ORIGIN — WOO Fall / Winter 2021 Issue by WOO Publication

WOO WOO

origin

THEPOINTOR PLACEWHERE SOMETHING BEGINS,ARISES, ORISDERIVED. fall/winter 2021 ARTIST OR DESIGNER NAME

WOO FALL/WINTER 2021

"ORIGIN"

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"ORIGIN"

TEAM LETTERS FROM THE DIRECTORS 49°10’33.4”N 123°09’07.2”W by Clara Ngie THALES THEORY by Lan Yang FROM THE GROUND by Madeleine Salomons CREATION STORY by Madeleine Salomons BROTHERS by Nyaradzayi Motsi FIT INTO THE RUSSIAN DOLLS by Yi Fang BILADY: A DECONSTRUCTED FLAG OF EGYPT by Nada Salama HANGUL SERIES by Catherine Koh 茶 “CHA” by Sahali Tsang OLINDA by Kalina Lashkova THE OAK TREE by Diego Cruz HIGH/LOW by Year 4 Industrial Design STARING BACK AT ME by Michelle Zheng UCLUELET by Tallon Ellison ORIGINALITY MANIFESTO by Cheryl Wong HOUSE SERIES by Kirt Sawyer SPROUT by Aily Nishioka ROOFTOP PARKING by Ruby Pang FALLING by Jordan Walczak KEEP IT ON THE LOW by Hunter Skuce CALLING HOME by Fyonna Laddaran WHERE DO I BELONG? by Kamila Bashir LOCATED: YOU ARE HERE by Aretha Pereira SOAR by Aretha Pereira CARRIE LOVES HER SONY by Carrie Braybrooks CONFLUENCE 合流 by Angela Cheng ACTUAL ART DEGREE by Antony Slynko STOP ASIAN HATE by Jiho Lee MY PEOPLE ARE BLEEDING by Parumveer Walia WHAT I NOW CALL ME by Anoushka Nair PANCITA LLENA, CORAZÓN FELIZ ZINE by Valeria Paz Garcia RAISED IN MEXICO AND RACING LIKE A MEXICAN by Lucia Ponce Laresgoiti ORIGIN OF A DREAM by Leonardo Felix Giordani GOBLINS OF THE NIGHT by Olivia Oh HOME by Kenneth Boediman DEFYING THE SINGULAR by Parumveer Walia THE AIR WITHOUT YOU by Ryunosuke Kikuchi FACES OF EMILY CARR WOO CHALLENGES 2

ARTIST OR DESIGNER NAME

WOO FALL/WINTER 2021

KIN GODWIN CHUA EDITOR-IN-CHIEF

CARRIE BRAYBROOKS CREATIVE DIRECTOR

DESIGN

Luiza Coulaud Lucy Fournier Austin Neufeld Aily Nishioka Ruby Pang Laurensia Vinny Yaputri Jasmine Wong

the team FALL/WINTER 2021

"ORIGIN"

ARTIST OR DESIGNER NAME

JOSHUA LOUIE

MADELEINE SALOMONS

MEDIA DIRECTOR

EDITORIAL DIRECTOR

DIGITAL MEDIA

EDITORIAL

Brandon Chan Aiah Gonzales Thomas Huang Sookyung Kang Jiho Lee

Diego Cruz Anoushka Nair Aretha Pereira

Charlotte Mahoney Volk

Parumveer Walia

Jade Sawotin

Cheryl Wong

ARTIST OR DESIGNER NAME

WOO FALL/WINTER 2021

LETTERS FROM T Where do we come from? Where are we now? How did we get here? The progression of time and self feels slow until I stop to look back. It’s when I comb through memories from childhood, immigration, different stages of education, and uncertain leaps into early adulthood that I see the ongoing change my peers and I have undergone together and individually. Photographs, sketches, and snippets of writing have been important ways of checking in with my roots as I inevitably branch out from them in different ways. I’m glad to have worked on this issue of WOO Publication as it provides another bookmark for me to enjoy the next time I look back. To the artists and designers who contributed their pieces to the issue: it has been an immense inspiration to see all of your interpretations of the word ORIGIN. The range of themes explored about family, location, originality, culture, creative practice, material origins, and more highlight just how diverse your stories are. To all readers: I hope this collection of works encourages you to think through your own ORIGIN and perhaps even create something in response to it. Telling your narrative can be especially valuable for your own reflection and also for others who may be seeking the unique representation you can provide. To the WOO Publication team: thank you for your enthusiasm in putting this issue together and continually engaging with our community. It’s our first semester in over a year collaborating in the same room and it’s been such a nice experience to finally work face-to-face with familiar members and new members alike. Thank you for your flexibility with hybrid participation and your willingness to do the wackiest of team portraits! Special shoutout to Carrie, Josh, and Madeleine for your amazing leadership support and endless laughs.

