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0919 2012

FEMMELDEHYDE issue02

art, fashion & nature

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03 // featured photographer: carl w. heindl 05 // from the editors: dear readers 06 // submissions: words by matthew walsh & ahmed el-hindy, photos by hannah pruden 10 // trend blog: born to be mild - neon plague 12 // fashion feature: sally han 20 // art feature: tara krebs 30 // exhibit review: sherri hay 32 // music feature: harp core - carnival moon 41 // literature feature: tired of the light by paul allard 42 // grow golden by paul allard 43 // zebra mussels by paul allard 44 // mexico by paul allard 47 // whaling by paul allard 48 // good-bye words: what’s next?

in this issue 2


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Carl W. Heindl is an incredibly talented Toronto-native photographer. He interprets and captures the world around him through the lens of his camera, with an eye for those very minute details that make a

photograph remarkable. His preferred subject matter is people and places (and people in places), but what

is unique to his work is his ability to fix quick, fleeting moments. With just a simple film camera, he has a

nack for capturing the ordinary and mundane in a way that looks almost surreal. For these reasons, the featured photographer for issue02 – ‘the nature issue,’ – Heindl was a clear choice. So please, proceed feast your eyes. All photography by Carl W Heindl unless otherwise credited

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from the editors

dear readers,

Gaining inspiration from nature is not something new – from architecture, to technology, to medication – nature has always been available for both answers and contemplation. This concept has been termed ‘biomimicry,’ or ‘biomimetics.’ The term is conceived from the Greek words life and imitate. So what does this in turn suggest? The artists featured in issue02 do not ‘imitate life’ but sincerely possess and radiate life. The indescribable feeling one feels as reviewing the work by these artists is created by the bestowing of themselves. Carrying life – nature - through the essence of their work. Perhaps it manifests in the reader as a chill, as goose bumps, as a momentary acceleration of the heart – whatever it may be is a result of the trueness within the work you are about to view. So please, as you flip forward, allow yourself to be taken away into nature – into yourself, into life – as you may find something you never knew was there before. Love, Lindsey xx

Simply put, the word ‘nature,’ refers to the phenomena of the physical world. The artist’s tendency to attempt to bring life into art and art into life is as old as our understanding of artistic practice itself. The creative process, whether abstract or purely representational, circles around interpreting our surroundings, and representing them through some sort of physical manifestation. What we continually ask (and remains unanswered), however, is what sparks this impulse to recreate the world around us? The above dilemma was our point of departure for the issue, and with this, we bring to you a small survey of some very talented people who immerse themselves “in nature in art,” from technique, to medium, to subject matter. We offer you a closer look at their work, a glimpse at their creative process, and most importantly, the artist’s own insight. Please indulge, and enjoy. Erika xx

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SUBMISSIONS FROM OUR READERS

submissions

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Whippoorwills and George Orwell by matthew walsh Maybe you’ve heard I`m drunk on George Orwell. Well then, I admit under the whippoorwill’s I drank George Orwell. I should work on my cookery or cook porridge for George to gorge his gorgeous mouth on--- but I might lose this spot under the pine with my old George Orwell. What a dream my poor will makes me dream. Under his whip or will I`d be defenseless (or, well, at least kind of kittenish) & have an urge to present him tea I pour well. Well, I’d climb down to him if I were Juliet (his words, at least, would make practical sense). He’d persuade me to come down to the Limehouse and smoke one with him— but I`ll have to settle for these pines & my creased George Orwell.


She lost it all in the Potomac by ahmed el-hindy I found a soft spot between two rocks, silent sedate boulders on the precipice of a black mass. so I lay down for a minute, for a lifetime to get away from myself closer to the eagles and the clouds to live this life of thieves among vandals, is to exist inside a story no one wants to write before the landslide momma told me, ’baby life’s a fickle whore. one day you realize it all. you’re a mountain, I’m a fish, let’s make a lake of this mess and go for a swim because nothing is as sweet and I’m too bored to say any more.’

photography by hannah pruden

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flying born to high

be mild

sans wings/air plane/hot air balloon/amphetimines

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trend blog

NEON PLAGUE

Pulse rising, pupils constricting. Spatial perception increasingly impaired. The influx of unconditioned lights and colours impact myself and my surroundings – taking form upon the wrist, the waist, the legs – hell, it is appearing on the whole damn body. Where to take refuge? How to escape? Living as Ghandi advised, I will ‘be the change [I] wish to see in the world.’ I will not adorn my makings in those instruments of mass optic destruction. For I, I was born to be mild. I am terribly apprehensive in the inclusion of this 90’s rave costuming. But as a helpless consumerite, it is difficult to not yearn the incorporation of such eye-defying palettes. To maintain peaceful balance, the utilization of earthy colours, prints and textures may aid in obtaining neutrality – such as alkaline are to acidic substances. We have been so providential with the flourishing gift of nature – with what is around us – that it should be so simple in obtaining harmony when carefully igniting this fiery fluorescent trend. But alas, it seems to prove more challenging than this…

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So as these incandescent lights remain upon the bodies of the trendiest, I will sacrifice the vision of many and continue upon my dreary path in varied shades of grey. [by lindsey omelon]


