ART and CULTURE MAGAZINE
NEWS HATH NO FURY LIKE A BLOGGERʼS SCORN THECITRUSREPORT.COM
Christi na.Pa rker. G
The first experience I had working with any artists was in the late â€˜90s when I seen some work one of my uncles had painted. He had a beautiful canvas painted with oil paints and the focal point being a water fall, this water fall had the essence of a women present and I could not take my eyes off of it. The more I stared at his technique and use of colour I realized that his painting looked father familiar, the reason being I had sketched out something very similar. It was at this very moment I started to grow as an artist, I knew I had potential but even more so I had an eye for colour, design and technique. As I grew older I expended my own technique and my own tastes and growing up in a military family I seen a lot and learned a lot in very short amounts of time. Finally moving to Newfoundland and setting my roots deep into St. Johnâ€™s culture I have grown fond of artists close to home, where it all started. My family has always been my biggest inspiration and that has grown as much as I have. One of my featured artists is a relative, Candice Fulford is my cousin and I admire her work, her abilty to learn new teachniques, grow as an artist and run the very busy life she lives. She has been able to live in the beautiful city and spread her artistic wings in many ways. She is reason for this magazine, I wanted to dive into the creative differences this city has to offer starting with people I know and influence my life the most.
Another person, a new influential artist I have be very graced with knowing is Heather Igloliorte (the sister my significant other, Justin). She has created quite the name for herself but as I have begun to catch on the last name Igloliorte doesnâ€™t hurt. Her work is perfect for this issue of Splitter because her work is truely influenced by her inuit culture and the support of her family, both being the underling reason for this magazine. So I hope you enjoy my adventure into art, design, layout, family and inspirtations. I know this magazine is the very first step in my future and will not be the last. Splitter has begun to open doors for me and I hope it can do the same for you. Open your eyes to the beauty of art that surrounds us every day and please, enjoy this issue of splitter magazine. Editor Nicole Fulford
SPLITTER MASTHEAD Editor-in-Chief & Associate Publisher Nicole Fulford
Multimedia Editor Laura Lanktree
Senior Web Producer Michael Loucas
GALLERY Gallery Director
Assistant to the Publisher
Associate Gallery Editor
Eastern Sales Director
Elizabeth Cabral Fiona Green
Assistant Gallery Editor Dane Tredway
Aili Beare, Klaudia Capalbo, Julie Mintha, Cathrine Kinnear
Mosha Lundström Halbert
Assistant Market Editor Assistant Editor, Gallery News FEATURES Senior Entertainment Editor Alexandra Breen
Features Assistent Jr. Editor Carlene Higgins
ART Deputy Art Director Brittany Eccles
Assistant Art Director Michelle Kortekaas
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Laina Charleson, Sandra Connal, Nicole Utterback
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Postal Address: 1 Prince Philip Drive P.O. Box 1693 St. John’s, NL A1C 5P7 Telephone: 709-758-7284 Fax: 709-758-7304
M rget e Not Fo
as p z
2. Corpse Bride
4. Living Dead Dolls
5. A Robots Life
By Paul Sanchez Corpse Bride (often known as Tim Burton’s Corpse Bride) is a 2005 musical stopmotion-animation fantasy film directed by Mike Johnson and Tim Burton. It is set in a fictional Victorian era village in Britain. Johnny Depp led an all-star cast as the voice of Victor, while Helena Bonham Carter (for whom the project was specially created) voiced Emily, the title character. Paul Sanchez wanted to emphasize Tim Burton’s creepy but lovable undertones in the movie and transform them into realistic take home figures. The “root” is actually the finger of a murdered woman, clad in a tattered bridal gown, who rises from the grave, assuming that she is now Victor’s wife. Horrified, Victor flees, but the dead girl pursues him and spirits Victor to the Land of the Dead. Paul’s only note... Enjoy!
By Louis E. Douglas It has been sometime since anyone has tried to capture inner human emotions in one tiny plastic entity. This one in particular captures anger but in a mournful sadness. Louis E. Douglas has not just captured the simple emotions but the inner most complexity that humans feel when they are at their highest and lowest point in their lives. He has spent many years on this series studying people, pushing the envelope and capturing it. Some people think it rather odd to use his talents in such an peculiar manner and executing the emotions in almost a foreign technique with such strange creatures. However, people seem be able relate to his creatures and they have become very popular. What more could you ask for?
By Kidrobot The residents of Springfield have managed to slowly and slyly infiltrate themselves into all manners of American and international consciousness over the years. Homer, Bart, Lisa, Marge and Maggie may be Springfield’s most famous residents, but the secondary and ancillary characters have become the context remembered the most in retrospect. Apu, Smithers, Krusty, The Comic Book Guy and The Bumble Bee Guy are all individually unique characters yet a stereotype all at the same time, becoming both loved and loathed equally and inseparably. Twenty four individual figures, with three secret chase figures allow everyone to find their favortie character from The Simpsons.
By Ed Long and Damien Glonek These customized dolls are called “handmades” by fans and collectors. The first doll was made by Long using one of his mother’s doll kits. He showed the doll to Glonek, and they worked together to make 12 more. After the dolls sold out immediately, Long & Glonek decided to make more for sale. These original handmade dolls were sold exclusively through Glonek’s horror memorabilia mail order company Unearthly Possessions, as well as at horror conventions along the East Coast. It was at one of these conventions, Chiller Theatre, that Mike “Mez” Markowitz, the founder of Mezco Toyz purchased one of the dolls. Mezco subsequently contacted Long and Glonek about manufacturing and distributing the dolls commercially. The first commercial series of Living Dead Dolls, Series 1, was released early in 2001. Since then, new series have been released roughly twice a year. They are just as creepy and lovable as they are successful and each one comes dead and with a story.
By J.J. Abrams Bad Robot Productions (formerly known as only Bad Robot) is a production company owned by J. J. Abrams. Bad Robot produced Lost in association with ABC Studios, formerly Touchstone Television. The production logo has appeared since 2001, featuring a red rectangular headed robot running through a meadow silhouetted until it appears suddenly in front of the camera, followed by “BAD ROBOT!” In a voice-over by JJ’s children, Henry and Gracie Abrams. He wanted to give a more to his fans then just a short appearance of this cherished little red robot, so he came up with a line of different robots to appeal to the hearts of everyone all over the world.
Lhf^mbf^l it始s just to tempting.