Kin Godwin Chua

EDITOR-IN-CHIEF

"ORIGIN"

ARTIST OR DESIGNER NAME

THE DIRECTORS... I think we can all agree that Millennials and Gen Z’s (Zillennials?) are obsessed with the self. All you have to do is check out someone’s social media presence or lack thereof to get a sense of their personal brand. We are a generation that looks inward. We are constantly self-assessing, self-reflecting, self-promoting, whether we realize it or not, and it seems the tumultuous nature of the 2020s so far has only amplified this. We ourselves seem to be one of the only constants we can rely on, and it has us trying to make sense of the world by analyzing our place within it. This is what inspired me and Kin to create “ORIGIN”. We started to question “Who are we?”, “Where do we come from?”, “What does this mean?”. We wanted to explore what this meant to our Emily Carr community in terms of their background, their practice, their overarching sense of self. It seems there has never been a better time to understand ourselves and others, when understanding the world seems like an increasingly difficult task. I’m very excited to share this issue with you. I hope it inspires you to look inward and really get to know yourself. I hope it inspires you to get to know others. I hope it inspires you to create. Thank you so much to the Fall/Winter 2021 Team; your passion and enthusiasm for everything we do at WOO has been a blast to experience. We have almost an entirely new team this year with only 8 out of 23 members remaining from the previous issue. It has been an extremely exciting season, with so many fresh faces and ideas. WOO has covered more ground and taken up more new projects this season than ever before and I couldn’t be more appreciative of a team that isn’t afraid to tackle it all. And an extra thank you to my fellow directors, Kin, Josh and Madeleine. Thank you for being such an incredible support system through some of the most stressful and overwhelming weeks of our lives! Thank you for always backing up my crazy ideas and helping me make them a reality. There’s no doubt that I could not do this without you.

Carrie Braybrooks

CREATIVE DIRECTOR

ARTIST OR DESIGNER NAME

WOO FALL/WINTER 2021

CLARA NGIE

YEAR 3 COMMUNICATION DESIGN PUBLICATION DESIGN @CLARUHHNGIE

THIS ZINE ASKS THE QUESTION OF WHAT IT MEANS TO OCCUPY A SPACE. HOW MUCH DO YOU KNOW ABOUT THE LAND YOU ARE ON? IT IS MUCH MORE THAN A SPORTS CENTRE, A RIVER, AND AN AIRPORT.

"ORIGIN"

CLARA NGIE

49°10’33.4”N 123°09’07.2”W

LAN YANG

urce” o s “ e

ed f

rom o n

YEAR 3 INDUSTRIAL DESIGN PHOTOGRAPHY [2020] @LAN.YNG

thales theory "ORIGIN"

d develop ha

t a u n re l l A

LAN YANG

MADELEINE SALOMONS

WOO FALL/WINTER 2021

MADELEINESALOMONS

from the ground

YEAR 3 COMMUNICATION DESIGN PHOTOGRAPHY, 35MM FILM [2021] @ARTICHOKELUVR

"ORIGIN"

MADELEINE SALOMONS

@ARTICHOKELUVR

[THERE IS NOTHING, AND SUDDENLY THERE IS SOMETHING]

IT BEGINS WITH DARKNESS, OR MOTHER EARTH, OR A WOMAN FALLING FROM THE SKY, OR A BIG BANG–

YEAR 3 COMMUNICATION DESIGN

MADELEINE SALOMONS

creation story.

WE BY

ARE OUR

UNITED ORIGINS.

REGARDLESS OF RELIGION, SPIRITUALITY, OR BELIEF, WE ALL HAVE SOME UNDERSTANDING OF HOW WE CAME TO BE. Truth is not of importance when it comes to origin. There is no one way that can be dissected and examined under a microscope like a strand of DNA. None of us know for sure what was before, and how we came to be. I don’t think it matters all that much. What is essential is that through some divine transformation, we all ended up in the same place. I grew up knowing the creation story most Christians are familiar with—a garden, and a man and a woman, and a piece of fruit that changed our fate forever. It acts as a warning that humans will always give in to the sickly sweet flavour of temptation, and it is our responsibility to atone for it properly. My entire worldview throughout my youth was molded around the shape of sin, and I didn’t know any different. What might my life have been like if I had been taught another story? Arguably the Christian creation story is rooted in the concept of the love and kindness of a forgiving god, but I think there exists an underlying tension that we are to blame for our suffering; that it is as simple as retribution. What might my life have been like if it had begun with softness? I have two people in my life who work as Spiritual Care Practitioners in hospitals. They work with patients to ensure their quality of life and mental health are cared for, and their level of commitment and emotional labour astound me every single day. Both of them have a master’s degree in Theology, and when I spoke with them regarding creation stories, both had insightful and thorough knowledge.

