THE RAGE
photographer ryan hamilton
clark designer & stylist
carolyn che makeup bella roces model quin webber
creative directors ashley
hilbers & salma abu hijleh
from the editors
With every submission we receive, a part of our mind palace grows. A new room is added with different decor, allowing us to be inspired by numerous artists and living in the space they created. For our second issue, we wanted to explore the concept of perspectives.
The artists featured have given us a key into their insights on the world, showcasing their unique journeys and scopes. We hope the featured work inspires you, as readers, as much as it inspired us in the creation of this issue.
To each and every artist, we are eternally grateful to live a life that means crossing paths with you. Keep creating, keep inspiring, keep being you.
salma abu hijleh & ashley hilbers
ryan hamilton clark photographer
photographer ryan hamilton clark designer & stylist carolyn che makeup bella roces model quin webber creative directors ashley hilbers & salma abu hijleh
I have been very blessed to have been surrounded by talented and generous creatives throughout my whole photographic journey. I feel like I started off with more raw and photorealistic styles of a photojournalist, evolving into more dramatic vibrant and energetic scenes. Working in nightlife and the event industry has really pushed my creativity and capturing in the moment fun and dynamic scenes. I try and find inspiration from moments and genuine interactions. I feel like it starts with capturing a solid photo and layering colours into the image that evoke the situation’s energy properly. A very common example would be the green shadows of digi cam photos people use for “photo dumps” where they post some older content. This space is filled with full hearted individuals who are happy to share their experiences and knowledge and I have been blessed to have been able to learn from some of the most talented creators in Vancouver.
shelly kositsky artist
My practice explores feminine joy, flamboyance, nostalgia, and memory through wearable sculpture, design, and performance. I work interdisciplinarily to explore the unexpected implementations of materials in wearable forms, and to investigate the extension of the self that occurs through wearable art. With influences of pop culture and theatrical fashion, I examine my positionality as a woman in art, addressing stereotypical themes of consumerism, non functionality, and beauty. My work involves a fixation on several “feminine objects” such as the purse, diary, and flower to embody my themes.
As an artist who approaches wearable art and performance through a sculptural lens, I research a variety of materials to achieve my vision, including electronics, video, textiles, ceramics, and mixed sculptural materials. I’m fascinated by the implementations of materials for unexpected purposes, such as using ceramics as a fabric or metal as a handbag, to create contrast between materiality and theme.
contents of a purse
handmade sheet metal purse, video installation
Contents of a Purse is a self portrait composed of a metal purse, which acts as the canvas for a nostalgic stop motion video projection. The items I’ve accumulated in my purse over time act as a material record of my feminine existence, and I wanted to expand the limits of what a purse could contain into a greater entity that conceptually represents the world of a girl. Combining material objects and my own reflection also represents the idea of materialism and femininity often being conflated with each other. The video embodies a feeling of girly mess, nostalgia, sweetness, clutter. Filmed on an old digital camera, the grainy quality speaks to the theme of nostalgia and memory.
The purse is composed of sheet metal, with rigid hinges and a sturdy strap that have a cold industrial feel, contrasting the softness of the video content, which depicts mementos, the pages of a diary, makeup, and other personal items The video’s pink tint was achieved by holding a finger over the flash, resulting in an obscured representation and an insertion of the self into the video.
The close up photos of the clutter are reminiscent of internal organs, abstracted by the amount of objects all layered over each other; the piece reflects the feeling of an internal, personal world
In the video, I show myself putting on makeup and blowing bubbles as a way of expressing the feeling of being a girl in her bedroom doing stereotypically girly things. The contents of a purse are a kind of self portrait, and the self portrait is completed by inserting my likeness into the purse contents.
A purse is a vehicle for sculpture to enter clothing. A purse is a diary, a collection of my personal items, a self portrait. Holding any object could be seen as holding a purse. Flat, non-functional forms can be purses – if they can be held, they are purses. What is a Purse? Asks what a purse can be, and how ceramics can be used unconventionally in the realm of clothing and fashion.
I approach purses as a mode of sculpture, self expression and joy, and I feel excited by the evolution of an object, how they can shapeshift, and how materials can replace or pretend to be another material.
what is a purse?
Ceramic as fabric... Purse as sculpture... The act of holding as a form of embodied sculpture
telephone
Telephone is a replica of Lady Gaga’s cigarette sunglasses, which she wore in the Telephone music video (2010). Making this piece with clay was a way of immortalizing an iconic time-based piece of fashion. I grew up watching Lady Gaga’s music videos, and these cigarette sunglasses were especially memorable and inspiring to me — there’s certain objects and symbols that stay etched into our minds from our childhoods, and I find it important to reflect on them to better understand where our creative instincts and inspiration comes from. The idea of a piece of clothing burning away opposes the permanence of ceramics, and that contradiction inspired me to recreate the original work in this particular form.