Devon Winters Gallery Showing in the 2011 April 18 th Gallery Event: Victor Mc Donald, Reid Spence, Michael Morgan, Jason Newman, Vinny Chula, Nancy Fitzgerald Victor Mc Donald:
“In my work I use glazing to create layers of colour set in spatial relationships. There is a building up of layers so that a history is created, a kind of looking down through time, and because of the transparency and translucency of many of the layers it is possible look through to the marks and colours below. This allows the viewer to see how the painting grows and changes over time and the result is a kind of visual palimpsest.”
“My working method for ink drawings originates from the impulse to render the narrative by word, to write the image, to scribe the story in firm, precise language. The choice of line extends as well to etching, engraving and lithographyl. Working methods of the artist, all methods of communication become as a result, a private alphabet. The nib-andink creates my alphabet.”
“ Though I do the odd landscape and similar things, my main work is essentially autobiographical in that it is based on my personal interests and experiences. I have an individual -- and as far as I am aware, unique -- method of painting which has developed over the years from my original problem of working on a white surface. My methods allow me to ‘discover’ that world more directly.”
“ Through vibrant colour and myriad forms of life, I attempt to present a unique view of the underwater world beyond the Newfoundland shoreline - the seabirds along its rocky cliffs and its bogs, forest and fields inland. The surface teems with details from the natural environment, but captures the duality of its fragility and durability under the harsh conditions on this edge of Canada. Through direct observation of the environment, I build up a storehouse of experiences and memories - supported by reference photographs and scientific fact - that are the catalyst for my paintings.”
“ I am drawn to light and subtle shifts of colour. The air in Newfoundland is tangible, softening and dispersing the light and making the landscape delicious and mysterious. Through distilling the coastline to its essential forms and colours I strive to represent the strength of its raw power and beauty. Since I first visited Newfoundland in 1989 I have been painting the coastline in oils, water colour, and acrylics and making books about this intriguing place.”
“I work mainly with water colours as I like the transparency of the light. I paint scenes or things that I enjoy looking at, that give me visual pleasure. There are two qualities that I seek in my water colours. One is that whatever the subject, rocks, trees or water, I want the painting to feel alive. A sense of peace and serenity is the other quality I seek.”
The Idlers Idlers are full tilt-energy. Part dance, part world music and truly indie, Idlers have defined their presence on stage and in the studio through overflowing energy and social-consciousness. Idlers show is a genre-bending musical carnival, moving from town to town, bringing joy to crowds’ feet. Keep Out is Idlers’ second studio project. Recorded with Darryl Jenifer in New York, it gave the band a chance to draw on their founding as a roots-reggae group. The result is a “hard-hitting” collection of 11 songs, ideal for parties, backyard Margaritas, BBQ’s, road trips, and clubs the world over. You can hear, and of course, buy, both Keep Out and their debut release Corner on the SHOP page.. Oodles of sweat-fuelled shows, long nights of rehearsal and an amazing team of performers, writers and arrangers have led Idlers to bring home numerous awards and accolades from across the country. Four years running, Idlers are the “Best Band to Dance To” on St. John’s famed George St. Idlers will be driving across the country again from February to April this winter. Over 60 days of dancing with friends across the country is an exciting prospect. Idlers are presenting a whole new show for this tour. “Training for this tour is all about refining our presentation. The show that we’re taking on the road is groovier, harder hitting and more engaging than anything we’ve presented in the past,” says sax player Chris Harnett.
Mark Wilson – Vocals/Trumpet Erin Best – Vocals
Paul Schiralli-Earle – Guitar Craig Millett – Guitar Aneirin Thomas – Bass Luke Power – Keys Chris Harnett – Tenor Sax Susan Evoy – Alto Sax John Duff – Trombone Chris Power – Drums Curtis Andrews – Percussion
LOVES “We’ve got a lot of love to go around.” MUSIC Bad Brains Mark Bragg NL Folk The Novaks Pathological Lovers Wreckhouse Jazz and Blues PLACES & PEOPLE Democracy Now Dominion Paper Exclaim CBC Radio3 Olivia Canela The Sprout Ted talks
Marc Adamus is a landscape photographer based in Corvallis, Oregon. The visual drama and artistry of his photographs are born of a keen eye for the many moods of Nature and a life-long passion for the wilderness. This passion shines throughout Marc’s work and has attracted a wide audience around the world. Marc’s style is unmistakable. His talent for rare captures of amazing light and fleeting atmosphere imbue his portfolio with a sense of the epic, majestic and the bold. His success derives from patient single-minded pursuit of all the unique moments that generate the magic and energy of the wilderness, often spending months immersing himself in the landscape he shoots despite the rigors of season and weather.
Welcome, and thank you for having a look at my photographic art. I’d like to introduce you to the natural world I know. This is nature through my eyes. These photographs do not arise from any particular desire to see the world through a lens, but rather from my deep passion for this land we call wilderness. It has shaped every aspect of my life. I wish to show you the amazing, beautiful and powerful forces that have created the Earth we live on. Through these photographs I express my feelings for the locations I visit and the wonders of nature that I encounter along the way. With these photographs I attempt to bring my experiences in wild Earth to the viewer.
“I believe the most important quality of a photograph, as in all of art, is to evoke an emotional response.”
While everything in nature does this for me, selecting just the right places and moments to make a photograph that conveys those emotions is far more difficult. My camera is one of the tools I use to achieve my final results, the images you see here. No one tool is perfect, however, and no one tool can make a great artist. My processes involve meticulous attention to detail in my field technique, along with work in today’s digital darkroom to fine tune, optimize and adjust contrasts, colors, tonalities, luminosity, etc. in an attempt to better present to you the experience I felt in being there myself. It is an exciting process, and above all, a way for me to do what I love most, exploring wilderness and capturing it for you to see. Without wilderness, I would never have begun taking pictures. Wilderness photography is infinite. I don’t need to go far, really. These images are all taken in the Western portions of North America, most often right here in Oregon. It’s not about where you are, but how you see. I want you to know just how undeniably precious these lands are in their preservation. We NEED wilderness; now more than ever. The wilderness experience becomes ever more important to balance our lives as we become more industrialized and therefore bound within our own creations. This is because there exists within it a deep connection unlike anything that can be found in today’s intense world of instantly manufactured gratification. There is a certain freedom that comes only when we are immersed in the natural world. I come to the wilderness to experience something much greater than ourselves, and I hope you will too.