Gabrielle Gelderman—one of my longtime friends who is a climate activist and dedicated chaplain (and, frankly, the older sister I never had)—answered my flurry of questions over email. “I don’t know too many different creation myths tbh,” she wrote. “I don’t find myself thinking too much of the [Christian] creation story, perhaps because of the way it was taught to me growing up. But I think [creation stories] are certainly deeply important to us culturally—think about how controversial the whole evolution thing was for Christianity. Where we come from/the intention (or random chance!) that went into the creation of our lives deeply affects whether we feel our lives are meaningful and have purpose.” My mom, who is also a SCP, said something similar: “I think creation stories are our ultimate attempt to make sense of life.” One might argue that it’s part of human nature to feel this deeply-rooted need to search for answers. What is our purpose in life? Who are we meant to be? How are we meant to be? I don’t know what I believe when it comes to our origin. I’d like to believe there’s something very big out there who loves us. It might take the shape of a woman, or a man, or some genderless being that glows, or a snake, or an owl, or a tree. Though it feels necessary to designate a name and a form to it, that’s not the point. The point is that somehow, through some impossibility, we arrived here, the same as one another, and now we must choose how to live—upwards, onwards, into the light.

[WHAT IS OUR PURPOSE IN LIFE?] [WHO ARE WE MEANT TO BE?] [HOW ARE WE MEANT TO BE?]

“CREATION STORY”

WOO FALL/WINTER 2021

brothers A PAINTING OF TWO MAASAI BROTHERS IN A STYLE THAT TAKES INSPIRATION FROM TRADITIONAL KENYAN ART, FROM THE PALETTE TO THE SIMPLIFIED FORMS. HOWEVER, I MADE IT MORE AS IF FROM AN ILLUSTRATION OF A CHILDREN’S BOOK.

NYARADZAYI MOTSI YEAR 3 ILLUSTRATION

"ORIGIN"

GOUACHE ON WATERCOLOR PAPER [2021]

NYARADZAYI MOTSI

@NYRDZYI

YIFANG

ALUMNUS DIGITAL [2020] @YI_1F

fit into the russian dolls

I F I N D T H AT M A N Y O F M Y A R T I S T I C “ O R I G I N S ” C O M E F R O M A S C E N E O R E X P E R I E N C E I R E M E M B E R . W H E N I S E I Z E T H AT M O M E N T, T H E I D E A S A N D I M A G I N AT I O N W I L L C O N T I N U E T O S PAW N .

The inspiration for this painting comes from a childhood memory of mine. When I was a kid, my dad bought me a set of Matryoshka dolls. Their gaze always caught my attention, and I used to fantasize about getting into them. That memory stuck with me, and it drives me to the idea of being integrated into something that is in real life. Many people cater to the crowd to fit in better while creating a sense of security and balance. However, it also makes them ordinary and unified, and I find this situation confining. Therefore, I composed this illustration to express the theme of not losing one’s identity and value when integrating into a group. Hoping people can be themselves and find their shining point, no matter how many obstacles and constraints they will have in life.

YI FANG

WOO FALL/WINTER 2021

NADASALAMA YEAR 2 COMMUNICATION DESIGN ACRYLIC PAINT + PEN ON CANVAS [2020] @NADAHKHS.ART

The piece is titled “Bilady” the Arabic word for “my country,” and the name of the Egyptian national anthem.

"ORIGIN"

NADA SALAMA

FLAGS ARE A PURE SYMBOL OF A NATION, A REPRESENTATION OF A COUNTRY’S BELIEFS AND IDEAS. BY MOVING TO CANADA AND LEAVING EGYPT, I HAVE TAINTED MY EGYPTIAN IDENTITY, THE PURITY OF THE SYMBOL NO LONGER APPLIES TO ME. EACH PIECE IN THIS TRIPTYCH REPRESENTS A SECTION OF THE EGYPTIAN FLAG.

