nectar magazine | issue 1

1-michelle li | 2-tom woronowicz | 3-nora liu | 4-michelle li | 5-nora liu | 6-gonzalo peña 7-hailey winn | 8-yoon joo cho | 9-amanda song | 10-effy wang | 11-susanna wise | 12-lan wang 13-michelle li | 14-true arizola-lyons | 15-nora liu | 16-lan wang | 17-yoon joo cho | 18-chanhun kim 19-carlos cheng | 20-mantis azul | 21-alberto martinez-garaulet | 22-michelle li | 23-24-yoon joo cho 25-nora liu | 26-echo zhang | 27-yoon joo cho | 28-yuling zhang | 29-lan wang | 30-echo zhang

noun

a sugary fluid secreted by plants, especially within flowers to encourage pollination by insects and other animals. It is collected by bees to make into honey.

nectar garden

Curated by Yoon Joo Cho

1, 2 --------- Glass art by Echo Zhang 3 ---------- Icon Design by Alberto Martinez Garaulet 4,5,6 ----- Illustration by Michelle Li

nectar garden

Dear Readers,

Collaborated by Yuling Zhang and Yoon Joo Cho, we present the magazine nectar The aim of nectar is to fill in the gap between individual artists and provide the the opportunity of collaboration to amplify the potential of creativity of art students. To do this, we introduce artists who work in the intersection of different fields and promote artists seeking collaboration. We provide space for these collaborations by hosting projects which allow a diverse range of artists to work together. We connect artists, writers, and creators, then record the chemical reaction that happens in between artists giving them the chance to easily collaborate with others. Art students are at the heart of nectar Magazine, making up our audience, our contributors, and our leadership.

For our first issue of nectar, we are focusing on the material from nature. Read our Q&A interview with artist Riley Cox, whose art displays the intersection between the synthetic and the organic, the technological and the natural. Explore the collaboration of a writer, Iris Lee, and illustrator, Fernando Osuna, where they inspired each other to create the next piece. Observe the unique class, Bio-fabrication, taught by Ryan Hoover focuses on learning about natural growth system and utilizing them in art making.

We are excited to show this first issue as a work of collaboration between us, Yoon and Yuling. Please, flip through the pages and admire arts collaborated with individuals, discover new artists, explore different mediums, and enjoy the nectar.

Sincerely, Yuling & Yoon

Edited by Jasmine Venet

Interwoven & symbiosis

Interview with Riley Cox

Maryland Institute College of Art Fiber Major class of 2023

Riley Cox dwells in the relationship between technology, biology and traditional textile practices. Craft and technology are often considered to be at odds, but when looking at the influence jacquard weaving had on the development of computers, it’s easy to see that these worlds are not so separate. In her work, she uses digital weaving, laser cutting and screen printing to create textiles that utilize modes of mechanical production while attempting to maintain the tenderness and a sense of care that is associated with hand craft. Riley’s process is an act of collaboration, combining her own hand, aesthetic sensibilities and instincts with the machines she works with.

“I dwell in the relationship between technology, biology and traditional textile”

Riley Cox

How do you get inspiration for your art?

I feel like a lot of my inspiration comes from my surroundings, such as found objects, going for walks and stuff like that is a really simple way to get inspired. But I also do a lot of personal research into science and biology. I like to read a lot of theory about…thinking speculatively about the future of science and biotechnology and stuff like that. I am a science fiction person so things like that are really inspiring to me.

How do you transform that into an artwork?

I’ve been starting to get involved in spaces outside of art space, more geared towards science. So I started going to workshops at the Baltimore underground science space. I did grant this summer with scientists at Johns Hopkins who are more like looking at nature from a molecular level. I just I think it’s really inspiring because they’re just like a very different way of thinking. As an artist, I’m more interested in the poetics of science and they’re more about facts and stuff. I think it’s very inspiring to be able to look at things through a different lens and be in spaces where people think differently.

Growth Patterns 2022

Riley Cox

Laser cut paper, plexiglass, standoff screws, Petri dishes containing E-coli cultures edited with CRISPR.