The Tim Bunker Gallery is going to be showcasing the new talented artists that are about to dominate the St. Johnâ€™s scene. We are all about the newness of an artists journey, we like the excitability that most beginners have and their very first Gallery showing is perfect for capturing that moment. Every show is high energy and positive vibes, a good time for everyone involved. The showings are as follows:
July 9th - August 7th, 2011
Gallery 1 - James Jean Project Room - Kenichi Hoshine Opening Reception: Saturday, July 9th from 7-9pm
August 20th - September 20th, 2011 Gallery 1 - Mars 1 Project Room- Nouar Opening Reception: Saturday, Augest 20th from 7-9pm
September 10th - October 12th, 2011
Gallery 1 - TBA Project Room - Gary Taxali Opening Reception: Saturday, September 10th from 7-9pm
October 29th - November 30th, 2011 Gallery 1 - Southern Salazar Project Room - Andy Kehe Opening Reception: Saturday, October 29th from 7-9pm
December 3rd - January 7th, 2011
Solo Exhibiton - WK Interact Solo Exhibtion - Space Invader Opening Reception: Saturday December 3rd from 7-9pm
January 14th - February 7th, 2011
Solo Exhibition - Shepard Fairey Opening Reception: Saturday, January 14th from 6-9pm
February 25th - March 21st, 2011
Gallery 1 - Gary Baseman Project Room - Jim Houser Opening Reception: Saturday, February 25th from 7-9pm Tim Bunker 529 Water Street, 1st Floor St. Johnâ€™s, Newfoundland
Andrew Collett has always loved the character of the land, and the secrets it reveals to the patient eye. As a child, he spent his summers getting to know the landscape of Georgian Bay, Muskoka and beyond. He became an observer of nature, discovering the beauty of places and seasons that were often overlooked by others. Andrew started his career in the business side of visual design, and it was a number of years before he realized he had his own distinctive vision to express. In photography he found a powerful medium into which he could pour his boundless creative energies. When a scene captures Andrew Collett’s eye, it’s because he has had a vision of what it could be at its best. It could be at four in the morning when the mists rise from the nightcooled land; or, at seven in the evening as a thunderstorm batters a distant line of dark trees. Andrew’s goal is to capture a scene in exactly the circumstances when experience tells him it will be suffused with the most intense emotion. He works hard to grasp a fleeting feeling one which lives for just a brief moment in a masterstroke of light, colour, shape, perspective… and timing. Gathered from the land, he brings moments to life and fashions into them into fine images that are celebrated in interiors of all kinds, where the echoes of what he has experienced will resonate for years to come. Andrew Collett loves his work. He considers it a privilege and a responsibility to bring these celebrations of our land into people’s homes. His hope is that his renderings of our natural beauty may inspire dreams and memories, and a particular kind of hopefulness that he has felt while walking the trails and pathways of our boundless, natural inheritance. Every Andrew Collett Fine Image is printed using the highest level of technology in archival reproduction techniques. Guaranteed not to fade or change in colour, the Giclee process produces a fine art print whose articulation and integrity of colour has no comparison. Coated with quality art protectant, each piece of artwork is assured protection against UV light and minor scratches and certified to withstand exposure to sunlight and humidity variations within a normal household environment. Crafted from solid wood, each frame is hand selected and assembled by the team at Andrew Collett Fine Images and has been specifically chosen to perfectly complement the artwork.
The Mark Ledrew Gallery takes great pride in representing serious Newfoundland artists. We are currently in the process of updating our web site, and will be doing the final reveal of all of artists in the show over the next few weeks as scanned images become available. “ In 2000 I moved from Toronto to rural Newfoundland, setting up studio space in Woody Point - an out port community of four hundred people, set within the boundaries of Gros Morne National Park. I can step out my back door here and step into an intense, complex physical environment - an environment that preoccupies me, and drives my art making. At this stage in my work the goal is to find formats, both sculptural and graphic, that don't constrict the impact of the place by forcing it into traditional, coherent landscape compositions. The work I find myself making here isn't a record of what my eyes see - it's about finding the right equivalent for how the place resides in my thoughts.” – Barb Daniell, 2006
Showing April 18th - May 18th, 2011
“ Horse, is a series of paintings that I produced for the Rooms Provincial Art Gallery in late 2009 as a part of the space based residency program. Using the very painterly form of the horse I wanted to explore ideas of movement and direction. Movement in the action of the paint, mimicking the heightened sensitivity of a horse’s temperament, and exaggerating direction in the composition, taking advantage of the natural beautiful form of a horse.” - Gregory Walters, 2008
Showing May 20th - June 20th, 2011
William Gill (Will Gill) “My work is a constantly evolving examination and exploration of the world that surrounds us today. I look for importance and meaning in the chaos of contemporary experience, witness the beauty of things being built and destroyed, things living and dying. I learn from and try to mimic patterns I see in our ready-made world and from patterns that have been evolving for millions of years in nature. These patterns are at once ethereal and physical but in broad terms, appear to overlap one another often. There are industrial influences in my work balanced with organic ones. What interests me is how things interact. I like to make poetic connections between things that don’t normally exist together.” William Gill, 2010
Showing June 30th - July 30th, 2011
“ Much of the imagery that I draw upon in my painting stems from my fascination with the act of collecting, whether that is the result of an afternoon spent beach combing along the shores of Newfoundland, mudlarking on the banks of the river Thames while living in London, or merely saving the ephemera of my life as it unfolds. The majority of what I collect tends to be made up of life’s more organic detritus: skulls, bones, little desiccated birds, dead flowers. It is that dichotomy between life and death, growth and decay, and the paradox that something can be both repulsive yet seductive that informs most of my imagery.” – Helen Gregory, 2006
Showing Augest 17th - Steptember 17th, 2011
After a long and successful career as a still life photographer, Brain Kosoff traded in his Manhattan photo studio for a new life, one dedicated to producing photographs of a more self-expressive nature. With that in mind he hit the road, photographing and interpreting that landscape he encountered. In a Brian Kosoff landscape, the scenes in nature are not only serene, but they also appear, somehow, perfect and untouched. Brian captures mountains, clouds, sunlight, and water as pure forms creating simple graphic designs. Then he renders his images with a romantic and sometimes, mystical feeling through interpretation in his darkroom printing process. Often his luminous prints are described as having a painterly feel.
Sometimes itâ€™s not as obvious as you think. Reach out if you need help.