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SALLY HAN

I

was first introduced to Sally Han a little over a year ago, where I was so fortunately involved in their ‘YOURlove’ Spring/Summer’11 collection. Invited to then attend the launch event for the collection,

I was taken away by not only the beauty of the pieces, but also of the people behind the brand. Psalms 91:1 Accessories indulges in the earth, the air and everything in between. It is a brilliant composition of inspiration found in everything around us - the very objects we tend to be ignorant of in our day-today lives. Han expertly negates the naivety we generally possess in regards to the world as a whole presenting urgent discourses in a gentle and meaningful way. [by lindsey omelon] LO: I have been a pretty avid follower of your work

SH: ‘There is a story behind every creation.’ And

since we met last year. But still the fact that as soon

that’s how I started when I was 19. There was a story

as we came up with our theme ‘the nature issue,’ I

connected to each piece. And customers started asking

immediately thought of you makes me wonder, how

‘What does this mean? What’s the cause behind this

is it that you are able to make your brand stand out in

one?’ Even if it is a simple story, it’s still something.

my mind with so many others in a similarly inspired race? SH: I think it is because I keep it very personal. I am very much inspired by the mission trips I take. For example, to Native Reserves; I then launch a collection called ‘The Natives.’ I am very inspired by different cultures

LO: Do the names for each piece often come from these stories? SH: Yes, definitely. As you can tell, each piece has a unique name and description for them that express the story.

– Africa, Korea…And yes, I am inspired by nature, but

LO: Are there specific materials you prefer to work

it is when I meet people in these countries that inspires

with?

me to create. And it just comes out through personal

SH: I love working with anything vintage. I love mixing

stories. So I think because people know how personal it is to me, it becomes personal and unique to them. And while wearing the pieces, they feel the story behind them, rather than just wearing them superficially. LO: I actually did read that on your website that everything has a story. What is the motto again?

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vintage materials with something like chains – just modernizing it, basically. For example, there’s one called ‘Vintage Bottle,’ which is one of my favourite pieces, and is also rather new. But it’s an actual pillbox that was made in the 1950’s. It’s very cute and is part of our limited edition collection.


LO: So how do you even find enough materials such as

an organization where one woman in this South African

that to create inventory? It doesn’t sound like there can

town started her own entrepreneurship program. It’s very

be many of those hanging around. Suppose this is why

interesting because it’s usually missionaries, or Westerners

it’s a limited edition piece… [duh, Lindsey]

that start up these programs, but in this case, she actually

SH: Yeah, exactly! And I find it is just more special that

stood up and decided to motivate other women. Zimele

say, shopping at the mall. I find that my customers really appreciate the stuff that is limited edition.

I thought, you know, this is the purpose for this business; this is going to make a difference, and will hopefully inspire others to do the same. LO: You must be like, always on the prowl for new

means standing up on your own two feet. So, what we’ll be doing is I am going to go to South Africa and will be collaborating with the women who make jewellery there and will be coming up with our Spring/Summer collection with them, which will be a non-profit collection; all of the money will be donated to their organization. LO: Amazing! SH: And we’re already working on a big launch event for the collection.

materials then, huh?

LO: How did you find something like this?

SH: Haha! Yeah, for sure! I love hunting for little treasures.

SH: It was in the talks for about two years when I finally

LO: Now, I saw on your Twitter [@SallyHan_psalms]

but I found it’s not as personal when it’s just… random?

that you are ‘African at heart’… SH: Oh yeah! LO: When did you first discover this about yourself

decided to go with it. We do charity events here and there So I decided I would partner up with one organization so that we can both support them while building a longterm partnership.

and how?

LO: Were you always involved in charities or have they

SH: Actually, haha, I would say since I was maybe 6 years

been integrated into your accessory line?

old! I mean, I didn’t know much about Africa, but um

SH: When I was 19, I wanted to do something more…

for some reason, whenever I would get in trouble by my

I just felt this sudden urgency. So I started playing

parents and start crying I would be like ‘I want to run

around with jewelry and I decided to set up a booth at

away to Africa!’ So I think that that’s when it started! So

an event where they were raising funds for lost children.

I’ve always had a desire to go, and when it actually came

So that’s sort of how it started, I thought, you know, this

to be that I was old enough to go on my own, I took off

is the purpose for this business; this is going to make a

when I was 22 for 3 months and it was the best experience

difference, and will hopefully inspire others to do the

of my life.

same.

LO: Have you gone back since?

LO: Where do you do most of your work? Is there some

SH: I have gone twice since and I will be going again

kind of ritual you have in order to create?

this October. Psalms is actually working on something

SH: I work mostly in my studio. I love working when

big right now. It is our biggest project yet. Basically, we’re

the sunlight is coming it – it really motivates me to

partnering up with this organization called ‘Zimele.’ It’s

work. Sometimes, though, nighttime is good too. But I

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film stills from captivated s/s 12 lookbook // model georgina reilly, styled by ashley kim, film by elliot suhr

way. It’s not something you could ever find if you were,


fashion feature

film stills from captivated s/s 12 lookbook // model georgina reilly, styled by ashley kim, film by elliot suhr

do prefer the mornings when no one is there. Being a

my mom made us some really great dishes. We just hung

business owner and a designer, I say that only 10-15%

around until really late, just chatting. We have a really

of my time is spent creating pieces and the rest is spent

great relationship, which I believe is really important.

doing the business work, and travelling. So when I do sit down to make jewelry, I really have to be in that mindset – that mode.