Who is your favorite artist? (it could be an artist by your own definition.)

My favorite artist right now is Anicka Yi and Mimosa Echard. They’re both people that are also making art but also combining biology and science to make experimental sculptures and textiles.

Are you also interested in creating more kinetically interactive sculptures with the audience?

I was Sculpture (Major) for the first two years of MICA and then I switched to Fiber(Major). So I’ve been focusing more on fibers and textiles, but I’ve been adding micro controllers, bio- fabrication and LEDs into them so that they have moving components and things like that too. But definitely interested in integrating technology into that as well.

Do you have any specific procedure or habit when creating artwork that you think is unique from other artists?

I really love having some sort of designated space I can go into and be super messy. I’m a very chaotic worker. And because I do so much material experimentation, I feel like I need stuff everywhere all the time. So I’m in a very chaotic studio right now and it’s been great to be in senior year to have that space because previously it was my room I think I also like collecting a lot of stuff that inspired me. I keep like big binders of just like materials I found on the street or things that have interesting textures.

What your favourite material is or what kind of things you mean to collect for inspiration?

I definitely, am a multimedia person. I’m interested in a lot of synthetic materials or materials that are made from synthetic materials and are trying to be organic materials. Such as faux furs and like plastics. But in terms of the materials that I work in right now, I also do a lot of weaving on the TC2 Loom which is a digital loom.

Which one would you say is your favorite, may be something that you often use?

I think weaving is probably my favorite right now, if that counts as a material. I mean that’s kind of like more of a process.

If you could collaborate with somebody from a different background, what kind of person or what kind of industry would you want to collaborate with?

I think I definitely want to keep collaborating with people in the field of science and biology. I don’t know. I think that’s really interesting and I am starting to learn a little bit about electronics and digital fabrication and that kind of stuff. But also I would love to collaborate with people better at coding and stuff like that to continue to incorporate technology into my work too.

How much do you think you want to work in technology or out of technology?

It’s hard to say because I am definitely interested in the intersection of the two, world of hand craft and digital fabrication in the way that they oppose each other a little bit. But I think I would say maybe 50, 50 like because I find them both interesting and I think that they can be in conversation with each other (and) amplify each other.

Be Coming 2022 Riley Cox

Dalle-2 generated images, TC2 Weaving, mix dye, laser cut cotton, synthetic fabric

Do you think the studies at college helped you to improve your artistic practice?

I feel like I’ve been exposed to way more processes and had access to facilities that I would have never had if I hadn’t gone to go here. As I’ve spent more years at MICA, I started to take more classes that are specifically catered to things as I narrow down my interests. And been exposed to a lot of readings that really influenced my work through a lot of the classes I’m taking. I think I definitely wouldn’t be making the same work if I wasn’t here.

Interviewed by Yoon Joo Cho Transcribed by Yuling Zhang

Riley Cox

TC2 weaving, cotton and synthetic thread, thioxed warp, mx dye, Adafruit flora microcontrollers, led matrix, flat 5 volt lithium batteries, velcro

This work explores the deep understanding and control genetic sequencing offers us. I became fascinated with several scientists who have been trying to find the exact mutation that creates a four leaf clover. Through this piece am asking if abundance ruins a sense of magic. I wove a pattern inspired by a repeating field of overshot clovers with leds integrated that runs a code to display parts of the genetic sequence of clovers.

Thread the Needle 2020 Riley Cox

Cotton fabric, embroidery thread, petri dishes containing cultures taken from threads licked

I wanted to explore the biological information embedded within fiber objects through their close relationship to the body. I was always taught to lick the thread to move it through the eye of the needle. I used the licked threads from the embroidery process to create bacteria cultures displayed on the quilt.

Rudimentary Human 2022 Riley Cox

Collaboration with research done by Rebecca Schulman at HEMI (35 x 50) TC-2 woven animation frames, cotton fabric

Schulman Labs is working with synthetic DNA, programming exchange reactions to form desired patterns. This process takes DNA out of the context of the body to use it in a way comparable to a circuit. I wanted to reposition this research in relation to the body using a DNA pattern developed to mimic a stick figure. I translated the simulation into woven animation frames. These were then turned into a quilt, allowing you to hold this abstract process to your body.