Immortalizing an iconic time-based fashion statement through clay
Repurposed found technical fabric, various scrap textiles
Digi Cam
Digi Cam is an ode to one of my favorite objects, my camera, which was gifted to me by my grandpa when I was a child. Taking photos is a diaristic process for me, and my camera has been meaningful to me for a long time as a method of expressing love for the people in my life.
I chose fabric because it was one of the first creative practices I learned as a young girl, and combining it with the theme of photography felt sweet as a representation of two practices that have influenced my upbringing as a girl.
Fabric has both a personal and historically feminine context, and the digital camera encapsulates the self expression and diary-keeping that played such a significant role in my upbringing as a girl.
escape
eurica cuizon stylist
My art reflects the ever-changing tapestry of my life, shaped by the people I meet and the experiences I have. From funny memes online to cherished memories, I find inspiration everywhere. Each piece captures the journey of self-discovery, celebrating both the constants and the changes in my life. Through humour, nostalgia, and reflection, I aim to connect with others and evoke shared experiences.
For this shoot, I wanted to encapsulate —a girl in flight— representing the human urge to escape such a distorted reality but the inability to snap out of it. By allowing layers of neglect and obligation to build up, I wanted to capture the tension between the urgency of the present and the temptation of evasion in these scenes.
photographer eva vanderwoerd model ava peebles makeup syd heinrich assist finlay james
Whether it’s the constraints of the expectations people have created for us or the demanding goals we set up for ourselves, it can lead to firing our instincts into
Ultimately with both choices, the one goal both share is escaping the current reality. fight or flight.
styled by eurica cuizon
bread of speech
joycelyn wong artist
From a young age, grappling with languages was tough for me, to the point where I sought help from a speech therapist. Therefore, moving to a country where the language is completely
"If I eat it, could I break through the language barriers and say my thoughts? If Leat it, would I have the courage to speak the truth of my hometown in another language?"
different from my native one was especially challenging. Even though I can now speak, write, and understand English without much trouble, there are times when I feel held back by language barriers. I sometimes fear to voice my thoughts because of my accent, or because I can't find the right words in English, or because they just sound better in my mother tongue. This anxiety led me to wonder if I could use something to become an expert of the language.
photographer jason tang
"Bread of Speech" is inspired by a Japanese cartoon called Doraemon, which features a gadget called the memorizing bread. When something (such as pages from a math book) is printed on this bread, and a person eats it, they would instantly remember the content of the pages. With "Bread of Speech", I printed the English definitions from an English-Chinese dictionary on bread, aspiring to grasp the language instantly just like memorizing bread. I included pages from a dictionary printed with Cantonese phrases "
(“just say it”) to express my urges to speak, as if I were willing to eat the entire dictionary just to master the language.
Some might ask, why don't you just stay in your hometown? Why do you go to another country and struggle with a new language? To me, this is about seeking a better life, and greater freedom, as my hometown faces political oppression and different voices get silenced. Hundreds of thousands of people have emigrated to other countries because of the elephant in Hong Kong.
Many would rather leave behind their comfortable lives in search of values they believe in. For life not to be engulfed by injustice. For protecting the freedom to speak up.
If I were to eat this bread, would I gain the courage to speak the truth of my hometown in another language and other places?
EVE
jenny chao photographer
I’m not sure what drew me to photography. I think it was the idea of being able to freeze a frame forever. I was in the beginning of an on and off psychosis that lasted about 3 months in 2022 when I decided very pigheadedly that I was going to become a photographer. I BEGGED to take out a camera from my highschool, and thank god for my awesome photo teacher, Amie Touzeau whom I had taken one class before with. She was always super kind and understanding, inspirational and supportive.
I borrowed a camera and I started up my portfolio, which consisted mostly of nature, and dérives, which is an unplanned journey through a landscape, usually urban, in which participants stop focusing on their everyday relations to their social environment.
It helped me feel clear minded. Free, but in control. I could finally think again.
And I don’t think I feel that anymore.
It’s more like stressing about getting an image perfect, at least in the field. I think those things come after now.
EVE
My outlook on photography hasn’t changed much. I still want to capture a particular moment with my perspective.
My approach, however, has come a long way. I had always, in the past, been scared to pursue my own artistic ideas.
But one project at a time, I’m making my own dreams come true.
I get feedback from others during the whole process to validate my ideas and hype me up. I couldn’t have done it without every single person in my life cheering me on in the smallest and biggest ways.