LO: Definitely! Especially when you are doing something like this, right… creating together for a purpose. It’s important that you keep a positive vibe

LO: So how many people are there within the Psalms’/

going.

Shop for Jayu team?

SH: Oh, agreed!

SH: Right now, we have around 5.

LO: Where do you tend to do your preliminary

LO: If I were to ask one of you employees to describe

creating? Where does the idea first take place?

their boss to me, what do you think they would say?

SH: Hmmm, it is hard to say because it comes from all

SH: Actually! I just got one employee who Instagram’d

different things. But when it hits, I get the butterflies

one of the dishes I had made for her when she came to

and begin jotting notes, wherever I am. And sometimes,

work and she posted that I am the best boss, haha! So I

the pieces don’t come out the way you planned it to be -

was very delighted.

sometimes it is better. It’s like “mistakes” turn out to be

LO: Dang, if my boss cooked for me I’d be saying the same thing! SH: Yeah, I love cooking for my girls! It’s all about relationships and teamwork. Like, the other day we went to my parents’ place to just hang out on the patio and

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something even more beautiful than you’d first imagined. Like, literally, I will be creating a piece and it will drop on the floor, and it’s like ‘what the…?’ – it just turns into something different. And it’s amazing. LO: That almost seems like your collection, ‘Beauty in


sebastian black exhibit, img. www.tomorrowgallery.info

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film stills from captivated s/s 12 lookbook // model georgina reilly, styled by ashley kim, film by elliot suhr


the Broken.’

that the North Korean refugees told me. They had just

SH: Yeah, that was two winters ago…I think it just relates

escaped, and were telling me things that I could’ve never

to anything – anybody.

imagined – it is a very urgent matter. So, I thought, maybe

LO: Your most recent collection is called ‘Captivated.’

handmade by myself, but handmade by other designers

Why did you choochoose this as the all-encompassing word?

I should have another line so that I can sell products not in Korea where I can purchase from them to sell here for a lower price – everything under $60.00. And then this

SH: ‘Captivated,’ is something very close to my heart.

would then bring in better revenue to support Psalms in

It’s inspired by what phase I was in in my life at that

order to reach our goal – our vision.

time. I have a very close relationship with God and He’s ultimately my inspiration. At that time in my life, I felt like I understood what it means to be in love with God, our Creator. And also to be able to share that love to others. You’re captivated by people and their beauty; so it

LO: What does Jayu mean [Sally then informs me that it is pronounced jye-you] SH: It’s Korean for freedom. So, essentially, Shop for Freedom. I love it because my marketing strategies seem

relates to both people as well as God.

to be more defined now. With Shop for Jayu, I feel like I

LO: Do you find that you’ve established an audience

that in Shop for Jayu. Where with Psalms, it’s a deeper

who are your regular shoppers/followers? SH: I actually have a lot of loyal customers who have known Psalms since day 1! And it’s so awesome when they come to one of my events. They’ve followed me throughout my journey and it’s very special for both them and myself. Like when they purchase a piece, they’re like ‘Oh my gosh! Sally you’ve really grown with your designs’. It’s really great to hear. And then, of course, we have

can be more fun; I’m also weird and quirky! So I can use part of me, and much more personal. LO: Now, would you say that the Shop for Jayu customer differs from the Psalms’ customer? SH: Yes, definitely! They’re still similar, like, whoever has shopped Psalms is likely to shop both. But I feel like there are some people who just love Psalms but couldn’t quite afford it – such as younger students. So, now, they are

different customers that join us everyday.

happy to be able to purchase Shop for Jayu.

LO: So then why did you decide to create Shop for Jayu?

LO: You have a men’s line, as well…do you find it

SH: Basically what happened was, more and more that I’ve been doing Psalms I’ve started to understand the vision and the purpose of it. The vision that I have for Psalms is to create infrastructures around the world, such as Africa and Canada for native reserves, and for

difficult designer for men? SH: Um, I would say it’s a challenge. Because, well, I love creating girly stuff. But men’s stuff is fun too. Because I myself am not all girly – I love adding some manliness to my wardrobe to give it that rugged feel; a little rough

Korean for North Korean refugees. Basically, for widows

around the edges.

and orphans who need job opportunities in creating

LO: To finish off, if you had to choose a word

jewelry, as opposed to having it manufactured. And I’ve been tempted a few times to have Psalms manufactured but it always comes back to just being organic. So, that’s the big vision we have, and it’s a really big goal! When I went to Korea last time I was so inspired by the stories

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synonymous with either Psalms or Shop for Jayu, what would it be? SH: For Psalms, I would say ‘muted art.’ And for Jayu, ‘free to be.’