Over Abundance 2021 Riley Cox

Collaboration with research done by Rebecca Schulman at HEMI (18 x 47) Overshot weaving, cotton and wool yarn, mix dye, silicon tubes, wood, house paint, crastalized sugar

This weaving is based on a historical overshot pattern referred to as “blooming leaf”. I am drawn to overshot patterns due to their ability to create an expansivefield of endless imagery. I crystalized this weaving in sugar as a reminder of the ways this abundance mentality ties into histories of western agricultural practicesand the inseparability of many American craft practices from violent colonialhistories.

bird lady

Marco Polo is a collaborative space and game for writers and artists to exchange their work to create new pieces. The rule is the artist provides artwork, then the writer creates a writing piece based on the artwork, and vise-versa. The artwork and writing can be in any form.

In this issue, Marco Polo hosts a collaboration between illustrator, Fernando Osuna, and writer, Iris Lee. They exchanged the illustration “Alone the Road“ and the poem “Bird Lady“. Explore their newest work created together in the following pages.

One morning I was walking and something intercepted me, like a gaze. What intimate conversation in the alley over for its breeze to reach me. Like how my mother would look away mid-sentence to more perfectly form her thought. Something about that motion always reminded me of the exotic birds she kept, the sweet sponginess with which they took off from the plastic branches she hung around the house. She would turn back to me, and, like the birds, land exactly where she started.

s

Something was in the backyard today

I’m not so good about keeping it clean I know c l ean

It was made of clumps that were sort of smaller versions of itself

o

I poked it with a broom but any more and it would fall o p e n at the seams

r

It looked at me with eyes barely concealed under layers of itself

with what I saw was ill intent an almost

Flirtatious sort of exhibitionism Would you imagine

Daring me to push just a little harder a little firmer

t o f

Would you understand?

Fernando Osuna

Alt Space is a unique virtual experience that connects the community. We offer a space for individuals to engage with others creatively through nature to facilitate self-growth, promote unity, and increase personal well-being.

With the advent of technology, we believe the best way to encourage community-wide bonding in nature is to use the efficiency and connectivity of cell phones to encourage unity in recreational activities outdoors.

Community Engagement

From site vising in west of singapore, Tampines, Gonzalo, Zheng Kai, Nathaniel and Evie noted that community engatement is uncommon. Individuals were sharing the space in seperate ways.

They created Alt Space which is an space of digitally interacted sculptures that connects the individuals, community and site and allow them to engage with each other.

Gonzola Peña, Zheng Kai, Nationiel Joshua Dass, Evie

Collaborated Project by Gonzalo Peña

Zheng Kai Nathaniel Joshua Dass Evie

Collaboration Process

The collaboration process started of by doing site research, where all of us went to three different sites within Tampines (West of Singapore). After researching and interviewing users of the sites, we then started brainstorming, Zheng Kai, Nathaniel and I did three different concepts for our desired space, whilst Evie was focusing on site research.

After in-class critique and further in-group discussions we decided to run along with Zheng kai’s design - A set of three installations made up of tubes that display a word when viewed from above. These structures could also be viewed in augmented reality through everyone’s phone which would create a new approach to a conventional installation. At the early stage of the project we only had the base idea for AR incorporation and a visual depiction of the project’s appearance.

The structure of the installation is made by modular steel rods. These rods will be used to spell the 3 different zones, Display, Construct and Nature. They will be asked to scan a QR code on rode that directs them to the application and it will allow them to plant virtually in real time.

We started off by finalizing the shape of the project which is made up of modular tubes. Deciding the dimensions, material and location of placement. After doing so we started developing into the logistics of how accessible the concept clarity and interactive elements are. After the structure was done, Nathaniel and I worked on the UI of the project and the branding.As for the selection of the name we named it ALT SPACE, as in alternative space, to briefly describe the change of approach this installation introduces to everyday actions, such as drawing, typing, playing.

edited by Gonzalo Peña

Image of Tampines Park

What was the process of working together in a project?