As an Inuit Chef who grew up in Labrador I have had the pleasure to be a part of the expansion of the tourist sector at the base camp for the Torngat Mountains National Park. I have spent the first years working for Parks Canada and the Nunatsiavut Government to cater to the large annual meeting involving staff and participants of the base camp and was finally invited to work in the park in the summer of 2009, catering to tourists using native foods to create a high end culinary experience. Throughout my two visits to the park much of my free time was used to take photos, whether within the electrified camp fence, on a longliner or being hurried by bear monitors to keep up with the rest of the group. I used all of my available time to take as many shots as possible; waiting to see the Northern lights until three in the morning, is very gratifying, yet watching them disappear just as I found the correct exposure (on a makeshift tripod of a rock and a cooler) was a little disappointing. Before going to the Torngat Mountains for the first time I had purchased my Fuji Finepix S2000HD I was excited to be using a camera that allowed me to learn some of the basics into photography. The purchase turned out some great results, it was very rewarding to have the Torngat Mountains be my initial inspiration and as my first real focus. taking time off from Basho Restaurant and Lounge during the peak season is tough, but getting into the park, amongst the culture and land that is my heritage is more then worth the effort.
They show you pictures that disburb you. They show you facts and what is in those cigeretts and every time you think it cannont happen to you. Truth is the mouth cancer, lung cancer, tumors, ulcers, hair loss, impotence, birth defects, addiction problems, lung disease, heart attack, heart disease, hypertension, stroke, oral cancer, bladder cancer, pancreatic cancer, cervical cancer, pregnancy complications, low birth weight babies, early menopause, lower estrogen level for women, increase in facial wrinkles wont be everything you experience because of smoking. There is also one other side effect that is going to happen to you, garenteed. Well you may be saying to yourself, I’m going to die anyways, and you will but smoking will make this image your realtiy a lot sooner then I am sure you would like. Infants and children who are exposed to second-hand smoke are more likely to suffer from asthma and other respiratory problems such as coughs, pneumonia, bronchitis and croup, as well as ear infections. Babies who breathe in second-hand smoke have a higher risk of dying from sudden infant death syndrome (SIDS) or crib death. They never had a chance. You never gave them one. Cigarettes are made with dried tobacco leaves that naturally contain the drug nicotine. Cigarette manufacturers add chemicals like ammonia, tar, lead, and cyanide and other ingredients, like cocoa, coffee, and menthol, to change the flavor of the tobacco in an attempt to make smoking more enjoyable. According to the American Cancer Society (ACS), more than 4,000 different chemicals have been identified in cigarettes and cigarette smoke. Of those 4,000 chemicals, 60 are known to cause cancer. These cancer-causing chemicals are called carcinogens (which can cause cancer). Research shows that men who smoke have lower sperm counts, and the sperm they do have is often misshapen and has a harder time moving—making conceiving more difficult. Experts also believe smoking affects sperm DNA which may lead to developmental and physical health problems in a child. moking remains the number one cause of preventable disease and death in American adults. In addition, second-hand smoke kills tens of thousands of people who never took a single puff in their lives each year. On average, smokers die 13 to 14 years earlier than nonsmokers. If you don’t quit, you could be one of the estimated 443,000 adults who die each year from a disease or complication attributable to smoking. Here’s some good news, though: The moment you are no longer a smoker, your risks for many diseases and health complications begin to fall. In fact, according to the American Cancer Society, one year after you smoke your last cigarette, your increased risk of heart disease is reduced by half. Fifteen years later, the risk for heart disease is similar to that of people who’ve never lit up. The same is true for the risk of stroke. Your health and the fate of your health are not set in stone. You can change your future by making the decision to quit.
Heather Igloliorte is an artist, curator, and art historian from the Nunatsiavut Territory of Labrador. She attended the Nova Scotia College of Art and Design University from 1998 to 2003, when she graduated with a Bachelor of Fine Arts, Major in Painting, Minor in Art History. When a car accident during Heather Igloliorte: Where were you born?
Hurricane Juan left her unable to paint for eight months, she applied to the MA Art History programme at Carleton University to study Indigenous art history, thinking it would enhance her artistic career; instead, it inspired her to get more actively involved in the research and writing on Inuit and other contemporary Aboriginal arts in Canada. She is currently pursuing a PhD in Aboriginal art and intends to graduate in 2012.
artist, a chef, and an engineer) so we were always drawing I was born in Corner Brook, and creating things from a NL, but while I was still very early age. My mother was an infant we moved back also very crafty and so I learnt to Goose Bay, Labrador, a lot about sewing, textile arts where we lived for most of and skilled handwork growing my youth, with the exception up. I was also constantly (and of the few years my father am still) told how much I was attended law school in Halifax. like my grandmother Susie In high school I returned to (Susannah Igloliorte) who was Corner Brook when my father a well-known and very talented relocated for work, and from seamstress who lived on the Newfoundland I moved on to coast in Hopedale. She was Halifax to begin studying fine featured in several books and art. publications on how to make Inuit-style kamiks (boots) and Do you remember when the like. She passed away you first started when I was fairly young, but creating art? my mother and I still have a When did it first enter your lot of her patterns for those life? My whole family is very now ubiquitous "Eskimo" creative (my brothers are an duffel coats - in fact, I have
read that she is credited with introducing that style of jacket in Labrador. I wonder what she would think today about all the hipsters walking around in those humble handmade coats decorated in dog teams and igloos?
There seems to be a culture influenced theme in your work, care to elaborate?
Well, as I've said above, I am greatly influenced by my cultural heritage. I am of both Inuit and Newfoundlander descent, but I think in both form and subject matter, I usually draw on my Inuit ancestry in my work. Having grown up in Labrador I feel a very strong connection to
the land, the people, and the history, and studying Inuit arts and cultural history has only deepened that connection. My dissertation project actually focuses on the long history of Labradorimiut art in Inuit communities on the coast, and I'm excited to not only study this history but to have it inspire my work as well.
What is your current medium? What is your favorite medium and why?