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art feature

D

TARA KREBS

elve deep into the mind of Tara Krebs. Her peculiar, incredibly imaginative mind creates strange characters and fictitious landscapes using paints and canvas [and sometimes wood too]. There’s something really

unique in the way she twists and plays with animal anatomy, somehow finding a sort of perfect harmony between unrelated elements. On one sweltering afternoon in August, I met with Tara to try and probe her mind for some clues to her art practice. Entering her studio space was like stepping into a twisted fairytale. Her paintings – which looked like they could have been torn right out of a dark children’s storybook – engulfed her workspace walls. Here, we had an in-depth discussion about art, nature, and the profound impact that those two things have in her life. [by erika balint] EB: Alright, I’m going to start with kind of an obvious

EB: And your drawings all have a very childlike and

question: Where did your love of art stem from?

whimsical feel to them. Do you still see a lot of that

TK: It’s just something I’ve always done. It’s something

childhood self in your drawings now? Does that carry

I’ve done since I can remember. I come from a really big

over?

family, and so I had 5 sisters, then a brother, then me, so, I

TK: Yeah, especially as I’ve been painting more for the

wasn’t at the age where I could really play with my sisters.

last couple of years, I find I’m getting closer and closer

I spent a lot of time hermiting by myself in my room,

to entering those worlds that I entered as a child. So, I

and I would just draw and draw. I can make a game out

mentioned a few times that my memory isn’t that great.

of anything… using rocks, or, anything. I was always just

But I remember a lot about playing as a child. Not

coming up with characters, and coming up with drawings,

necessarily who I was with, or where I was, but the most

and worlds. I remember really vividly that I used to draw

vivid memories I have are of worlds I was in. It’s just the

obsessively – sort of graphic novels – like on those free

feeling of playing, and I think the more I paint the more

pads of paper they give out at car dealerships. I had like

those feelings come back to me. It’s not just memories,

a crazy squirrel stockpile of those. And I would just draw

but I’ve started to get a very all-encompassing sort of

these stories. And some of them were surprisingly dark

flashbacks of when I was a kid. Like splashing in a puddle

for such a young age, and I used to hide them.

and almost going back to how that felt. As a kid you can

I teach art now actually, and one of the things I’m

really convince yourself of that notion. And I was never

always telling my students is that practice is the most

the kind of kid that wanted to play House. I wanted to go

important thing- especially in art. You only learn and get

to an island, with monsters that were picking us off one

better by practicing. And I guess I was sort of practicing

by one. Through my work, I can kind of reenter that.

unintentionally. I think making art is just something I have to do – I don’t really think I have a choice.

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(cont’d on page 26)


‘the beginning is the end is the beginning’ // acrylic on gessoboard 16” x 20” // by tara krebs

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‘the messenger’ // acrylic on gessoboard 16” x 20” // by tara krebs

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EB: And it’s funny that it seems your memory almost

happen. Like, a character might just show up at the last

wants to work harder for that imaginative side than

minute!

the less exciting ‘real world,’ side. So how would you describe your process? When you create these works, with so much going on, how does that come together? What comes first? TK: I think most of my best images come from doodles. Whether I’m waiting for a friend, or just sitting in a park on a bench. I think the best images just come from doodling things I think are silly, and then my brain just inevitably just starts going on all these tangents. Like who that character is, and where they live, and what their story is. And so I’ll go through my sketchbook and pick things out and pencil them in, but usually I’ll also leave some elements unplanned. I guess I want to bring that

EB: So would you say your works are more like character maps then, or is there an element of narrative as well? TK: I think both. Especially in the pieces I’m doing now, one of the goals behind the work is to create a sort of narrative that’s driven by these characters, but your role as a viewer in viewing the piece is to decide who these characters are and what the narrative is. I keep the titles of the paintings pretty vague as well because I don’t want to give too much away. I think that in this time that we live in, information is so available to us. If you want to know anything, you can Google it. So we don’t really have a lot of time to wonder.

spontaneity of doodling into the final piece. And I feel

EB: I think that art generally is a great outlet for that.

like in these worlds, anyway, that sort of thing might

Do you ever think of pairing writing with your works?

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TK: I do. I have always loved writing, so much. And that’s

– which is really cool – so have you ever thought of

something I don’t think a lot of people know about me.

collaborating with him on that? Or have you done that

I actually wrote a children’s book, and I really want to

already?

do the illustrations. I feel really positive about it, but I’ve

TK: There’s this one that I’ve never finished, [Tara takes

been so busy I haven’t had the time to finish it. And then I’ve always had an interest in graphic novels, just from my strange childhood interest.

I think that in this time we live in, information is so available to us... we don’t really have a lot of time to wonder.

out this amazing little sculptural prototype for a oddly adorable fat rabbit named Harold] and I definitely want to try and design for him in the future. It’s just a matter of having time to do it. EB: This seems like a natural question to ask… What’s your favourite fairytale, or story? TK: Oh. I have a few. I can’t think of a traditional fairytale off hand that’s my favourite, but a lot of stories. Like, I

EB: Do you have an inspirational place? Like somewhere

loved ‘The Secret Garden.’ It’s such a good story, and it

you go that just fills you with creativity?

has such a real element of truth to it. Like, it’s just a girl

TK: I have a few… I don’t get to them as often as I’d like.

who’s healed by being in her garden, and healing the

My world is a crazy tornado of happenings right now and it’s so hard to take time for that. It seems so sad to say that. But pretty much any time I’m in nature, my brain just explodes with ideas. Any time I’m around animals, and I get to see their personalities and the silly things they do… living animals are such characters. I like to go

earth. And that was always something personal for me. I love gardening, and animals, and nature, and I think the lesson in that story is such an important one. But with that cute, happy story aside, I love the Count of Monte Cristo. It’s just such a satisfying story of revenge. I love his master plan, and the genius of the author to come up

to High Park, but early in the morning when its not filled

with that plan.

with people. And then I guess just travelling.