My process has gone all the way from spontaneous, taking pictures to cope in the moment, to taking pictures with or of people to bring their ideas to life, and contribute along the way.
reiana paris co creative director
In the timeless narrative of Genesis, Adam and Eve recount their creation, temptation to eat from the tree of knowledge, and their subsequent expulsion from the garden of Eden.
Throughout my adolescence, I have been reared by religious didactics to familiarize myself with one truth; Eve’s action of eating the forbidden fruit, is the first sin of humanity, and therefore she must be punished. I had always questioned, why was a finite action, given eternal punishment?
Our photoshoot delves into the complex layers of Eve’s story, riveting on the pivotal moment that is considered the first sin of humanity. In our visual narrative, Eve emerges not merely as a biblical figure, but as a universal archetype—a woman grappling with the complexities of desire, autonomy, and morality.
The human experience is built upon being uncomfortable with the unknown, that is why we often try to make sense of the things that don’t.
Is that why we create legends? An all-knowing higher power? The inception of reality? Why women bear the children?
Through evocative imagery, we invite viewers to contemplate the temptation and consequence of finite actions, and zero in on the eternal struggle of acquiring knowledge.
LOUD / QUIET
my name is erv, i’m a photographer and artist from bc.
my work is an ongoing attempt to cheat death.
in freezing moments in time i am able to relive things over and over. in the last two years i feel i’ve lived more life than i did in the twenty years prior.
my initial opportunity for reflection is when i see the negatives for the first time. the delayed gratification of using an analog process has been a treat for me, and i am always excited to see the results.
the second is through digitizing, editing, and selecting which images i want to share. this process always takes me back, helping my ailing memory return to that time, place, and feeling.
some of the best and worst moments of my life have been immortalized through this process.
entering the art world has opened countless doors for me. i have met some of my very dearest friends, been granted access to places i only dreamt of, and have been loved and accepted in a way i used to think wasn’t possible.
i’ve selected a series of images from different periods of my career, i am drawn to photographing people.
a lot of my work thus far has been music related, shooting concerts and working with musicians to realize their ideas. especially when shooting live performance, i’m always struck by the scenes i walk away with.
a still image of a moshpit for example has a strange quality to it, so much movement and energy locked in place. this collection displays moments of loud chaos and quiet harmony, and examples where they both occur at once.
shot
MAKE SURE TO TAKE CARE
“I never thought that in my life I’d be a photographer or even a creative.”
It’s been a good way to express everything I’ve pent up inside because I’d rather create something than be a burden on someone else for my problems. I fell in love with photography because of a person who is no longer in my life anymore. I drove them away and I kept moving forward.
I don’t speak up when it comes to how I’m feeling because of that fear I get from driving someone away. I’m very secretive about every problem I have because of that.
The photos you see here are an ‘inspiration’ of that. A very personal dive into what it looks like and feels like to have this fear of sharing your innermost thoughts with people you care so deeply for. I’ll never share these inner thoughts with anyone, I’ll just show them in photos and hope you’ll understand.
photographer ezra gillera editor ezra gillera creative director ezra gillera model ellie lin
Lia Valente photographer
Lam Tran designer
Lia is originally from Toronto, is a self-taught photographer, stylist and graphic designer. She is especially interested in creating content within the fashion and music industries, combining traditional editorial and portrait photography with experimental and Y2K-inspired editing techniques.
Lam is a fashion student at LaSalle College, Montreal, and she just can’t wait to get done with school and get a 9-5 job. Lam praises minimalism in her design approach, she sees fashion as simply clothing that would bring functionality to people who wear it yet provoke sensations.
makeup giselle valencia models jennifer uchudi and lam quynh tran
stylist lam quynh tran
carolyn che designer resurgence
In a world of fleeting trends, my mission is to create timeless fashion from the overlooked and discarded.
I’m Carolyn Che, a Vancouver-based designer committed to upcycling second-hand fabrics into statement pieces through my brand — Nylora Collective.
Each garment is handmade, one-of-a-kind, and designed to radiate boldness, playfulness, and sophistication.
My latest collection, Resurgence, features nine distinctive garments crafted from 100% preloved materials. This collection merges sustainability and avant-garde fashion, with each piece narrating a tale of transformation and renewal. The garments range from vibrant tops and intricate skirts to cohesive sets, all designed to make a bold statement while emphasizing originality.
Resurgence exudes a fresh, novel appeal, combining whimsical designs with sophisticated elements. Playful cuts, delicate lacework, and striking colours are recurrent themes, showcasing the versatility and beauty of second-hand fabrics.