Well, I trained in drawings and painting at NSCADU and I really enjoy the immediacy of paint - I like to joke I'm a pretty lazy artist with attention deficit disorder. I went almost all the way through the jewelry programme at NSCADU - I had my own set of tools, took all the prerequisites for the degree - but in the end, I could see that it was too meticulous and process-oriented for me to make a career of it. I have a real admiration for people who work in jewelry and metal. For me, I need to see what I am making come to life before my eyes. And fast. That said, perhaps somewhat contradictorily, I do enjoy work that requires repetition, like embroidery or bead work, and
I am currently investigating ways to incorporate these mediums into my practice. Being in such an intellectually heavy field as art history, where I am currently studying theory and archival history extensively, it does stifle creativity to some extent: before I even put brush to canvas, I start thinking about what a painting is going to mean, how it will be interpreted, who the audience is, and so on. It's very intimidating. Getting back to
the kinds of practices I learnt as a child growing up, which required, say, concentration over thought, is a great way to circumvent the pitfalls of trying to make artwork as an academic. I am hoping that once I graduate from my PhD program, painting will come back to me more easily. I still paint now, but in contrast to the more political or conceptual work I've done in the past (and would like to
do again), it's mostly paintings that satisfy my need to paint pretty things. Neon caribou, technicolour seals, big flat acrylic-covered canvases of shapes and colour fields. Nothing too brilliant, but it works for now.
What fuels your desire to release your work into the world? Well, in my work with Aboriginal artists and communities across Canada, and working in education as a university professor, it can be incredibly frustrating to continuously encounter real ignorance about Aboriginal people in general. We donâ€™t learn the history of our own continent in school - we learn the history of Europeans, Americans, and the recent history of the French and English in what is now Canada, but almost nothing about the many Indigenous populations who lived in North America for thousands of years before contact. And we certainly donâ€™t learn the history of Canadian colonization. The wonderful thing about visual art, however, is its ability to speak across cultural, social, generational and linguistic divides. I use contemporary Inuit and other Aboriginal art in the classroom to illustrate history and to
Something they don’t tell you about or prepare you for in art school, at least not when I was a student, is grant writing and/or proposal writing. To be a successful artist in Canada, you can’t just be a great artist; you also have to be able to write thoughtfully and articulately about your own work, you need to be able to sell yourself and your When did you realize ideas, and you need to be that you had what it skilled at practical things, took, internally as like filling applications and well as talent-wise, creating a feasible budget to make a living as (SO important!) While I don’t an artist? work full time as an artist, and I don’t know if anyone has a probably never will, I have sat realization that they have what on many local, provincial and it takes to make a living - in national arts juries, and I can some ways that is all external tell you that these skills are as to you, whether or not people important as the art making want to buy your art! But I do itself in Canada, particularly know that working in the arts because we do have this takes great self-motivation, system of grants, residencies dedication and focus. express abstract ideas or concepts from Native culture that might otherwise be too foreign for students to fully grasp. And I think that this is the same thing that drives me to create artwork about Aboriginal issues. When art allows for a greater crosscultural understanding, then we are all the better for it.
and fellowships which really are the lifeblood of any contemporary Canadian artist.
What have you learned from your experiences, what was the most important lesson? I don’t know if I could pinpoint the most important lesson - I’m still young and undoubtedly have many more lessons to learn along the way. I make so many blunders, so I guess I am learning all the time through trial and error. If I was giving advice to aspiring artists and arts professionals, though, I would ask them what I always ask my own students: how many times in the last year have you attended an exhibition opening? An artist talk? A film screening? A gallery tour? Artists and
“I don’t know if I could pinpoint the most important lesson - I’m still young and undoubtedly have many more lessons to learn along the way.” people who work in the arts can be very solitary people, but if you want to start making a name and a career for yourself, preferably while you are still young, then you need to get out there and socialize with other artists, curators, museum staff, writers, critics, and the like. If you look to history, great art often comes out of great scenes - Paris cafes and Surrealism/ Cubism, New York and Abstract Expressionism, or Nirvana/ Pearl Jam/ Sound Garden and the Seattle grunge scene, Sloan and the Halifax Pop Explosion, Arcade Fire and Montreal’s underground
avante garde... you see what I’m saying. Show up at the opening of an artist whose work is nothing like your own. Volunteer for your local artist-run-centre! You may be pleasantly surprised to find how supportive and welcoming your local arts scene can be, and it is this network that may help you succeed in future. Plus you’ll make friends, and there’s usually food and free tiny plastic cups of wine at openings.
Do you think you have had to sacrifice time with your family and friends for work? How do you keep a
balance? Do you want kids? Will this affect them?
Recently, I’ve definitely sacrificed my artistic practice for my education, simply because my doctoral program is so demanding that I don’t really have a choice; in order to stay on track I’ve had to prioritize my degree and career as a curator and art historian above a lot of other things. But it’s been worth it, and I do find time to spend with my friends, my family, and particularly my dog, who doesn’t put up with me working on too much on the weekends.
What sparks your imagination? What makes you want to create art and be an artist?
Studying arts and cultural history is a really fruitful practice for artists, I can attest. Finding commonalities between my own work and that of my ancestors is so exciting, and trying to understand their motivations for making art is really inspiring as well; why would people whose lives are a daily struggle for food and shelter spend their time decorating utilitarian objects, or making elaborate beautiful clothes when simple ones would suffice? I think, because beautiful things are powerful,
and design can have great meaning in our lives. I would love to be able to make things that are meaningful like that and convey the strength and beauty of Labradorimiut culture. I’m so far from there but it is an expression to work towards.
development through time, making the arts a great record of our history. Who will the Inuit be in the 21st century? It’s very exciting to watch and participate, and to make art about the past and present.
What do you think you will be like in your golden years?
Which parts of I hope I will be a feisty old Inuit culture are particularly inspiring broad who drinks, plays to you? cards, and tells dirty jokes! All parts! I don’t think there is any one period or element that is more interesting than any other; what is interesting is to look at how Inuit have changed and adapted over many centuries, I think that process is fascinating. The material culture and the arts just happen to chart that
In all seriousness, though, I’ll probably be a university professor and/or working in the arts well in to my “golden years,” because I really love doing it. I’m fortunate to be where I am today and I hope that I continue to be so blessed in the future.
Where were you born? Fogtown (St. John's, Newfoundland)
and for moods, for sure, I won't do anything if I'm not fully into it.
Has this affected your work at all? What drives Totally. Even though there are you to put the brush some galleries here, they're in paint pretty limited in my view. so any inspiration I've had i have and start creating? somewhat had to seek it out. Would you like to travel? Where would you like to go?
DEFINITELY! Who wouldn't? I'd like to go to New York, Toronto, Vancouver, Switzerland to name a few.