EB: So I’m almost out of questions, but just one last

EB: So where do you think you want to take your work

one: Do you have any upcoming shows or big projects?

eventually? Or, where do you want to take it right now?

TK: I have a couple shows that are coming up, but I

TK: Right now I’m just really just being a hermit in my

haven’t been given the go-ahead yet. But I guess if people

studio and trying to do as much painting as I can right now so people can get a feel for what I do. And I’m just

want to keep in touch with what I’m doing, I have all kinds of social media do-dads that they can check up on

starting to exhibit a lot more. I hope that in the future I

me with! [Facebook, blog and twitter]

can show a lot more in places like LA or New York, cause

Miss Tara Krebs has a really great website! If this

I find that I don’t lack for people who respond positively to my work and enjoy that genre of work, but its really hard to find places that show this kind of work. And, for instance, in LA there are so many amazing galleries that

issue peaks your interest, and you gotta have more, visit www.tarakrebs.com And here are those “social media do-dads” she

show Surrealism, Pop Surrealism, Lowbrow, all of that

had alluded to:

really fun work. So maybe I’ll have to move there!

Tumblr: http://tarakrebs.tumblr.com

EB: And you mentioned your boyfriend makes toys

Twitter: https://twitter.com/TaraKrebsArt

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‘from the ashes’ // acrylic on gessoboard 16” x 20” // by tara krebs

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‘from the ashes’ // acrylic on gessoboard 16” x 20” // by tara krebs

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‘in the ignorance that implies impression that knits knowledge that finds the name form that whets the wits that convey contacts that sweeten sensation that drives desire that adheres to attachement that dogs death that bitches birth that en-tails’ // by sherri hay // img. www.cuttsgallery.com

‘what dreams became against our accumulated daylight’ // by sherri hay // img. www.cuttsgallery.com

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exhibit review

SHERRI HAY A REVIEW BY ERIKA BALINT

S

ituated in Toronto’s west end, the Christopher Cutts Gallery is neatly tucked away at 21

Morrow Avenue – between Roncesvalles and Lansdowne, off of Dundas. I visited the gallery to see the Sherri Hay solo exhibit, titled: Worlds a Sound for Sitters to Sit in just a few days after its opening. In the gallery, I was very much left to my own devices. Luckily, Hay’s work speaks volumes entirely on its own. I was previously acquainted with some of her earlier sculptures: tiny, humanoid figures comprised entirely of flora. These figures explore man’s relationship with nature, and nature’s relationship with gods and deities. The works in her current exhibit appear to use this theme as their point of departure, but in an entirely different way. Upon entering the gallery, I was greeted with Hay’s incredible site-specific installation. Suspended from the ceiling were tiny black crosses hung on thread. The crosses, all hanging at varied yet cohesive levels create a landscape that is entirely artificial, but still alive and animated by the “real” environment that surrounds it. The installation can be viewed from any angle, creating a multitude of possible perceptions, and has an almost sublime quality to it. The works featured in the adjacent gallery had an entirely different feel to them. Mounted at eye level were tiny dioramas of surreal imagined

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obluvial waters of our noarchich memory, 2012 8 x 5 x 5 in., watercolour on paper, acrylic medium, urethane foam Christopher Cutts Gallery, Toronto

environments. These pieces had an obvious correlation to Hay’s earlier sculptural works, but now, she refers to nature and the space that we inhabit in a more abstract conceptual manner. These environments look like shrunken versions of spaces that were once enormous and enveloping, creating a tension and feeling of unease. Despite their small size, they are easy to get lost in. Worlds a Sound for Sitters to Sit in will be on display until the end of September. While quality images of Hay’s works can be found on the Christopher Cutts Gallery website, the technical skill level of these works and the powerful feelings that they evoke cannot be understood through photographic representation. I highly recommend that if you have the time, you take a trip to Dundas West to see the exhibit. The show offers meaningful insight to the human mind’s perception of the immense, incomprehensible space we live in.


HARP C OR E 32


CARNIVAL MOON

A

little while ago, I was looking for a music feature for this issue. This is no easy task, simply because there are so many great, talented people making music in this city. I just sat, and sat,

sifting through music, staring blankly at my computer screen. Admitting defeat, I turned to friends for help, and I was in turn referred to Carnival Moon. I pulled up their bandcamp, listened to their EP (titled Our Little Hourglass) and not even halfway through the first song, I was scrambling to find their email address. I guess that from the moment I saw “harpcore” on their band’s page, I was interested. But the songs

themselves are so dreamy, and melodic, and – I hope they’re not upset with me for saying this, but – whimsical. In the best way. They’re all incredibly talented and well-trained musicians, and really humble, lovely people. I sat down to a table full of snacks, and we sat and chatted about just about everything… Talk show hosts. Gordon Ramsay. And honey badgers. So please acquaint yourselves with Elaine Kelly-Canning, David Scanlon, Sean Lancaric and (in spirit, because he couldn’t make it!) Will Whitwham of Carnival Moon. [by erika balint] EB: I was going to ask if you guys are all Toronto

EB: And so how long have you guys been working on

natives, but, now I see that you’re not..

this project then?