Mark Ryden received a BFA in 1987 from Art Center College of Design in Pasadena, CA. His paintings have been exhibited in museums and galleries worldwide, including a career-spanning retrospective Cámara de las maravillas at The Centro de Arte Contemporáneo, Málaga, Spain, as well as an earlier retrospective Wondertoonel at the Frye Museum of Art in Seattle and Pasadena Museum of California Art.

sweeter than nectar deep like a sting. &

Mattel Creations asked Mark Ryden to reimagine the iconic Barbie brand through his fantastical lens for a new exhibition and product collaboration. Mattel tapped celebrated artist Mark Ryden to envision Barbie through the lens of his singular visual language and create specialty items that blur the lines between toys and collectible art.

Mark Ryden first garnered attention in the early 1990s, ushering in the Pop Surrealism movement which developed the scope and spirit of 20th century surrealism by embellishing its vocabulary with contemporary cultural references. Blending these themes with techniques reminiscent of the old masters, Ryden has devised a singular style that blurs traditional boundaries. With childhood innocence and the divine powers of femininity acting as themes in Ryden’s work, Barbie is an authentic tie and a familiar subject to the artist. In 1994, Ryden painted Saint Barbie, which is one of his most recognized paintings.

“Barbie has made appearances in my art for a long time. It is difficult to define Barbie. She is a cultural phenomenon, an archetypal figure. She is a bona fide celebrity, a subject worthy for Andy Warhol to portray alongside the likes of Elizabeth Taylor and Marilyn Monroe… It has been an amazing experience to work with Barbie. The body of work in Pink Pop are my own new personas for her.”

synthetic

In the thousands of years since humans left the stone age, we have developed an astounding collection of skills and technologies for fabrication. Nature has employed billions of years of R&D to develop far more sophisticated means of making things. Biofabrication is the combination of these technologies. Biofabrication initiative is an active exploration of sympoietic practices–making-with other living organisms. The unique laboratory places emerging biotechnologies, including genetic engineering, biomaterial development, and 3D bioprinting, into the hands of artists and designers.

Explore new ways of making that combine living systems with emerging technology to explore biotech future and its implications.

The curriculum, which is led by MICA IS faculty member, Ryan Hoover, explores the ways that living systems make things and how we can work with these systems in new ways. Through collaborations across disciplines and species, we combine a range of traditional, digital, and biological approaches that foster new modes of inquiry and explore solutions to the tremendous challenges facing life in the Anthropocene. Informed by a study of life-science, discussion of social and philosophical topics, and hands-on experience in the lab, we build new practices that uses biotechnology poetically and considered our future together critically. Students and faculty are highly engaged in an international

community of thinkers and practitioners through the Biodesign Challenge, interdisciplinary conferences, and multi-institution research projects.

Student will learn about natural growth systems and explore ways of making, not just from, but with nature. Through visiting scientists, visiting artists, readings, and hands-on experimentation, students will gain a scientific understanding of fundamental principles of biological materials. We will combine this knowledge of how living organisms use DNA to code the creation of matter and form with expanding abilities with digital and robotic systems of control and fabrication.

These complex technological practices will be driven by artistic sensibilities and put into action through material exploration and studio projects. The goal of this class is to blend scientific research and artistic exploration into a practice that yields results that would not be reached from within the confines of a single discipline.

Class project: Experimental Bioprint Anna Huff

GMO print

aesthetics synthetic

Intro to Biofabrication

course code: IS 320

Class project: Illusory Specimens 2022 Karina Ye

Bacterial drawing, e-coli

“The best way to predict the future is to invent it.”