Does your personal life affect your work? Do your moods? For sure, skateboarding was the seedling of my creativity and everything else followed
Just ideas. If I have an idea to paint ill want to do it right away
What is your favorite piece of art work you did yourself? What are you most proud of?
Probably the first time I got to paint on a train. Best
Have you gone to school to learn about art or is this just something you started? Were What direction do you you ever encouraged growing up? see your work going in? Where do you want Nope. I did a few art classes in high school but even then it to go?
network of peers do you operate in? Does this influence your work?
Do you draw? Have What is next for you? any of your drawings been turned into Do you think a lot paintings? What would about your future? Hopefully to keep progressing you say is your normal process for and get into design school, beginning and ending that would be the best. a painting? Sometimes. I don't like to
What is next for art and artists?
feeling in the world. I haven't produced that piece of work yet, when I do, I will let you know.
I’d love to end up doing designs for something like a skateboard company or anything snowboarding related. That or something of a permanent structure.
think too far ahead in the future. I like focussing on the now.
I didn't take it seriously. My mom did a lot of creative things around the house so I guess you could say that encouraged me.
I've made an effort to draw almost every day, some have but I usually just like to go at a canvas with the idea and the plan that I have in my head. I find that the ending is always the hardest because sometimes if you keep going you do to much and we all know the saying "less is more" and that’s how I’d like to keep it.
How often do your ideas stretch from an original thought? Pretty often I guess. I’m always thinking of new things to try.
People who skateboard, snowboard and designers usually. I like creative people. I’ve always worked well when I can vibe off of other creative people. So yes, it influences my work very much since creativity, being my own or others who surround me, sparks my imagination.
Lots of debt? Ha ha, not really but anything we want and anything we can dream up. That’s what’s next.
Where do you work? Do you like working there? Does this influence your art?
Basho Japanese fusion restaurant, its a fun place to work, good people good times. Yeah, I find myself day dreaming or getting amused by little things and its the little things that you can find lots of inspiration from.
What have you learned from your experiences? What is the most important lesson?
I've learned how to not cut off any fingers of mine or anybody else's, ha ha, but I've just learned there's a lot of good food out there that i hadn't tried before working there and I've learned to give new things a try, as long as it’s not poison, I will try it. That’s pretty much how I could sum it up.
Do you have a large social life?
Definitely! Having large pools of people to be able to talk to always keep things interesting.
How will you feel if your work becomes a commercial product? Will art become just a job for you?
I find myself debating that to myself all the time. Its somewhat selling out, but everyone wants to make a living of what they're good at. So it’s a catch 22 kinda situation but who cares really. Do what makes you happy and if you happen to make a good income from it then what does it matter. You only need to answer to yourself at the end of everyday.
How much does quality play into how your work is made?
I always do the work that I’m happy with. I'm always striving for a good product. I’d never be stoked on something I did half heartily. Your art can sometimes outlive you in the end, and you don't want to screw up what could be your last impression to the world.
Do you go through phases of art or artists that you admire? Who do you admire most, why?
All the time. I always find new things that spark a little creative inspiration. I admire graffiti writers the most, simply because of the way they can really go with the flow and make it up as they go. They commit to their ideas and sometimes come out with amazing ideas. Those and good photographers, I like to find artists or photographers that give me that "whoa"
reaction, and its always got to be your first impression. Once you start looking into a piece or breaking it down, its no longer fun and exciting.
What is the most consistent theme in your work?
I don't have a consistent theme really, but I always try and do something different
than last time. If Picasso painted the same thing over and over it wouldn't have the same kind of value would it? So you get the picture (pun intended).
How has your youth influenced you to be where you are today?
I was a wild child, a little ADD and hyper. Always looking
come up with new things can be hard too.
What are you trying to convey in your work?
I get this one a lot. What’s my explanation about what I've painted and I never have some deep meaningful reason of painting. I just have ideas that I think would look cool and i just do them really.
Why do you use the colors that you choose?
I guess some color choice can explain some feelings of how I feel on certain subjects. It all depends on the subject at hand.
What mediums do you work in/ would like to work in?
Usually aerosol and acrylic. That’s all I really have at my disposal most of the time. I’d love to work with glass, metal, I’m working with a kind of origami medium of folding abstract shapes out of paper and I want to apply those to a mixed media type painting. A hybrid of the two one could say.
for new ways to see things. I'm still like it today. I have a wacky attention span that keeps me sharp to details that can leave me inspired, and Definitely! If I never had anything that left me saying "that’s so cool, id love to know how to do that" I wouldn't do anything, I've had that feeling with skateboarding, snowboarding, art, cooking and photography. I've liked
them all and that’s what I'm doing and it makes me happy.
Will you still be working on art in your golden years? What do you think you will be like?
For sure! Anything that ill get my hands on in the future, I’m sure I’ll find something What bothers you about art? What do creative to do. I’ll probably be you find frustrating? doing photography the longest I can’t really pick anything that out of any medium I've done. bothers me about art because its always somebody's creation so if its something I don't like I just probably don't understand. Not understanding is frustrating, but also trying to
For as long as I've know I've enjoyed drawing, I'm told that I had a pencil in my hands since I was two. For years I've had a fascination of dinosaurs and giant creatures, I guess you can say that's where I get some of my inspiration. I'm somewhat of a shy guy but I've always been somewhat of an odd ball, saying and doing weird things but I love to make people smile.
"Do more for others than yourself." "You can't just wait. Don't beg for it. Somehow you got to do it on your own, or else nothing is going to happen." "Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you're kind, amazing things will happen." - Conan O'Brian At the time, I'm usually pleased with the work that I've completed, but for the most part I don't like looking at my old work. Only because my eye has evolved with my current standards. But there are some exceptions. Am I happy with my current life? Yes and no. There are times where I feel like I'm in a rut, there are times when I get lonely and depressed. But that usually clears up when I pen time with friends. But all the same, I need a change in my life, I don't know what but something.
Kyle Callahan: Where were you born?
My life began on Sunday, August 25th 1985. I was born on the ROCK in the St. Clare's Hospital in St. John's.
influenced your work?
I guess you can say that it has. A lot of my landscape paintings are based on some of the local scenery.
Are you happy with your work and where Do you think this has you are in your life?
What direction is your art taking you? I'm hoping that it is going to take me somewhere other than the gutter, ha ha.
What makes you so creative? What is your biggest influence, why?
