WOO TEAM EDITOR IN CHIEF Zoë Boudreau CREATIVE DIRECTOR Una Gil DESIGN TEAM Gaby Abouzeid Hana Amani Angela Donakhristi Christine Fwu Triet Pham Dory Xu EDITORIAL DIRECTOR Sanya Arora EDITORIAL TEAM Vincent Chorabik Monique Germain Graham Kim Shannon Pot MEDIA DIRECTOR Kelsey McDonald MEDIA TEAM Patricio Alonso Cartas Lopez Lilly Smith Taylor Shaw Candice Yee
LUCID DREAMING
UCID EAMING
Patrick Takata — 2018 — Analogue Photography The static from the radio Hidden between stations The light that flickers on And off I am that sensation
The numbness that b l u r
colours till grey and dull All and everything alike glazed over
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NNER D DINNER NN DINNER DINNER DIIN DINNER DINNER DIN N DINNER DINNER DIN NE DINNER DINNER DIN NE DINNER DINNER DIN NE DINNER DINNER DIN NE DINNER DINNER DIN NE DINNER DINNER DIN NE DINNER DINNER DIN NE DINNER DINNER DIN NE NE DINNER INNER D D INNE I N N E INNER D R D INNER I N N E INNER D R D INNER I N N E INNER D R D INNER I N N E NNER D R D INNER I N N E NNER D R D INNER I N N E NNER D R DINNE I NNER D NNER DINNE R INNER D R INNER Asha Macdonald—2018—Ink and Watercolour Touched Up Digitally Created this piece because of that constant tight feeling in my throat called anxiety.
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Rydel Cerezo—2018—Analogue Photography
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Nicolas Cyr-Morton—2018— Birch Plywood Lamination, Gold Epoxy This plywood lamination process originates from an initiative to reduce waste through experimentation in form, function, and value. In order to do so, I repurposed slim offcuts from another project and incorporated it into this table. As plywood is commonly regarded as an inexpensive and unattractive material, my intention is to elevate the aesthetic value of plywood through experimentation in the non-traditional material, lamination, and the Japanese practice of Wabi-sabi. By combining new construction methods and tools with traditional craft and art techniques, I have created an artefact with historical value in a contemporary context.
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Cactus / Bong Water Darius Kian—2018—Poetry
You’re a greedy narcissistic prick But when I want the high I take a sip (from your dick) Because in this desert there isn’t much to drink Don’t be so quick to judge It hasn’t rained in years The sun has picked the cow skulls clean And now he has his eyes on me Lord knows I could drink a sea It is convenient for me, though When I need something to quench my thirst You roll your eyes back and say It’s the best you’ve ever had --Dump it on the asphalt in the dead of night Just the bong water That pulled the bite Out from the burn As we pass our highs in turn Like wine at church Laugh as if I’m joking but The bowl is black and I’m still smoking Stay high so that the sun won’t rise No water, I need to improvise I’ll just take chops off you instead And you’ll get high off of my head
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I’M TIRED
I’M TIRED
I’M TIRED
I’M TIRED
I’M TIRED
I’M TIRED
I’M TIRED I’M TIRED
I’M TIRED
I’M TIRED
I’M TIRED
I’M TIRED
Jake Kimble — 2018 — Photography Focusing on the still life, I wished to tackle exhaustion with beauty; how the light still shines even when you’re down, and how your soul still has its feet grounded as long as you do as well.
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stages of loving —dream—ponder—tease—
Triet Pham — 2017 — Watercolour & Coloured Pencils “stages of loving” is a series of watercolour paintings that touch on and explore the soft and ethereal nuances of sexuality and gender identity.
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Pascale Jean — 2017 — Digital Photography The lifeline is the hand line that is considered to be
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the most important in palm reading. The longer it is, the better it gets.
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On the other hand, a scar is not to be looked for: it is
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However, a scar can become a lifeline for some.
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not considered as aesthetic.
For a former heart transplant patient, this new lifeline brings new challenges. For some, one of the biggest challenges is to love and embrace this extended lifeline. Let us bring this scar in the light, away from the shadows we tend to put it in.
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After all, every scar is a new lifeline.
Corianne Coutu — 2017 — Oil on Canvas There’s a particular quality about oil paint that lends itself well to flesh. Willem DeKooning asserted that “flesh was the reason oil painting was invented.” Predominately situating my work in the human body, I began to take on animal carcasses as subjects in order to study the visceral colour and textural characteristics of bodily forms.