IN THE BLACK CANVAS, THE WORD EGYPT IS REPEATEDLY WRITTEN IN ARABIC. THE BLACK CANVAS ACTS AS A REPRESENTATION OF MY EGYPTIAN IDENTITY THAT CAN BE CONTRASTED WITH THE RED CANVAS THAT HAS THE WORD EGYPT REPEATEDLY WRITTEN IN ENGLISH, A REPRESENTATION OF MY CANADIAN IDENTITY. THE WHITE CANVAS DEPICTS THE GOLDEN EAGLE OF THE EGYPTIAN FLAG. HOWEVER, IN MY PIECE, THE EAGLE HAS BEEN STRIPPED OF ITS BOLDNESS AND COLOR AND IS REPEATEDLY DEPICTED IN A SIMPLE PEN DRAWING.

bilady: a deconstructed flag of egypt

“BILADY: A DECONSTRUCTED FLAG OF EGYPT”

WOO FALL/WINTER 2021

CATHERINEKOH YEAR 4 COMMUNICATION DESIGN PRINT [2018] @CKOH.PDF

"ORIGIN"

CATHERINE KOH

hangul series THESE POSTCARDS WERE MADE IN AN EFFORT TO SHOW APPRECIATION FOR THE KOREAN ALPHABET, HANGUL OR HOON MIN JUNG EUM, WHICH WAS CREATED BY KING SEJONG THE GREAT IN 1446. AS LANGUAGE IS A MIRROR OF CULTURE, CELEBRATING IT GIVES US AN OPPORTUNITY TO RE-LEARN OUR CULTURAL IDENTITIES. EACH POSTCARD FEATURES WORDS IN HANGUL THAT CORRELATE WITH THE CENTRED CONSONANT CHARACTERS AND PORTRAY UNIQUE PHOTOGRAPHS OF LOCATIONS BASED IN SOUTH KOREA.

“HANGUL SERIES”

WOO FALL/WINTER 2021

茶 “cha” FOCUSING ON TEA CEREMONIES, I CREATED A SET OF FOUR DIFFERENTLY SHAPED TEA CUPS, PLAYING WITH COLOURS AND PATTERNS TO INVOKE MODERNITY TO A CLASSICAL TRADITION.

"ORIGIN"

SAHALI TSANG

SAHALITSANG YEAR 4 INDUSTRIAL DESIGN

茶 “CHA”

CERAMICS [2021]

WOO FALL/WINTER 2021

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00:01

00:02

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THIS IS AN ANIMATION OF OLINDA, A HIDDEN CITY DESCRIBED WITHIN ITALO CALVINO’S “INVISIBLE CITIES”. I GOT INSPIRED BY THE REALLY VIVID DESCRIPTION OF THE GROWTH OF THIS CITY AS IT STARTS OUT AS; A POINT NO BIGGER THAN A PIN, THEN GROWS TO BECOME HALF A LEMON, A MUSHROOM, AND LAST A SOUP PLATE, THAT BEING THE EXACT PHRASING USED WITHIN THE SHORT STORY.

00:07

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KALINA LASHKOVA "ORIGIN"

00:09

KALINA LASHKOVA

YEAR 3 ILLUSTRATION 13 SECOND ANIMATION [2020] @KALIINART

0:10

olinda

00:04

00:05

00:06

WHAT I MAINLY WANTED TO COMMUNICATE WAS THE LITERAL USED BY CALVINO, AS WELL AS INCORPORATE AN ELEMENT SENSE OF MYSTERY TO THE HIDDEN CITY. I ALSO HAD NO PREVIOUSLY WHICH IS HOW OLINDA CAME TO BE MY

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VISUALIZATION OF THE DESCRIPTION OF “ORIGIN STORIES” TO ADD THAT REAL EXPERIENCE WITH ANIMATION FIRST "EXPERIMENTAL ANIMATION"!

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SCAN TO WATCH

“OLINDA”

WOO FALL/WINTER 2021

THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE OAK TREE. THE "ORIGIN"