I don't know what makes me, me, I've always been an odd ball of some degree. I've always enjoyed cartoons. Growing up I was hooked on "Ren and Stimpy" and "The
Sniffing paint, ha ha. But really though, I tend to reflect on my mood and my experiences. Putting what I know on to a canvas of some sort. I like to expand my horizons, and try something new.
Do you think a lot about your future?
That is one of the things I don't really dwell on. I like to go with the flow and see what happens. But I do wonder what I'll be like, if I'll be the same as I am now.
Simpsons". Now and days I'm hooked on anime. I've always been into dinosaurs which grew to my love for Godzilla. I know now that they're just cardboard buildings and guys in costumes but back then it didn't matter, I guess with the power of imagination you can make anything real.
How do you keep bringing out new ways to stay creative?
Who are the kinds of people you surround your self with?
I like to hang around with people who enjoy my company. Sometime I feel like I burden people with my presence, I don't know why, it's just the way I am. Aside from that I look for someone who can lift my spirits. I like to laugh and have a good time, to go out generally and being happy.
How does living in St. John’s affect your work? Do the seasons make a difference to you? Living on the Rock doesn't really affect my work. The winter months can be a little rough, the days are shorter, things a dark. It's hard to get in the mood when when all you see is darkness.
Have you had any training from school (if yes), where and why?
Yes, yes I have. My high What is school art teacher at O'Donel, next for Mrs. Pitcher, has been great. I took a couple of painting you? classes at MUN's Life Long I would Learning Program, my teacher like to was Cathy…. something? start mixing digital with my I can't remember, but she handmade creations. Get a was awesome too. I've had woman. Probably get a job drawing classes with Jay that I'll enjoy. Get my own place. And do some travelling. Barry in CNA. I've also learned Photography from Ray Fennelly at CNA. What pushes you to
keep doing what you are doing? How do you Where do you work? stay motivated? I'm currently employed at the
Making people happy I guess. Sobey’s in Mt. Pearl as a fish mongrel. I like seeing the smiles on peoples faces when I show them something that I'm proud How much of your work
is on computer?
For the past two years most of my work has been done on the computer, only because I'm so involved with my studies in graphic design.
What is your most vital lesson?
To keep at it, don't stop, keep trying. And you'll get better.
What is the biggest hurdle you have had to overcome?
sometimes involving Godzilla. Don Hertzfeldt, I love his animated shorts, they're so simple yet so hilarious. Zilon, I love his comic / grungy look. Sam Keith, his work for "The Maxx" and other comics, simply brilliant. Hayao Miyazaki, I love his storytelling mixed with his artistic style. It brings me comfort to know that grown ups can enjoy comics and cartoons too.
Being shy and insecure. Back Do you feel like in my high school days I was distancing your self a very quiet person, always keeping to myself. I never really made an impression on anyone I don't think. I was always afraid of what other people thought of me.
Do you hold any work particularly close to your heart?
Yes, yes I do. There's painting I did of a semester I did called "No Friggen Way (a fisherman's tale)". There's also the painting of the two Godzilla's. One was really simple and the other was complicated but it worked out really well. One of my favorite pictures that I took was the Walking Dead shot. It came together so well, and the responses it got was the icing on the cake, ha ha.
Who is an artist you admire, why? Bob Eggleton, he paints amazing sci-fi and folklore pieces with extreme detail,
from your previous work or building on it?
Sometimes yes. There a pieces that I made that I hate and people make a big deal about how awesome it is. And I don't like to change something after it's finished, I like to keep them as a reminder of what not to do, Ha ha!
Do you draw? Have any of your drawings been turned into paintings? How often do your original ideas become warped and changed completely from your
Why yes I do, Not as much as I like to but I do, but I do. A few of them have turned into painting but usually I like to replicate my photos of local landscapes and monuments into paintings. But when I do convert my drawings some things I can't help but change, only because the two mediums have their own look, but the general idea stays the same.
What is the most magical place you have ever been?
I can say that there is a few. One would have to be a spot I found on a walk with my dog, Ginger, on the old railway trail in Mt. Pearl. It was during the winter and everything was iced over, it was mild out, so it wasn't too cold. I cut off to one of the back trials along the river and I came across this tree. It's branches bowed down in a way that you could walk into a hallowed shell. The branches were dipped into the river and everything was covered in a thick layer of ice. You could walk inside of stand be completely cut off from the outside world, all you herd was the gentle humming of the river banking off the ice. It was so beautiful and peaceful. Another would be my visit to San Francisco. Everything about that place appealed to me. It was fantastic. Also, the willow tree in Bowring Park. Seeing all the names carved into the trunk of the tree, you can feel the love. I hope to
carve my name and someone Yes, because there are I care about into it someday. moments that you can never get back thing are always Do you collect moving forward, so why not anything, why? capture the memory as a DO I EVER!!! Dear lord I got drawing, photograph, and or a load of junk, I'm somewhat painting. That way you can of a pack rat.. I'm not a crazy always reflect on the good collectoholic but I do collect times when many a things…. as a side thing aren't hobby. Such things like rocks looking too and coins. I also collect bright. toys like Godzilla, anime, dinosaurs, and whatever I What do think looks cool. I have a you think you will be collection of comics and a massive collection of anime. like in 35+ years? I don't know why I collect I'LL BE 60!!! these things, I'm sure some therapist will say that I suffer Christ… Ha ha, I'm hoping that from some strange mental psychosis, but I generally get I'll be my usual self, just more these things cause I think mature and they're fun. experienced. Hopefully What makes you pick married with your colors? kids and living Mostly emotion. Like how happily and you're ‘spose the think and feel when you see this image. care free.
Is being timeless a factor you consider?