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On Time Monique Germain—2018—Woo Editorial
Paint is not a form of truth. To finish a work is to meet a deadline — there is no time for subtlety when time is short, words come fast and nuances are ignored. The paint isn’t dry by the time of the critique and it’s a new worksheet, a new assignment. I bring my research to my shift and study it on my breaks. I do my readings on the bus and sleep for four hours. I try to find pride in my rice and water — my money is in my landlord’s hand, and in my paint. There is no time for words of nuance —
I need these grades. My parents need these grades. I deny phone calls — there is no time to catch up with family. When is there ever time? Paint is not a means to an end, but a thought to be had when strangers meet your gaze as they look at your smear on the canvas and you know you could have used more energy but you couldn’t, and energy is a resource and I have half in my job and half in school — none for myself and I have no time to think no time to act because the paint isn’t drying and it smears my jacket as I enter the bus and I try to say thank you but there’s no time — when is there ever time?
Poetry suits turmoil, and there is order to be found in times of chaos from words that bring us to spaces of Silence (to calm), because my hand is empty and I’m just checking off boxes but there’s
no time and there is never any time and there won’t be any time because I need my shifts and I need my time But there’s not enough when eyes are on my paint and it’s still drying but I’m
trying and The paint is still drying but I’m thinking about my next piece already because there’s no choice and there’s a time for trying and there’s a time for getting it done and (I don’t know the difference anymore). “UNBOUND” FALL 2018
What am I supposed to do when deadlines are packed tightly so that none can break? And what am I supposed to do when time is gone And long past And there’s nothing I can do but get onto the next bus and try To maximize the time that there’s never enough of
PLEASE
PLEASE
PLEASE Classes are taught to maximize profit and if I’m not learning I’m not learning And I take out another student loan to fuck up the next assignment And fuck up the next because I need another shift
And there’s no time for another shift but I need it more than I need that grade, but I need the money for the class and it’s a cycle I can identify but not break because I don’t have the power of the institution I’m trapped by, and I’m trying so
hard But there’s no time and there won’t ever be any time Teach to be learnt — we want this but not more than sleep and we try but there’s no time and we want to but can’t because there are shifts to take and there is family to talk to and there is need but no energy And to finish a work is to meet a deadline, but time is short and I lose either way.
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Camila Szefler — 2018 — Mixed Media Embroidery
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Una Gil — 2018 — Digital Illustration Some days the stress takes over me and I don’t feel very useful. I have to remind myself to rest sometimes.
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SHE LAUGHS TO HERSELF Chelsea Yuill— 2018 — Poetry
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BLOOM
BLOOM
BLOOM BLOOM BLOOM
Lilly Oddity — 2017 — Digital Photography “Flowers grow wherever your fingertips graze me...”
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Graham Kim— 2018 —Woo Editorial
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MAKE VANCOUVER GREAT AGAIN MAK VANCOUVER GREA AGAIN MAKE VANC Created in Collaboration with Christine Fwu, Megan Chen, Gurjap Kaur, Ally Novak—2018—Zine Booklet When looking at critical race theory, it is often if not always found embedded within academic institutions and scholarly circles, thus making it highly exclusive and inaccessible. The irony of which, is evident, considering that the content studied in critical race theory affects people of colour exclusively—yet they are often the ones with the lowest access to institutions and resources. We decided right away that our primary challenge and end goal for this project would be to translate the over-complicated, unnecessarily difficult and impenetrable ideas that are crucial within critical race theory discourse and debate to turn them into something that is approachable and obtainable for the general public to engage with. We took this opportunity to challenge the norms set by academic standards by creating something that is not only physically accessible to people around the city but also accessible in its verbal delivery. The use of rhetoric and language is rooted in imagery and humour which so rarely happens in an academic setting. Instead of force-feeding long and strenuous texts to a select few privileged individuals, the general public is given a space to interact with highly academic concepts that are relevant to everyone’s lives.
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Sydney Pickering—2018—Photography
T E N H U T H R E T F A At first it was a feeling of excitement, we had been waiting days for them to catch something. I had never taken part in such an experience. We parked the car and headed through the bush to meet them. At the scene, there was a brief moment of quietness that surrounded us, as we individually assessed the being presented before us. I heard tobacco had already been offered as a few tears ran down my cheek. We were the hunters looking onto the hunted. I crouched to rub its small belly, but there was no time to contemplate this tug in my chest as we now carried the responsibility to honour this animal by leaving nothing to waste. These photographs show a few parts of the process of harvesting the animal after the hunt.