DS: I’m actually from Oakville… …No I’m not really.

DS: Three years as of yesterday.

I’m Irish, from a little town called Waterford. It used to

EKC: But kind of off and on.

be famous for Waterford crystal, which isn’t made there anymore so, now it’s not famous for anything.

DS: When we have a deadline, we tend to kind of go “oh crap”, and then write the song. But otherwise, life

EB: And how did you all sort of come together?

takes over and its kind of a nice, gentle thing.

EKC: We met through, his old band actually (Dave):

EKC: And Dave’s a full time scientist, I’m finishing up

Halves. And I know Sean and Will through their band,

my degree, Sean and Will just got back from touring

The Wilderness of Manitoba. And we’re just sort of a

the UK, and we don’t really wanna play gigs unless it’s

conglomerate, coming together.

the four of us.

DS: Well when I moved, well my band was playing here

EB: So how were you trained on the harp? It seems

a couple years ago, Elaine kind of looked after us, cause she followed us on Myspace back when Myspace was a thing… she showed us around town, and we became friends that way. So I was already planning on moving to Canada at that stage, and eventually lived next door to each other.

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like such a dying art now. EKC: Actually, my mom reminded me of this the other day… my first fiddle teacher was a harp builder, so the first time we went to have lessons with him, he had this huge workshop and it was all harps. And even though


music feature

models elaine kellycaning, david scanlon, sean lancaric, will whitman // photography by michael bulko

I was playing – and I liked playing – the fiddle, I said “I

Berlin, so I wasn’t too torn up… [this remark was followed

am going to play one of those one day.” Then I was also

by a lot of teasing!]

reminded the other day that my obsession started with the beginning of The Friendly Giant [no, guys, it’s not The Big Friendly Giant], I would always see it and always say

EB: And any great concerts so far this summer? Or anyone you’re looking forward to seeing?

I wanted to learn. But obviously its more expensive and

EKC: I got to see Sigur Ros a few weeks ago, and I was

not quite as mobile..

very, very, very happy.

EB: You guys played NXNE this year, have you ever

DS: Last absolutely amazing gig I went to see with Elaine

done anything of that nature before? EKC: I think all of us have, in separate projects. Like, in my old band we played Electric Picnic last year, with his old band [Dave’s] and that was awesome. And Sean [and Will] have played more than all of us combined probably. But we’re hoping to do more, especially once we have an album out. EB: Nice, and were there any acts you guys really wanted to get out and see? SL: I wanted to go see Brasstronaut. But I saw them in

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was Jaga Jazzist. That’s one of the best performances I have ever seen. They’re from Norway, and they’re electronic/ jazz/ rock/ ridiculousness. The drummer was this huge guy off to the side of the stage, and every so often he would just stand up, for extra weight and just bash into the drum, and he kind of directed the whole thing… they’re just amazing. SL: I’m excited to go see Grizzly Bear at Massey Hall, I just think them playing in that space will be interesting. EB: And so do you guys have any upcoming shows?


Thinking about touring in the distant future?

EB: Do you have a routine or process you follow for

DS: Recording is where we’re at at the moment. We have

your writing?

the EP and now we’re starting into an album, with bits

EKC: Lots of tea, maybe beers…

and pieces of that done.

DS: Sometimes I’ll have like, a fiddle loop or some sort

EB: And do you have a tentative date for your album’s

of loop station.

release?

EKC: And then sometimes we’ll just bring Sean in here

DS: That’s where we’ve gotta work around everyone’s

and make him tap drum parts out on his leg and that’s

schedules. It heavily depends on who’s got time when. EKC: I kind of feel like Will’s more our expert on that sort of thing. We’re waiting on grants, and then I’ll probably be putting it out on vinyl, and then we just kind of have to time factor stuff in. I also feel like it’s more of a wintery/ fall sounding record, I don’t really think it’s something we’d wanna put out in the spring time so, we might have to hang onto it for a while. And Leon, our engineer, who plays in a band called Dusted – they’re amazing – he’s got a pretty rigorous touring schedule for that. And we don’t wanna work without him. So we’ve got a lot of different things to schedule ourselves around.

how we’ll write something. I think our progression is to get more rhythmical. I don’t want it to be quiet, pretty, Joanna Newsom sounding stuff. That’s always in the back of my head: rhythm, rhythm, rhythm. I like to think of what would challenge Sean to play, or what would leave lots of space for Dave and Will to come up with stuff they’d really like to play. So, I’m trying to be more diplomatic that way.

Before I met him, I thought “yes, I get to steal one of them.” I would say musically, that was one of those wow moments.