Whether it’s the ethereal charm of soft pastels or the daring allure of bold prints, this collection is a testament to the endless possibilities of upcycling. Through my work, I strive to challenge conventional fashion norms and inspire others to see the potential in materials often considered waste.
photographer preston szeto
makeup rayya akbar models
alice hsieh and paige mcewen
photographer
madison grimshaw
model sally hinke
photographer madison grimshaw model jordan scheer
photographer madison grimshaw model paige mcewen makeup vanessa amoroso
photographer madison grimshaw model jasmin moreton makeup vanessa amoroso
photographer madison grimshaw model jasmin
moreton makeup vanessa amoroso
nick pham videographer
I’m a big fan of 90s media and skate culture, which is what inspired me to get an 8mm camcorder a couple of years ago. I think there’s a very unique feeling that a handheld camcorder achieves. The footage is raw and personal, like you’re really seeing life through someone else’s eyes. My shots aren’t always perfectly aligned or stabilized, but I think it adds to the authenticity that I am aiming for.
I really want to capture the feeling of being young and just having fun. I feel there is an increasing pressure placed on teenagers to “grow up” and figure out their lives that having fun and doing dumb shit is looked down upon more.
One of my favorite movies is Mid90s, which I think perfectly encapsulates the joy of youth and innocent wonder at the world. I draw a lot of inspiration from that movie, both from the themes conveyed and the way it was shot.
My other focus is to convey nostalgia in my work.
Nostalgia is one of the most important feelings to me; it is the perfect balance of sadness that something is over and happiness that it happened.
I love that it is different for everyone because we all have unique combinations of experiences in our lives. I think it pairs well with the theme of youth because childhood is often something people feel nostalgic about.
I find sunsets evoke a lot of feelings of nostalgia in me. I think it may be because they represent the end of a day in the most beautiful way. I take a lot of videos of sunsets, and like to pair them with music that makes me feel nostalgic. This tends to be artists that use a lot of synths like Beach House, Frank Ocean, and Bon Iver.
I feel truly blessed to live in British Columbia and be able to experience sunsets and nature like no other. I have a lot of respect for this Earth and all the life on it. Capturing my memories of adventuring and exploring is something I will treasure forever.
james girouard creator
Woolen Warfare: The Art of Rug Hooking Galactic Battles
I grew up mostly during the days of what was called the Galactic Empire. Radio comms arrived only sporadically to Hoth, and being in the outer rim, we often had no idea what was going on elsewhere in the galaxy. I can remember the family all sitting around the transmitter in the front cave with the dim lights flickering and the hum of the power converters. The messages on the transmitter were important for us there in the cold. We had to listen and create our own ideas of what was happening and we all made up our own ideas that suited us.
There was one missive in particular, I think it was on a Tuesday, but that’s not important. It was relaying a battle. No, more than that, it was THE battle - the one that knocked out the Death Star! We caught some radio banter from one of the squadrons hitting the surface. The sounds told us so much! How those engines roar in space, and the splat of the lasers firing, I mean it was explosive! I don’t know how those blasts travel in the vacuum of space, but we were all mesmerized.
In the middle of the attack, our Gonk’s circuits popped and another transmission unexpectedly buzzed in. It was a comm, but sounded very different. There was no desperation, or eagerness. It was calm, cool, and confident. And repetitive. Distances, getting smaller, timelines were shrinking, something was imminent. I remember hearing something about “commencing primary ignition”
Next, Gonk snapped back and there was a whoop, and a “look out” followed by something like “blow this thing and let’s go home” and the transmission cut out. I think that was the end of it. The end of the Death Star. We had heard it. We were there.
Back in the cave, I wondered about these pilots and fighters. I was fascinated by how they could fly by wire, using screens and readouts to gather the information they needed to attack and fight in the cold blackness of space. What did they see? What did it actually look like to track the images of enemies on their displays? How could they control these massive crafts? I imagined their screens and readouts. What information would they need and use to make battle decisions? I visualized these screens and what I thought they looked like became my rugs.
My people have always made rugs. In the old cold days, before the diaspora, my ancestors used supply sacks and cast off or worn out clothing. They hooked by feel under the low lights when power was less plentiful. The rugs placed around the cave continue to provide a respite from the white walls, as well as some much needed warmth. I continue to work in this tradition, and since imports to Hoth are still patchy and unreliable, I still use worn out garments, but I also collect spun taunton wool and dye it using local dyes.My hook is also handmade, from an old hydrospanner.
I created the famous trench run and the screen showing Yavin 4 emerging from behind Yavin Prime. I also tried my hand at the infamous The colours, the feel, the screens and scenes, all vivid in my mind. I relived
infamous Slave I readouts, but I think only one person has ever seen those. I also made a tie fighter, one of those nasty bubbles with wings. relived that battle for hours as I punched my hook across those burlaps.
I hope you like what you see. May the force be with you.