Grow the future

course code: IS 346

Nearly a half-century since this motto inspired inventors of the personal computer, perhaps the best way to predict the future now is to grow it. Advances in biotechnology are outpacing digital technology as new knowledge and tools open astonishing possibilities. Artists have a vital role to play here. To grow a better future we must first understand emerging technologies and their contexts, imagine possibilities, speculate on their unfolding, and then test our ideas.Through interdisciplinary collaboration, we combine biotech research, speculative thinking, and creative application to explore how we might grow the future.

This class participates in the Biodesign Challenge, a competition of top art, design, and research institutions from around the world. The BDC inspires students to imagine innovative applications of emerging biotechnologies. Through informed and creative thinking, small groups of students in this class will research, design, and prototype a project.

Jake O’Hagan Emma Whitlock Gage Branda Sarah Whelton

Class project: Starter Culture

Artists and designers are driven to creation – from maker to material – this relationship flourishes when the hand, mind and tangible medium meet.

Starter culture is a tool for experimentation and learning, presented in the form of a ready-to-use kit. The aim of starter culture is to disperse the opportunity to research biomaterials. Inspired by the DIY community and open source learning, starter culture offers any citizen scientist the ability to create and design with non-toxic, biodegradable materials. Conceived by a group of artists researching silk, mycelium and bio-plastics this kit seeks to foster a hands-on approach to small scale production. starter culture shifts the traditional paradigm of material research from the economic vantage point to an ecological one. Through this more sustainable way of building, materials can be imagined in unison with their possible design applications. Directed exploration and experimentation is aided by a live network, propagating communication and sharing between makers. Acknowledging constant successes and failures invites the opportunity to reevaluate the good and the bad of any material. starter culture hopes to encourage those of all types of mindsets, to explore communally and creatively; to democratize ingenuity.

biocement production process optimization

correlation of biocement material properties and geometry to oyster larval recruitment

3d printing of biocement

Co-Lab is an unique course model where students will work with the instructor as a collaborative team to conduct research and development on this innovative project. Students will establish a general understanding of all aspects of the project and work in specialized teams to advance specific areas of research. Existing biocementation processes will be optimized for new applications, and new sample pieces will be created for testing at the Oyster Lab. Work on the 3D printing platform will focus of methods of depositing living cells and biomineralization media, with hands-on work with all levels of hardware and software systems. In additional these technical developments, the class will also discuss the philosophical, ecological, and cultural implications of these new modes of making with and for living organisms.

photograph edited by Yuling Zhang

through a portal

Interview with Michelle Li

Maryland Institute College of Art Interdisciplinary Sculpture, class of 2025

Michelle Li approaches the creation of the soft and slow to activate tender spaces and conversations. Utilizing materials such as paper, wood, and found objects, she memorialises ephemeral moments and ancestral histories. Her work explores the expansion of narratives and visibility within the Asian diaspora for greater understandings of cultural interconnections. Drawing upon natural mediums, forms, and environments, many of her sculptures, installations, and drawings act as vessels for light.

She is interested in prompting the corporeal awareness of the audience’s actions within a space in order to encourage the consciousness of their decisions beyond. Michelle seeks to hold spaces of generative pondering and exchange to find comfortability in that which is nebulous and nuanced.

“Often times the audience and how they carry their body through a space becomes a part of the piece. ”

How do you get inspiration for your art?

I get a lot of my inspiration through reading. I think I found that the work that I was recently making is consumption driven. And so because of that and a lot of my ideas are generated by what I’m reading at the time, a lot of my pieces have foundationally been based upon various ideas that I find in books that I’m reading, whether that be fiction or non-fiction. But aside from that, I try to make work about things that I care about and things that I would like other people to care about as well. I grew up in Vancouver, Canada. It’s a really green city, an environment where nature was a really big aspect of my country. So I would say I get inspiration from light and nature. I guess just like whatever I’m really thinking about caring about at the moment. A lot of times it is actually related to identity and unpacking that. So just whatever questions are on my mind.

Transforming some ideas and things that you see in nature or light in art is very interesting. Do you think you can provide title of the books or authors that you really like?

How do you think you would transform those inspirations into an artwork?