DIEGO CRUZ

YEAR 4 VISUAL ARTS @DIEGOCRUZSTUDIO

DIEGOCRUZ

My mother had me inside an oak tree. She left me there and never came back. I imagine she was hoping I would die of hunger or cold, or get bitten by some poisonous bug, or eaten by a coyote. Instead, the tree took me in as if I were an extension of itself—one more acorn that would one day become a strong oak. It nourished me, calling upon the creatures that took refuge within it. They became my family. I was raised on squirrel milk until I was strong enough to walk. Then, I was able to start foraging around the forest for food. I was taught to walk and run by the same coyotes my mother hoped would eat me. Eventually, the squirrel milk was not enough to sustain me, so I started imitating the coyotes. That is how I learned to hunt. Burrowing my teeth into the creatures I grew up believing were my friends is how I began to get my sustenance. The soft rabbit meat felt good on my tongue and finally being able to peel a porcupine’s skin off made me feel inconceivable accomplishment—but my favourite creature to hunt was the squirrel. The animal that once gifted me its milk so I could become strong enough to walk continued to give me strength in my later development. I loved the taste of squirrel meat, but the squirrels were also the ones who taught me how to forage for food and store it so I could endure the long and cold winter nights with a full belly. For that, I will be eternally grateful to the squirrels that lived with me in the big oak tree. That is where I would always return after a day of hunting and foraging. I saw the oak tree grow alongside me, when its branches got larger, so did mine. One spring morning, as I was seeing the oak’s great mane come back, I noticed that I was starting to grow my own sort of leaves as well. I imagined it was a part of me becoming a strong tree. The more I hunted and foraged and drank the forest’s cold waters, the taller and stronger I became and the more leaves I grew. One day, I was out of the oak tree searching for food when I saw a creature I could not recognize. It was larger than all the woodland creatures I had ever seen, its skin looked pale and smooth, and it had no fur to protect it from the weather—but it had its own sort of leaves covering certain places, just like me. Its branches were long and flowing, just like mine, but its

“THE OAK TREE”

body seemed more flexible. Its texture was as rugged as mine, but it somehow glowed with a softness that I had never seen. It made me feel things no other creature had ever made me feel, it was like a hunger, but I didn’t want to quench it. I felt it all around me, in my stomach, in my chest, and between my legs. I approached it with as much caution as it approached me. It touched the leaves of my face, there were none on its face. I touched it back, I think it felt the same sort of hunger I did. That was my first night hunting inside the hollow oak tree, I was hunting this creature I found in the forest and it was hunting me back. We fit perfectly with each other, my roots were buried deep in its soil, and I felt that this was what we were supposed to do. Ecstasy flowed through us again and again and through the oak tree. Time passed, and when the air was cold and the tree had become barren once again, it was no longer my tree—it was ours. Our cubs grew around the tree just like I did, except their nourishment did not come from squirrel milk, it came from the milk of their mother. When they were strong enough to run, there were no coyotes to teach them how to hunt. It was us guiding their strides and their spears, teaching them to thank the forest for choosing to keep us alive. As our cubs grew stronger, we grew weaker, and the oak tree stayed the same. One day, I could spot lights aglow at the edge of the forest. At first, there weren’t very many, but as time passed, I could sense these lights getting closer and closer and the forest getting smaller and smaller. One hot summer night, another creature showed up. It looked like us and it came from the lights. It looked sharp and was covered by many fabrics and it brought fire as its friend. We hid in the great oak tree, as we witnessed how the woodland creatures were burned and their homes turned to ash all around us. Our cubs knew what to do. They ran towards the lights, and I saw them be embraced by two of the creatures that looked like us. My companion was gone, its heart had given out to the smoke and the heat. I remained inside the great oak tree, the only thing left of the forest. When its time came, I could feel its strong trunk giving into the lightning-sharp blade. As the oak tree was struck down, I was down with it.

WOO FALL/WINTER 2021

HIGH/LOW Individual Pieces:

MU 木 FIR RETURN STILOK LITHO

We often take the natural materials around us for granted. This is true for our ecosystem as well as the resources we extract from it. Led by Associate Professor Christian Blyt, Spring 2021 third-year industrial design students were tasked to design a bespoke high and low table using 2x4 reclaimed old-growth douglas fir. Using the wood salvaged from deconstructed buildings and heritage houses, these projects aim to generate awareness about the value of old-growth trees and the stories they hold.

"ORIGIN"

YEAR 4 INDUSTRIAL DESIGN

Cloud9 - Angela Cheng, Gigi Lui & Peter An

MU 木 Through mirroring the structure of old lumber houses, MU strives to spark conversations around sustainability and upcycling in the lumber industry. This table and bench set is handcrafted out of reclaimed old growth douglas fir wood and imperfections such as nail marks were embraced in accordance to the philosophy of wabi-sabi. MU is designed with simplicity and ease of assembly in mind through its intuitive RTA (ready to assemble) joinery. Our goal is to enhance the perfection in the imperfection in order to invoke a fascination towards nature.

“HIGH/LOW”

WOO FALL/WINTER 2021

Altitude - Aaron Lin & Bear Fraser

FIR For this project, our team has been given the opportunity to design a table and a bench out of old reclaimed wood that has been taken from old houses in the 1970s. Our goal is to build furniture out of reclaimed wood and create daily objects that push innovation for a sustainable future. We want our design to focus on the story of the wood, with a minimal design, and to feature the wooden texture. We aim to create a high table and a low bench expressing the story and history of the wood, while considering minimalistic and sustainable design.

