responsibility. It’s a good time to update your resume.
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that it all comes down to you. Please If you think you’re
59
aquarius
bryce du y v ewa ardt bee hotel, 2015 solidworks for ply wood & plex igl ass
This building, 45cm wide and 65cm tall, is a home for busy, solo bees. The Bee Hotel is made from BC plywood and plexiglass, where it may accomodate large groups of solitary bees. On one of the sides you may find a laser cut plexiglass plaque explaining the structure to humans as they pass by, bringing awareness to the creation’s cause.
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The plywood provides a sustainable, sturdy structure against the elements, as well as any curious creatures the Bee Hotel happens to be in the habitat of. The enclosed structure is elevated above the ground to keep the Bee Hotel out of harm’s reach and keep moisture buildup at bay. The bottom of the pole is a point, which may be driven into packed earth to minimize the structure’s footprint in the environment.
jay de ch ang & v ictori a sim ansjah the shopper’s little green book, 2o15 print public ation
paul gr aw itz alie # 1, 2015 digital photogr aphy
SPRING TWENTY–FIFTEEN woo
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SPRING TWENTY–FIFTEEN
v ictori a lee loop, 2015 br anding, print, digital & textiles
simon bermeo-ehm ann the little merm aid, 2013 3mm film
SPRING TWENTY–FIFTEEN woo
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melissa soleski little one, 2014 ink & watercolour
FOLLOW THE MONKEY Je n n D i c k i e s o n this y e a r I’ve been looking back into the
many different iterations, title changes, concept
archives to see how we arrived, to the magazine
changes and entire shifts in design and content.
I mean. I remember the first time I heard the
These progressions and changes are largely ex-
name WOO. It took me a long time to understand
periments, some flourish and some fail. What
it. WOO. It read like an unenthusiastic cheer.
reassures me as I flip through each issue, is
I didn’t know why the name came to be, but I
the metaphor of the monkey. A refreshed set of
dropped the thought unfinished. Finally, after
clothes for the pet with each graduating editor.
being assigned the task of re-writing the mag-
At the Vancouver Art Gallery I saw Landon
azines blurb, I looked into the name and found
Mackenzie’s rendition of ‘Woo’. Her show, which
it in the most unlikely of places. In the biogra-
presented ideas of neurology and cosmos was
phy of Emily Carr. Her pet monkey’s name was
curated in tandem with Emily Carr’s work. This
‘Woo’. It clicked. Carr was well known for her
included two iterations of a painting of ‘Woo’.
adoption of stray and unusual animal compan-
Carr’s and Mackenzie’s, almost exactly alike.
ions. Upon discovering a two year old Javanese
The repetition is a rhyming couplet in history.
monkey, miserable in a cage she took the animal
When I look at Mackenzie’s ‘Woo’ painting it is
in. Although neighbors famously described the
a portrait of both endearing fool and a contem-
monkey as ‘inflammatory’, Carr loved the mon-
plative individual. Sometimes serious, some-
key, naming him for the soft sounds he made.
times crippling embarrassing and sometimes
Woooo. She sewed Woo clothes and allowed the
sublime. The painting shows the animal in the
animal free range of her home and studio.
same light I see our publication, the relationship
I’ve thought a lot about that story, Emily’s
both structured and uncontrollable. Wild and
liberation of the monkey, her tender care. The
pet. This is why I like the WOO. It is true to how
free range she gave to the little critter. It mim-
experiments in relationships, art and even sci-
ics the free range we have with our WOO, the
ence must unfold. They need foolishness, love,
student publication. That idea is enforced and
arrogance, dedication, embarrassment, beauty,
commanded it’s history. Digging through the
failure and humour.
archives has allowed me the privilege of seeing
Woo.
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66
l andon m ackenzie woo, 2014 oil on c anvas
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I’ve thought a lot about that story, Emily’s liberation of the monkey, her tender care. The free range she gave to the little critter. It mimics the free range we have with our WOO, the student publication
w o o is available at emily carr university, read bookstore & at select locations within the city of vancouver. the views expressed in this publication do not necessarily reflect those of emily carr university or the editors and publisher. inquiries can be addressed to the directors at woo @ecua d.c a Š 2015 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. special acknowledgment to lori macdonald, emily carr university library, and fraser ploss. w e b s i t e woopublication.ca e m a i l woo@ecuad.ca f a c e b o o k /woopublication t w i t t e r @woopublication b l o g woopublication.tumblr.com printed with hemlock printers SPRING TWENTY–FIFTEEN
cover design by daniel telado woo publication room 241b north building 1399 johnston Street, granville island vancouver, bc v6h 3r9
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