Do you feel like your work is being (has been) influenced by what is going on in your life personally?
respect and admiration for (and whose work I love). That being said, if my practices is going to move in the direction I would like (regular gallery My work is almost always representation, exhibitions, influenced by my personal artist residencies, etc), I associations and observations. need to spend more time I find that I draw heavily upon promoting my own career my own emotional perceptions more and less time working of various situations or people towards other goals. It only when developing the subject goes as far as you work it. I matter for each piece. have been fortunate to have been working in my field since What direction do leaving university and I have you see your work been putting that first but I feel moving towards? What direction do you want as if I’ve let that overwhelm my personal practice to date. your work to go in? This year I will be focusing It’s hard to say. I’ve been on finding a healthy balance very fortunate to receive between the two. very positive feedback and encouragement about my How do you approach work from colleagues that progression in your I have a great amount of work? Do you think
it's dangerous to alter your style for the sake of your own artistic gratification? I love change. It keeps things interesting. If my work didn’t change it would mean I’m either afraid to let it happen or I need to seek out new and inspirational things. I find my own fears and worries will hold me back at times so I have to be self aware and constantly work on my personal development. If I want to keep enjoying my creative practice then I have to be honest with myself. All we have is our own artistic gratification- if we’re not having fun, no one else will have fun when they see our work. I believe that the sincerity of the creative process will always translate into the work and successful
forms of self expression always tap into some real part of the artists character. Change and artistic development varies from one artist to the next. Many artists have an ever-evolving approach to their work, not using any one medium or style, switching up techniques as they learn, working on many different ideas and approaches at once. I mean, you wouldn’t want to suddenly and drastically alter a project while the middle of creating a body of work for a
programmed exhibition, but you can start exploring that change and work towards it in various ways.
What's your medium (past and current)? What is a medium you are interested in trying or curious about?
That’s tricky for me as I’ve used so many different and non-traditional materials. Currently I’ve gravitated mostly towards mixed media painting and drawing. In the past I’ve also been very interested in mixed media sculptural installation, often involving the unlikely combination or alteration particular materials. I am certainly very interested in developing more ideas for installation work while simultaneously expanding my two dimensional work.
developed for purging the constant influx of thoughts and feelings. In regards to showing others my work, I feel I should share my ideas- no one is going to gain anything from my work if I don’t put it out there. I certainly enjoy looking at, listening to, and reading other peoples work and being influenced by their creativity. Just as, if not more, importantly the critique and feedback I receive when showing my work helps me grow as an artist.
What drives you to keep creating art? What makes you want to show your work/ talent to people?
What are the kinds of people you surround yourself with? Do they inspire you?
Although this description can be a little overused, I find the creative process to be very therapeutic and meditative. It’s the best means I’ve
I have many people in my life that I love, admire and respect. No matter how different they may be from me or one another, The people I love can all see
emerging artist, having only graduated 5 years ago. But I’ve learned a lot in the past 5 years. All artists, (but especially those who are just getting started on their career), should actively seek out volunteer opportunities with artist collectives, artist run organizations and artist run centres. It’s birth by fire sometimes but worth it!! Also, keep going out to see new exhibitions.
Was art something that was encouraged at home or something that you just wanted to do?
I was surrounded by artistic people in my family- parent’s, uncles, aunts, cousins, siblings, friends- some of whom taught me quite a lot about art when I was younger. I wouldn’t say that anyone pushed me specifically to go get my degree in art but I was always supported in my decisions and had many opportunities to learn, observe and practice.
What is the worst thing an artist can encounter? past their differences to their commonalities. I find it inspirational when someone is comfortable being themselvesit’s harder to come by than it seems... I have also been fortunate enough to have made many friends that have common artistic interests/ ambitions and watching their creative practices flourish is always inspiring.
Do the seasons affect your work? If yes, in
Winter is pretty much 6 or 7 months long in Newfoundland and I don’t like the cold so I’m sure this has an effect on me. I’m not sure how much it affects my work but my ideas are probably a little darker in the winter.
What is one lesson you have learned that you can pass onto new emerging artists? Well, technically I’m still an
I think for an artist of any kind struggling to live and make ends meet while still having time and energy to be creative is a constant balancing act. It’s hard watching my friends and family focus on 1 career when I feel like I’m trying to maintain 2 and still be as actively involved in all of the other things life has to offer.
Do you have any work of your own that you hold personally close? Once it becomes a commercial product do
you think you will feel the same about it?
I put a fair amount of emotional energy into each of my pieces so they all feel dear to me. I don’t feel any differently about them when they are purchased because I am not focused on making a product for sale during the creative process. Basically, if they sell it’s an added bonus and I am happy someone has connected with the work. That being said, I have sold pieces very quickly after producing them and I always feel like I didn’t get to spend enough time with them.
Do you go through phases of artists that you look up to? Who do you look up to most, why? Oh, I have way too many favorites, from great masters to new emerging artists whose work I have seen here in St. John’s. There’s so much out there to be inspired by. I will say, though, that UK artist Cornelia Parker has always been one of my favorites.
Aside from art, what would you like to pursue? What is another interest you have?
I am very interested in psychology and counselling psychology- which seems like a big jump, however, the study of interactions between people is often the basis for my artistic ideas. Currently, I coordinate the Community Youth Arts Program with The Murphy Centre (a 45 week employment program for youth at risk with a specific focus
on careers and involvement in the arts). Through this I am able to apply my visual arts background while simultaneously helping young people find a new direction in life.
What makes you tick as an artist? What emotions drive you most, why?
They’re not all emotions but sadness, nostalgia, guilt and escapism all factor into my work in differing amounts. Purging/studying those emotions or emotional states is what makes creating my work worthwhile to me.
What was your first piece of art?
Well, I guess like many others, I did my first piece of art as a kid. I don’t remember the very first piece but I remember my uncle Robert teaching me often. One of my earliest memories is of him helping me do one of my first representational (realistic) drawings when I was 10- I think it was of deer and rabbits in a forest. Very shortly after that he taught me some colour theory and I did my first non-representational (abstract) painting. My father used to draw every day as well, in addition to working with wood and building cars, so I used to make little sculptures out of all kinds of materials and conjure up floor plans and architectural designs for houses.
to be a mentor, teacher and employer. I work with 12 amazing young people for 30 hours a week for 45 weeks doing all 3 of those things- it is a paid position for them too. We cover career development, employability skills, life skills, artistic development, volunteering and active community involvement. The program has a visual art focus but we encourage them to follow whatever education or career path they wish to do, whether it’s computer science, marine engineering or film.
Your choices of characters are very interesting, what makes you create these "beings"?
I think it probably has to do with my love for being secretive and not divulging too much information. I’d rather give the overall impression of the moment or feeling I am focused on than give away exactly who/ what and when it’s specifically about.
What do you think you will be like when you are older? Still alive, I hope! I think I will be much like I am now, but hopefully I will be making more time for myself and the things I love to do.
Tell me about your work? Your Job?
I am the coordinator for the Community Youth Arts Program with The Murphy Centre. My job requires me
If it looks and feels this good, why not go for it?