"ORIGIN"

YEAR 4 INDUSTRIAL DESIGN

RETURN Tree to Tale embodies stories in reclaimed wood to give a unique and tactile piece of Vancouver history to a new home. The Re•turn table and benches challenge the material of wood by going against it’s natural rigidity and making a product with a round and fluid structure. The motif of curves encapsulates the circular lifespan of the Douglas Fir. From tree, to house, to furniture, these trees have served us.

Tree to Tale - Ara Rattan, Sahali Tsang & Vivian Tran

“HIGH/LOW”

WOO FALL/WINTER 2021

Willow - Nhu Nguyen, Shelby Sixsmith & Clementine Chang

LITHO Willow creates the shift that merges the functionality of furniture with the fluidity of sculpture. Allowing visual tension to influence our perceptions of how a material can be used to uncover the hidden value of underutilized material. Having a building torn down can be an emotional event for a community. Unbuilders ensure that the stories of these structures are respected and celebrated. They save these histories by giving material a new life.

"ORIGIN"

YEAR 4 INDUSTRIAL DESIGN

STILOK With our design, we strive to preserve the narrative of the materials along with finding its value in the idea of renewal. We have focused on experimenting with contrasting materials. The cord’s tensile flexibility as joinery for the wooden parts stitches and locks the wood in place. The cord zigzags through the high table, holding its structure. The low table stands stable on it’s T-shaped legs. The STILOK modules are easy to (re)assemble, continually changing and evolving, taking into consideration the versatility of the material, movement and space.

The Ancestors - Jiahui (Michelle) Li, Paula Torres & Nidhi Hira

“HIGH/LOW”

WOO FALL/WINTER 2021

OLD GROWTH

The ancient trees you see in British Columbia’s forests may be over 2,000 years old. These forests with old growth trees are rich in biodiversity and support numerous animal and plant species that cannot live in other habitats.

HERITAGE HOUSE

Each year, 200,000 hectares of forested lands in B.C. are logged for the construction of buildings and homes. The province says 27 percent of this annual harvest comes from old growth trees.

DEMOLITION

The demolition industry generates millions of tonnes of waste annually in Canada, 37 percent of which is valuable lumber.

UNBUILDERS

Unbuilders is a deconstruction company that salvages most of the building’s components, yielding less than 5 percent waste on average. On each project, Unbuilders diverts 50 tonnes of waste and salvages 10 tonnes of lumber.

RAW WOOD

Students hand picked the salvaged wood from Unbuilders. Each 2x4 displays imperfections such as nail marks, splits, and discolouration.

PROCESSED WOOD

Students process the wood through the chop saw, industrial planers, and jointers to reveal the natural colour of douglas fir.

LAMINATION

7 "ORIGIN"

The planks of wood are laminated together using bar clamps and wood glue to create table and bench tops.

YEAR 4 INDUSTRIAL DESIGN

origin of the wood

HIGH/LOWPROCESS

“HIGH/LOW”

WOO FALL/WINTER 2021

MICHELLEZHENG YEAR 4 COMMUNICATION DESIGN OIL ON CANVAS [2021] @MICHELLEZHWNG

* HYPE

A R E O F MY W S A

* HYPE R-

A R E O F MY AW

F EL

R-

staring back at me This piece was created last year while going through Zoom University, and showcases my experience attending school and working from home. While doing so, I was sitting in front of a floor-length mirror on most days and, as a result, became hyper-aware of myself. I became distracted by my reflection and suddenly felt foreign in my body when I caught myself hunched and in deep concentration at 3 AM trying to meet deadlines. Attending class but being able to constantly see myself was also like sitting in front of a mirror all day—intrusive and uncomfortable. I found myself zoning out and staring at my video window instead of listening to what is being talked about in class. Here too, I felt foreignness in my own body. THIS PIECE HIGHLIGHTS THE FEELING OF NOT ONLY OBSERVING AND STARING BUT ALSO FEELING STARED AT BY MYSELF —AM I STUDYING THE FIGURE IN THE MIRROR OR IS THE FIGURE IN THE MIRROR STUDYING ME?

"ORIGIN"

MICHELLE ZHENG

TALLONELLISON YEAR 4 VISUAL ARTS

OIL ON CANVAS [2020]

@TALLONEATSPAINT

ucluelet

THIS PAINTING IS BASED ON A PHOTOGRAPH FROM A TRIP I TOOK TO UCLUELET IN NOVEMBER OF 2019 PRE-COVID. CREATING THIS PIECE WAS MY WAY TO HAVE SOME SORT OF COMFORT WHEN I WAS HAVING TRAVEL NOSTALGIA DURING THE MONTHS OF LOCKDOWN.