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A H SC E A
Y L N E V O I S N E Kenneth Boediman — 2018 — Black Fineliner on Paper This work was created during one of my inspirational phases in which I was really interested in Japanese tattoo art, and I wanted to attempt to recreate its aesthetic myself. I worked entirely freehand without the aid of a pencil or eraser to plan the composition of this 2D piece. It is titled “Heavenly Ascension” because the majestic koi is like an ancient spirit rising out of the waters in a bold and awesome explosion of raging waves, as if ascending into the heavens.
Discover your digital scent. Pair it effortlessly with your device.
Experience compatibility. A familiar scent is stimulated to signal similarity.
Enhance your intuition. Navigate social interaction with ease.
DeTect CRITICAL DESIGN STUDY
Created in Collaboration with Kelsey McDonald, Nicolas Cyr-Morton, Alyssa Martin, Tiffany Kao, Una Gil—2018—Mixed Media, Critical Design “One of the dangers of the internet is that people can have entirely different realities. They can be cocooned in information that reinforces their current biases…The question has to do with how do we harness this technology in a way that allows a multiplicity of voices, allows a diversity of views, but doesn’t lead to a balkanization of society and allows ways of finding common ground.” — Barack Obama. The way we navigate our interactions has changed drastically with the advent of technology. Regardless of distance or situation, we have the ability to connect with millions of people in the blink of an eye and within those millions, we are sure to find people who think the same way we do. While the creation of online communities allows us to speak directly with others who share our beliefs, it also allows us to limit our social circles and news consumption to sources that more often than not reinforce our existing beliefs. However, the imposition of computer-generated algorithms into our understandings of social interactions spark concerns of the social and cultural implications of curating social groups — cultivating an aversion to ‘the other’. While we are attempting to shield ourselves from the other, we may be ignoring the full implications of our decision to live in a curated version of reality. By shifting the focus from technology towards sense of smell, people are presented with a new way of navigating social interaction. In a world where agreement is idealized, is confronting challenges no longer a reality people must face? Or is there value in maintaining the challenges of dealing with difference?
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Kitt Peacock & Eric Tkaczyk—2018—Chalk Pastel and Oil on Canvas We believe this work speaks for itself.
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unbound Sanya Arora—2018—Woo Editorial
unbound,
soaring,
unfettered,
high, higher,
unbound,
loud, obnoxious, screaming,
shackles breaking uncensored
free,
not holding back, expressing myself,
emotions strong, emotions free, hands up,
swaying,
hair down, clothes off, wind in my hair, sand in my feet,
free,
naked,
raw,
exposed,
walking, and walking,
the ocean, strong, powerful,
infinite,
walking infinitely, flowing, swimming,
flowing - endlessly,
salt in my hair, sun on my back, aimless,
wandering,
lost to find myself,
lost,
lost with purpose,
find me,
the real me.
floating, waves in control, lapping,
peaceful,
breathing,
bubbles,
calming, further down,
diving, deep down, towards infinity,
life - other than me.
shades of blue, hues of green, flowing,
wavering,
musical,
rhythmic,
chords, strings, tunes, beats,
candle lit, curtains, ethereal,
eyes closed,
music everywhere,
engulfing,
encapsulating,
comfortable darkness,
happy,
limitless,
in the moment, here and everywhere,
this world, and my world,
exploring,
wandering,
unbound,
free,
the night, dreaming, of me, you,
us,
of things to come, things wild and unexplored,
waiting, waiting for you,
go forth,
reach, reach,
break the limits, for the stars, go further,
the galaxies, the sky, endless, infinite,
fly, higher, further, above, and beyond,
into the depths, of the sky, the ocean,
furthest east, and further west,
splatter the paint, use your hands, feet, body, lose yourself,
to the music,
to the crowd,
to everything,
embody it, embrace it, envision it,
free,
soaring,
unbound, unfettered, uncensored, uncaged, unleashed, unconfined, unrestrained, unbound.
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shackles broken,
SMOKING, DREAMING Inha Cho—2017—Digital Illustration
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UNTITLED UNTITLED UNTITLED
Meghan West—2018—Painting This is one piece from a series of paintings that speaks to the quickie culture of instant gratification we have come accustomed to.
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Maya Patrich—2018—Ink Drawing Coloured in Digitally
T T A R RA AT G R A N NG G R R I G N I K K IN G N I KK “UNBOUND” FALL 2018
HAIR BRUSH AND
TOOTH BRUSH Chelsea MacKay—2018—Carved MDF, Found Objects, Synthetic Hair These small surrealistic sculptures intervene in everyday objects to convey the frustration of trying to complete a simple task while in a dream state.