I guess I often think to myself Why do I choose art of all things to transform those ideas, especially if I’m so inspired by what I’m reading?’’ Why am I not trying to hone in on that more by writing more myself? But I think writing is actually a part of that process of transforming that into an artwork. I just start off brainstorming everything and listing all of different words that I associate with those ideas, thinking about different references that I can draw upon. To essentially make that idea accessible. I guess I like thinking about what people already know, what kind of visual language people are already aware about, and I use that to form visual proposals, questions or ideas.

Do you have any specific procedure or habit when creating your artwork that is unique from other artists?

I like to research. I’ll go to the library and find books about whatever I’m making work about. Because I do feel that nothing is ever really fully original. And I’m sure that there are other people who have made or if not visual works have written about what I’m interested in. So it’s always helpful to have context of where the conversation is already at.

家 “Jia”/Home, Family 2022 Michelle Li

16” x 11” x 11”

Ready-made European porcelain, polyurethane foam, bamboo, fabric, plaster, acrylic paint, cigarettes, soil, found material

How do you wish to interact with the audience through your work? What do you wish for the audience to feel? Do you have a specific way for your sculptures that you wish the audience would interact in specific ways?

I think that everyone can take away what they want from a piece of work. But what I have noted personally and through feedback from my peers is that the tone of my work is often times quiet, sometimes somber. It’s gentle and soft. And often times, I think it requires people to slow down in order for them to fully access what I’m trying to present. But simultaneously, I think it’s really important for me that the ideas that I’m trying to communicate are accessible to people. Because one thing about visual language is that it can either work well or be really convoluted. Mainly, I’m just trying to raise questions, get people to just think about various things that I care about for however long or short it may be. When it comes to site specific installations or sculptural work they also include performative aspects of work as well. Often times the audience and how one carries their body through a space becomes a part of the piece. Once people recognize that they are also part of the piece, they’re more conscious of their agency as an audience member and simultaneously their agency and choices as just a person outside of

I have a massive collection of paper and anything related to trees or wood. Currently, I’m in an intro to wood class and I like wood for the fact but it feels quite warm and familiar. It is all around us within our furniture and space. Same with paper, I think I realized that I’m interested in things that remind me of skin, paper has that quality that is delicate and just really gentle.

Dove envelope⊹ Designed in Adobe Illustrator

Lamp for Spring mulberry paper with collaged shapes and paintings over reed frame

“I enjoy exploring how paper can be utilized in processes both sculptural and planar, tactile and digital. It’s a very versatile medium that’s both delicate and resilient.“

Collection of Paper Practices by Michelle Li

Curated by Yoon Joo Cho

Who’s your favorite artist? And it could be an artist by your own definition.

This is always the hardest question. But I think an artist that I talk about a lot is Janine Antoni and Felix GonzalezTorres both of whom I really am inspired by for their conceptual thinking and how they make powerful concepts still accessible. I remember understanding the ideas behind their pieces and then just having that continue to sit with me on and on and on, which I think is really special. And I have a lot of different artists that I like, but those are two that immediately come to mind.

If you could collaborate with somebody from a different background, what kind of person or what kind of industry would you want to collaborate with?

I think that in terms of industry or skills, I’m very open to whatever anyone has to bring to the table. I find that a lot of the work that I’m currently making has to do with identity. And so, I think that I’d be interested in collaborating with someone who is also dealing with similar ideas. But that doesn’t mean that we have to share aspects of the same identity. Like, I make a lot of work about being Asian-American or being a part of the Asian diaspora. But I have had conversations with other people who aren’t Asian. Like a friend of mine who is Hispanic. We have had conversations about where we find overlap in our experiences. Relationships with things that are so personal to us and have that be like shared among our cultures. Simultaneously, anyone who’s just passionate about what they do, whether that be like photography, graphic design, architecture, whatever. I feel like we’re all just trying to make things that we care about. So as long as we care about it, I think that we can make some great things.

Do you think the studies at college helped you improve your artistic practices? If so, how? What were the two classes that influenced you?