TALLON ELLISON

WOO FALL/WINTER 2021

"ORIGIN"

CHERYL WONG

CHERYLWONG YEAR 3 COMMUNICATION DESIGN

“ ORIGINAL.

A work of art must be ORIGINAL.

“ SCAN HERE TO VIEW O N L I N E

“ORIGINALITY MANIFESTO”

@CHERYLW_CREATIVE

We, creatives, are always taught to be original, that we must not copy, that originality and uniqueness create the next great work of art. One can be inspired by but cannot duplicate history, cannot be a version of the past. However, have we ever thought about what it actually means to be ‘original’? Especially when there are 200,000 years of human history, 6,000 of those we call ‘civilization’. Everything, literally everything has been thought of by someone, at some point, somewhere on this planet. The only group of people who can call themselves ‘original’ might just be newborns. One can even argue the moment a baby comes into this world, there are already multiple factors that can change their life. From the first “hello” to the first hug, these simple yet influential actions of love and care are already expressions communicated to the baby; whether they remember them or not, they are still messages delivered and received that can affect each individual. Based on our current understanding, the relationship between creativity and originality is rather close and interchangeable. We have been told to believe that creativity is the ability to think differently, coming up with ideas that are brilliant, magnificent, magical, unconventional, avant-garde, and remarkable. Similar to originality, it creates an arbitrary status system between creatives which categorizes certain groups to be more valuable, disregarding all the stories and influences that brought them to where they are today. This might as well be the unspoken Canon of the industry, a group of ‘elites’ that controls the ideals (a very “Big Brother” phenomenon). How problematic is that? We need to stop calling ourselves original. We are unique individuals but most definitely not original. We are the product of our parents, memories, experiences, environment, the people we are surrounded with, and of our time. What we need in the creative industry is an awakening from our selfish pride and recognition of others, embracing what built us and composed our ‘own’ symphonies, as well as celebrating the idea that we are all UNoriginal.

WOO FALL/WINTER 2021

KIRTSAWYER YEAR 2 VISUAL ARTS FILM PHOTOGRAPHY [2021] @WORMCREATIONS

"ORIGIN"

KIRT SAWYER

house series A two-part and two-page series of 35mm photographs that were edited together in Photoshop, exploring the domesticity of the suburban house. In this work, the artist wanted to photograph the scenes of their hometown as a way of investigating what it means to have attachments to a certain place and its scenery. This work asks questions about what it truly means to feel at home, and how that is connected to the physical realm as well as the domestic nature of the house. The artist uses the domestic as a starting point for their collage to also explore how feminity and queer identity can intersect with the stability of the house as a whole.

“HOUSE SERIES”

WOO FALL/WINTER 2021

sprout TITLED “SPROUT,” THE ZINE ORIGINATES FROM CONVERSATIONS ABOUT OUR RELATIONSHIP WITH FOOD, COMMUNITY, AND LAND. “SPROUT” ALSO INTENDS TO RAISE AWARENESS OF FOOD WASTE AND LOSS ISSUES THROUGH AN EVOCATIVE AND POETIC APPROACH; VISUALIZING IMPORTANT REFLECTIONS ON THE IMPACT OF OUR EVERYDAY CHOICES.

AILYNISHIOKA YEAR 3 COMMUNICATION DESIGN PUBLICATION DESIGN [2021] @AILY_026

"ORIGIN"

AILY NISHIOKA

RUBYPANG YEAR 4 COMMUNICATION DESIGN MIXED MEDIA [2021] RUBYPANG.COM

rooftop parking

THERE, WITH YOU ALL, IT FELT LIKE A COMING-OF-AGE MOVIE RUBY PANG

WOO FALL/WINTER 2021

falling FALLING was initially a personal project that represented the feeling of getting older and feeling as if I am falling further and further away from who I used to be as a person, old dreams I once had, and old friends and relationships. It is a bittersweet feeling of trying to hold onto fond memories of the past, but feeling more and more burdened by the present as each year passes by that I am reluctantly forced to let go. FALLING was supposed to be a one-off piece, but after including the piece in my application to Emily Carr and getting accepted, I ended up making a second piece as a nod to the first and to continue what feels like an ongoing visual journal to represent how my feelings of time either change or remain the same.