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Camila Burbano-del-Alcazar—2017—Ink I want to show the process of transformation that goes on in the mind of a person with mental illness. Mental illness may alter one’s perception and reality. I believe that in our current society, mental illness have it. We tend to fear them rather than understand them, judge them rather than support them. In my work you can see that in the shadows hide images that are created by a person, transforming their own reality for us to understand. Within my pieces, I have hidden words that represent the thoughts of a person with mental illness. Can you find them?
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MARES
still carries a stigma where we fear the ones who
Glen Mickey Viscera—2018—Mixed Media Glen is a visceral blob wrapped in a fuzzy blue blanket. Based off the anatomy of a dermoid cyst, Glen is a personal study of the artist’s fear of pregnancy and their inability to have their own children due to future gender-based plans. He is a fake child, but despite having the opportunity to perfect him, the artist makes him grotesque, an infection with human traits. This is not only a reflection of their fear of pregnancy but also the fear of failing as a parent, “ruining” their child, and passing on their imperfections (mental illness, “ugly” features, disease, etc.). Despite the serious concepts, there is still humour in the contrast between Glen’s gore and the welcoming softness of the blanket.
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UNTITLED. “UNBOUND” FALL 2018
Jane Grocott—2018—Oil, Acrylic, Gouache Paint on Canvas Inexplicable, unspoken emotions. Wallow in them.
hallu cina tions hallu cina tions hallu cina tions
Kristy Hui—2018—Photography
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WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR WE GO TO EMILY CARR Kaylene Johnstone—2017—Zine, Pencil Crayon, Marker
“UNBOUND” FALL 2018
“UNBOUND” FALL 2018
Marie-Pascale Lafrenière—2018 — Video and Performance https://youtu.be/wfPZWTVtEVA In this artwork, I explored the representation of women in male led pop music as an unhealthy obsession in analogy with the obsession with cellphones. In two performances sessions of respectively 45 and 25 minutes, I licked red homemade hard candy from the camera of my cellphone until reaching the glass. The choice of this substance is directly connected with the constant comparison of the hot girl with candy (e.g. Lollipop by Lil Wayne and Candy Shop by 50 Cent). I superposed the ambiguous images with the sound of an abusive love letter made up from pop music lyrics sang by men in the last eight years, read by Cortana – the voice of my computer. The 4:19 minutes video has an intriguing beginning, as the audience cannot fully grasp what they are seeing and hearing. As the image becomes clearer – someone is licking the screen, they also realize that what they are hearing are pop song lyrics – violent pop song lyrics.
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A MANIFESTO FOR THE ARTS Vincent Chorabik—2018—Editorial
This is a manifesto for a new type of art. This art is without borders, or titles, or meaning, and above all without monetary value. It is neither didactic nor subjective. It cannot be measured in grades, money, or likes on social media. It does not exist for aesthetic merit. It just, exists. Or, it doesn’t. It belongs in the moment. It is your breath, the pulse in your veins; it is the people you are sounded by, and the memories you carry. This type of art cannot be destroyed. It exists in waves of changing form. Art is a place for your heart to call home; Matisse once said, “[art] is the newspaper of the soul,” and I believe in that kind of art. Money and expectations taint that pure nature of art. Skill and talent do not precede the creation of art; they are a result of making art. One’s skill can only be increased by making art, so. Let us make art. Without judgment or prosecution. Without stress. Without asking for validation through education, or smooth talk. Make art because you are alive and you can! Make art because it is beautiful. Make art because it is ugly. It is an exploration of your emotions, thoughts, and sensations.
QUESTIONS FOR THE ARTS Joseph Kerr
Art is tainted in the institution. Yet, the institution helps art flourish. How do we account for this symbiotic (yet masochistic) relationship? Do we stop making art that will be “successful?” Or, do we shut up and allow others to determine how we make art? How we are graded? And critiqued? Or do we shift the way art is made, and viewed? Is that even possible? What are the logistics of removing grading from the schooling system? What are the financial repercussions? Are there any? Yes? No? What is the role of the artist? The institutions? The viewer? And the buyer? Is it the artist’s job to make art that reflects contemporary society? Can an artist make art that just makes them happy? Is that selfish? How have we moved, grown, and adapted as artists? Was it by shedding our skin? Was it by putting on a new coat? Is there a right way to make art? Is there a right way to see art? To value art? How can we change art for the better? Is there a way? Or is art supposed to be a struggle? Are artists supposed to suffer? To be beaten and bruised? How can we measure our success? Our failure? Is it by our own standards? Or do we need a second, third, fourth, fifth, pair of eyes? Is art merely valued for the quantity of people who “like” it? Or buy it? How does Emily Carr University of Art + Design help artists flourish? Does it? Or, have you, as an artist felt crushed by its oppressive white walls and sharp critiques focused on aesthetic composition or conceptual awareness? Do they even care what your art is about? Do they even care about you? Is that important?