DS: We just have to keep giving ourselves short-term deadlines. I know I certainly write better when I know, “crap, I’ve gotta finish this by next week,” otherwise it’s too easy for life to get in the way. EKC: Yeah, sometimes I’ll just stay up till three in the morning, like I would with a school paper thinking: “I must finish this.” EB: But I feel like, when you write in that way, it might not be the best writing you do, but it forces out the skeleton of the writing which you can later refine. DS: That’s true, we tend to do that where we ‘finish it’,’ and then keep working with it in the studio where the extra bits and pieces come together. EKC: And I think that way I can’t really stop, and freak out, and overthink it [Dave makes a snide remark and Elaine calls him a dickhead]. I’m not a terribly selfpossessed writer. Most often I need their input or else I think it’s rubbish.

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EB: Maybe this is a weird question but, your song titles, they’re all really quirky. I wanted to ask how you come up with them? EKC: Well it started out with me being able to name them whatever I wanted, so a lot of them are like, nicknames and stuff, cause I wrote a lot of the songs for friends. So its sort of, just for them, inside jokes. And Electronic Jeff Bridges was just Dave listening to a podcast of this British guy giving out about Tron, and we thought it was really funny. DS: Generally because, with Elaine, I love her lyrics – they’re lovely, evocative lyrics – and we kind of don’t want to be too po-faced about it. It would be very easy to just take a beautiful line from the lyrics and name it that. But just puncturing it slightly, and [trying] to make sure we’re not too narcissistic. EB: Is there any sort of film, or piece of literature


someone play an instrument and its like a knife coming through you from head to toe. When I saw that, it was one of those things. There’s a lecture, and this guy talks about how with electronic music, you program 0 or 1. But the computer can’t read between 0 and 1, but human is between 0 and 1. So it was that moment, that was very human when I was watching it, that was between 0 and 1 where everything clicked for me- when I saw that scene. As soon as I saw it for the first time I was so terrified, but so happy it existed. And it was very striking. So from there I was thinking, how can I play a groove – and I know that sounds so tacky – and apply that. And then fifties jazz is just my favourite thing of all time. The thing artwork by cormac murray

that has had a profound impact on your music and songwriting? EKC: Oh god. I’m an English major so that’s a terrifying question. Dave’s gonna get really mad at me, but it was discovering his band. Before I met him, I thought “yes, I get to steal one of them.” I would say musically, that was

about the fifties is that there was still that mystery – like the black space in a photograph – and the mood, and the general consciousness of the people, and the times, it all influenced the music. So those are kind of the influences that I have in approaching the songs that they write. … But then again, I just gotta play drums, so… [which was, once again, followed by a burst of laughter].

one of those wow moments. I’d say for this album I’ve

EB: I feel like I’ve kind of bombarded you with

been reading a lot of this Irish writer John Banville I’d say

questions, but I wanna ask one last question that is just

he was a really big influence on concepts for writing. And

completely unrelated. For our readers, what’s your very

what really compelled me to start writing music was my

favourite breakfast spot in the city?

‘Literature for our Time,’ prof at UofT: Nick Mount- he’s

EKC: Grapefruit Moon! They have proper sausages.

a brilliant, sincere lecturer. And just his was of talking about literature was fantastic and I just immediately started writing music after his class. DS: My main influence is ‘Coronation Street.’ Any if the lyrics that I’ve written in there would be from ‘Coronation Street.’ SL: You know what? The biggest inspiration that I have now is from ‘The Shining,’ [the Kubrick version] that scene where the blood comes out of the elevator. That’s like, my inspiration right now for playing the drums. There’s something about it. Like this moment where I saw Wayne Shorter at Massey Hall and Bryan Blade was playing, and it was one of those moments where you hear

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DS: Actually, yeah. I would go with that. Grapefruit Moon has the closest thing to Irish sausages that I’ve found in Canada- apart from actually importing sausages. SL: I actually really enjoy breakfast for dinner. With a beer with it.

Listen to the EP that I’ve been gushing about at: http://carnivalmoon.bandcamp.com And get as excited as we are for the release of their album! And to stay on top of what they’re up to (and to soak in their hilarity) follow them! @CarnivalMoon


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literature feature

TIRED OF THE LIGHT I'm tired of the light blinding burning bright burning eyes leaving flash points on our retnas giving shadows more disguise. Staggered drunk out of young love the taste of naivety on my lips blood-clotted calloused cole sores call "Come here for a kiss." But not we, no we retreat, we wander home along safer streets avoiding holes where peddlers meet and greet. Don't you double dog dare do it you should know better than that. "Duh, I double dog dare you to do it. Don't you be no scaredy cat." Act on impulse now out of instinct, distinct tastes like those of failure, loss or mint. Go on taste alone all sight blurred blind by winter's snowy tint. Snow becomes sleet which will be rain and will raise Spring from Autumn's grave but that's all yet to come and so sleet still sleeps while snow remains like big black bears who hibernate to avoid ever having to miss the sun. They say they're dumb but that sounds pretty smart to hunt a hollow to halt your heart beat down to next to nil. You can try and I just might, but we'll wait 'til dark of night to plunder a pretty pumpkin pie from off the window sill. In front of the fireplace where love was made more times than I could explain we were caught red-handed on our way. So we'll probably starve that much is true, says "What's mine is mine, but I want yours too." Half of zero is still zero, so here.. "Have two." Take the west now that its been won empty your holster give up your gun erect your buildings eclipse the sun, go on ahead it's yours, have fun. But as for me, well I'm headed East with a pack on my back and two sore feet where I'll look for love if it'll look for me. My dreams they left me while I slept now that I have a chance to reflect they were probably always meant for someone else; not every puncture wound is meant to inject; not every temper meant to test; not every joke is meant in jest even if that's how it felt. Now I'd say goodnight but this is goodbye c'mon kiddo you gotta dry those eyes I'll see you the next time this world spins 'round. We wondered why we won't walk away those nights we fought and decided to stay I guess right now I need a change of pace or ground. I'll leave at night while you still sleep quiet as a mouse you won't hear a peep I'll make my way up the street and out of sight. I'll find the ghost I've been running from this road is long I'll need someone on my side. [by paul allard]