Yeah, definitely. My background is that I didn’t attend art programs prior to coming here. So pretty much like most of what I did was self-taught. And I did not understand any form of conceptual art or like concepts in general within art. I think I only really paid attention to the aesthetics of art. And coming here,I feel like I’m able to fuse my interests within just visual aesthetics also with other interests that I have such as philosophy,psychology and sociology. I am able to fuse them with more understanding that is conceptually driven. Also, I did not have access to 3D studios or shops prior to coming here. I was building up this energy to make three dimensional work and it exploded when I came. I would say that like classes that have influenced me the most, would be an intro to sculpture with Abigail Lucien, prototype, situate, fabricate with Victoria Jang and picturing the third dimension with Kottie Gaydos.

Interviewed and transcribed by Yoon Joo Cho

calling for

Collaboration

nectar is looking for any collaborators to submit their collaborative work or descriptions of people they are looking to collaborate with. Nectar can host to nuture the moment of different artists joining together and amplifying each other’s creativity. Works can include any form of art. Please send your story through a survey accessed by the QR code for us to reach out to you!

Jointheteam

nectar

.

Wearelookingforfollowing artiststojoinusincreating magazinenectartofoster morecollaborationinart. Photographerwhocan photographartistportrait, artworks,andeditsthephotos. Editor/writerwhocancompose andeditthetextualcontentof themagazine.Ifyouareinterestedinworking withus,pleaseemailusabout yourpracticeandrecentworks tomagazine.nectar@gmail.com

Wearelookingforpeerstojoin usonthiscreationprocess. Ittakesalotoftime,effortand cooperationtoputthismagazine together,andwecannot guaranteeanypayment.Butitis fun,achieving,andgenerally agoodexperiencetohave. Youcanusethisopportunityasa practicetogrow,andworkwith otherswhoarepassionateof whattheydo.

IllustrationbyYoonJooCho

Yoon Joo Cho yoyooyoon@gmail.com yoyooyoon.com @yoyooyoon

Yuling Zhang yuling.zhang.gongzuo@gmail.com yuling-z.com @ _t_h_i_n_g_y

Writers

Iris Lee ilee35@jhu.edu

Jasmine Venet jasminevenet28@gmail.com jasminevenetportfolio.weebly.com

Contributors

Alberto Martinez-Garaulet Albmg123@gmail.com @reidaye

Amanda Song asong03@mica.edu

Carlos Cheng @carllllloz

Illustrators

Fernando Osuna phernando.osuna@gmail.com fernandoosuna.cargo.site

Yuchen Wang yucw.art@gmail.com yuchenwang.theater

Special thanks to...

Jason Gottileb

jgottlieb@mica.edu Lindsay Ballant lballant@mica.edu Ryan Hoover rhoover@mica.edu ryanhoover.org

Interviewer

Riley Cox rcox01@mica.edu Michelle Li michellesylistudio@gmail.com michellesyli.com

Chanhun Kim applemintcrepe@gmail.com

Echo Zhang zaozzzart@gmail.com @zao.zzz

Effy Wang effy031@gmail.comra effy31.com

Gonzalo Peña gpena@mica.edu behance.net/gonzalonpc @g.o.n.i.c

Hailey Winn @catss.cradle

Graphic Designer

Yoon Joo Cho yoyooyoon@gmail.com yoyooyoon.com @yoyooyoon

Yuling Zhang yuling.zhang.gongzuo@gmail.com yuling-z.com @ _t_h_i_n_g_y

Lan Wang @lanternwaterproof Mantis Azul @mazulx Michelle Li michellesylistudio@gmail.com michellesyli.com

Susanna Wise swise01@mica.edu @susann.a.rt

Tom Woronowicz tworonowicz01@mica.edu tomworonowicz.myportfolio.com

True Arizola-Lyons truelyons@gmail.com truearizolalyonsstudio.cargo.site @acorn_cap_hat

Please pay as you wish for this magazine. Donation will be used for printing the future issues. Thank you for your gratitude.

Yuling Zhang & Yoon Joo Cho