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New Skin Tae Lee—Ready Made, Rubber—2018 The skin is an outer layer — it is what keeps us together, protecting the delicate and sensitive organs that reside within us. However, with this outer layer comes an identity, gender, race, and ethnicity, which allows us to differentiate between people. This, in return, places us into different social hierarchies which translate into different senses of value. In this project, I wanted to show how, due to this unfairness of value which people have created in different types of skin, some may feel uncomfortable, undervalued, and excluded in their current skin. They may feel as though they need to buy a whole new skin to ‘change,’ so that they can be comfortable, valued, and accepted.
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whatdoyousee whatdoyousee whatdoyousee whatdoyousee whatdoyousee whatdoyousee whatdoyousee whatdoyousee whatdoyousee whatdoyousee Kobie Gingras-Fox—Illustration—2018
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“UNBOUND” FALL 2018
The Nymph Malina Sintnicolaas—2017—Ceramic Sculpture This piece is meant to represent the dysmorphia and confusion that can be experienced after trauma or abuse, whether sexual and/or physical, or mental. Not only was it a personal exorcism for me, but also a further exploration in the medium of ceramic sculptures. I found ceramics an appropriate medium for this piece due to the poetic nature of the material - ceramics can be so strong yet so fragile, which coincides with the subject matter I was trying to depict.
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OF EMILY CARR follow us on instagram!
Faces of Emily Carr — WOO Media Team Faces of Emily Carr is a student-run project operated by the WOO Publication Media Team. FEC is a series of short posts published across social media featuring students, faculty, staff, and our friendly neighbors that occupy the space within and around ECUAD. The goal of FEC is to showcase the diversity of our community, further engaging with those around us by sharing our stories. Features are published throughout the week, including a portrait and tid-bits of conversations with a fellow community member.
@facesofemilycarr
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SELECTED WORKS AFTER THE HUNT—SYDNEY PICKERING BLOOM.—LILLY ODDITY CACTUS / BONG WATER—DARIUS KIAN DETECT: CRITICAL DESIGN STUDY—KELSEY MCDONALD, NICOLAS CYR-MORTON, UNA GIL, ALYSSA MARTIN, TIFFANY KAO DINNER—ASHA MACDONALD GLEN—MICKEY VESCERA HAIRBRUSH AND TOOTHBRUSH—CHELSEA MACKAY HALLUCINATIONS—KRISTY HUI HEAVENLY ASCENSION—KENNETH BOEDIMAN HOCK—CORIANNE COUTU I’M TIRED—JAKE KIMBLE KING RAT—MAYA PATRICH LIFELINE—PASCALE JEAN LOW HANGING FRUIT—RYDEL CEREZO LUCID DREAMING—PATRICK TAKATA MAKE VANCOUVER GREAT AGAIN—CHRISTINE FWU, MEGAN CHEN, GURJAP KAUR, ALLY NOVAK MELTING—UNA GIL MELTING SCREEN—CAMILA SZEFLER NEW SKIN—TAE LEE NIGHTMARES—CAMILA BURBANO-DEL-ALCAZAR SHE LAUGHS TO HERSELF—CHELSEA YUILL SMOKING, DREAMING—INHA CHO STAGES OF LOVING—TRIET PHAM THE NYMPH—MALINA SINTNICOLAAS UNTIL YOUR NOSE BLEEDS—MARIE-PASCALE LAFRENIÈRE UNTITLED.—JANE GROCOTT UNTITLED—KITT PEACOCK AND ERIC TKACZYK UNTITLED—MEGHAN WEST WE GO TO EMILY CARR—KAYLENE JOHNSTONE WABISABI TABLES—NICOLAS CYR-MORTON WHAT DO YOU SEE?—KOBIE GINGRAS-FOX
WOO EDITORIAL HALF AND HALF—VINCENT CHORABIK ON TIME—MONIQUE GERMAIN OPEN SCRIBBLES—GRAHAM KIM UNBOUND—SANYA ARORA