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Grow golden like her hair or like your very own nicotine stained teeth. Grow golden in a way that makes sunflowers lean for shaded areas away from the light and away from our eyes; which now search for gold in everything they see. Grow golden like your early morning stream, the colour of your dehydration. Grow golden and polished you will shine and reflect each light that comes in search of you. Grow as golden as the lamp light or the fireflies who frequent this forest. Grow golden, more golden than your antiqued ancestors who lay tarnished in tucked away drawers; preserved artifacts of an aristocratic time. Grow golden in amongst the brass horns that play music inspired by your sheen. Grow so golden you eclipse the sun, shadowing its rays which dance off of you confused and then return to the sky to be stars.

grow golden & zebra mussels by paul allard 42


a rusted putty knife lays to waste with the zebra mussels whose mouths agape catch the discarded flies of the furrowed brow before the bay where they were spat out

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MEXICO BY PAUL ALLARD

We managed to coast through the desert in the same way we’d been coasting through life. So we made it by the skin of our teeth. We watched the vultures float cutting through the sky that day like the serrated blade of a knife; circling their feast. We weren’t sure where we were headed. I’m not sure we could remember where we’d been, but we knew where we were. We were in the pockets of those we were indebted. We were hiding from the possibility of being

seen. We were not welcoming of new encounters. We stuck to the paths the border jumpers made; I guess we hoped that our “American dream” was in Mexico. So we confused the crowd of doubters who were surely waiting back in Omaha in the cool shade sipping bitter lemonade out of mason jars and trying to will us home. But they don’t understand that sometimes you go so far that you simply can’t turn around, or stay put, whatever. They have never felt the insides of a car, aimless, four wheels on the ground ready to get you, well wherever. The chain link fence couldn’t have been anymore then fifteen feet tall and wasn’t wrapped in the barbwire we were more than ready for. We walked along hoping to find a door and when we didn’t see one at all we scaled the fence and hopped down to Mexico’s dirt floor. And that catches you up, and that’s where we are now. Please keep your mouth shut no one can find out that we’re staying here to make it in our new home. I just hope they weren’t right and we’ll find our smiles in Mexico.

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WHALING PAUL ALLARD 47

“Let’s fall in love.” I told her as I grabbed her little hand and lead her back inside our past hoping to understand what we did to cause the cracks that caused our walls to fall; to crumble back out into the sea we feared most of all. The waves continued to fight themselves and sounded off their angry bells as you drowned I flailed like hell to keep you safe inside those swells. I pulled you down to the depths with me. I dove with hopes of being free. Her Beluga call like a siren song distracted me from pressing on and so in the second I took to pause we were swallowed up, sent through her jaws. Inside her helm, her ribcage arc, we traced our past back to its start. We scrolled our love across her heart with the other primitive cave art we found scarred inside her chest; the tales of love under her breast. We weathered the storm entwined as one, bouncing around, “Do not come undone.” And when our wishful thoughts reduced to none I held your breath and I gave you up. I sent you back out through her mouth; you forced it North but still I shoved you South and that’s finally where you were spat out into the panic of limbs about. That’s where I’m sure you found yourself, lost and alone in the Gulf coast’s belt. I could never leave you you knew that much, but it seemed so hard so out of touch. Then you saw it shoot through the sky in the passing of your blinking eye and then it landed by your wounded side, the love of your life and so you allowed a sigh, “You’re safe with me kid, I’ve got your back.” and our bodies went limp at the sound of that. Ready to go so long as we went together we drifted back with the wake, floated like feathers, until we woke back on the shore with our mouths agape and our muscles so worn. With so little to muster I forced out these words “Let’s fall in love kiddo.” and that’s all that you heard.


good-bye words

what’s next? 48


issue03 will be postponed by a month, and will be released 12/19/2012. as the date falls just days before that fateful day as predicted by our friends the mayans, we hope to [in the event that this whole big thing really goes through] provide you, our lovely readers, and the artists chosen with a positive final experience before the world’s demise. just kidding, we [erika and lindsey] are just deeply involved with our theses in our final year, and so require some extra time in order to give issue03 ‘the technology issue’ as much love and attention as it deserves. we hope you’ll understand. xx the editors

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02 - Nature