"ORIGIN"

JORDAN WALCZAK

FALLING 2 is more a sense of “falling up”, as I feel more confident in myself and who I have become over the past year. However, I also feel as if I am still lost in direction, and I just stumble through uncomfortable and uncertain decisions and moments in life. I may have accomplished some of my goals and made headway on others, but I do not feel as fulfilled or “finished” as I would have expected. Each accomplishment feels hollow, and I am on a constant search to fill that void with bigger goals and dreams to find meaning in my life.

YEAR 2 COMMUNICATION DESIGN GRAPHIC DESIGN + PHOTOGRAPHY [2019-2021] BEHANCE.NET/JORDAN_WALCZAK

“FALLING”

WOO FALL/WINTER 2021

keep it on the low

KEEP IT ON THE LOW IS ABOUT TWO GIRLS AT A PARTY. IT IS ALSO A REFLECTION ON QUEERNESS AND PRIVATENESS, AND THE IMPORTANCE OF KNOWING YOURSELF.

HUNTERSKUCE YEAR 4 ILLUSTRATION DIGITAL 5X5” [2020]

"ORIGIN"

HUNTER SKUCE

calling home

WHEN I THINK ABOUT THE FILIPINO MIGRANT EXPERIENCE, A LARGE PART OF IT IS FAMILY SEPARATION AND OFTEN THAT IS NATURALIZED AS PART OF THE PROCESS. IN THIS SET OF RISOGRAPH-PRINTED POSTCARDS, I EXPLORE THE IDEA OF COMMUNICATION AND CONNECTION BY COMBINING THE CONCEPT OF PRE-PAID PHONE CARDS AND POPULAR FILIPINO FOOD PACKAGING. I WANTED TO EVOKE A SENSE OF JOY AND THE RESILIENCE OF MANY FILIPINO MIGRANTS IN THE FACE OF LONELINESS AND DISTANCE THROUGH THE USE OF BRIGHT COLOURS AND NOSTALGIC IMAGERY THAT REMIND THEM OF HOME... MY HOME. Growing up in the Philippines and moving to Canada at an early age separated me from my family and distorted my views on my cultural identity. For the better part of my childhood, I avoided my FilipinoChinese background because I felt unaccepted as an immigrant in Canada. However, as I continue to grow older and develop my practice, I am drawn to the ways my cultural histories shape my worldviews and add beauty to my work. While I am still learning to navigate my complex cultural identities, I am also learning to accept all of the parts of me that exist in dissonance or trauma, as well as joy and curiosity.

FYONNALADDARAN YEAR 4 COMMUNICATION DESIGN

PRINT [2021]

FYONNA LADDARAN

FYONNALADDARAN.COM

WOO FALL/WINTER 2021

where do i belong?

KAMILA BASHIR

YEAR 2 INDUSTRIAL DESIGN PHOTOGRAPHY [2020] @_KAMILA.BASHIR_ "ORIGIN"

KAMILA BASHIR

ARETHAPEREIRA YEAR 3 ILLUTRATION GRAPHITE AND PEN ON BRISTOL [2019] ARETHAPEREIRA.COM

THIS SERIES ILLUSTRATES THE PHYSICALITY OF SPACE ASSOCIATED WITH THE CONCEPT OF “HOME”, AND CHALLENGES ITS PERMANENCE TO ENCOURAGE A DEFINITION WHICH CONSIDERS TRANSIENCE AND CHANGE. IT DEPICTS THREE PLACES I HAVE CONSIDERED TO BE MY HOME AT DIFFERENT POINTS IN MY LIFE, ALONGSIDE PASSPORT STAMPS THAT INDICATE MY TRAVEL AND TRANSITION BETWEEN THEM. TOGETHER, THEY ACT AS A COLLECTION OF WHAT IT MEANS TO HAVE MUTLIPLE HOMES THAT EXIST WITHIN AND BEYOND PHYSICAL LOCATIONS.

located: you are here ARETHA PEREIRA

WOO FALL/WINTER 2021

Soar

YEAR 3 ILLUSTRATION ARETHAPEREIRA.COM

ARETHAPEREIRA

I used to be so comfortable on airplanes. Swoosh says the Time. Two hours early turned to three and here we wait. I sit and I think and I play on my Nintendo DS and I’m very upset because this Phineas and Ferb game was a gift from my aunt and if I don’t beat this level I will have failed her and I am so absolutely positive she will be upset that her niece can’t figure out what Phineas and Ferb are doing today.

"ORIGIN"

ARETHA PEREIRA

It doesn’t begin like that anymore. The checklist is much longer now. Papers on thick papers in vinyl folders; I am a billboard of information to ensure departure. Everything is in order and yet I am not. The airplane’s carpeted floors once felt like home. Now they scratch up my socks, making me rethink every step. Why do I doubt myself so much? I have literally done this more times than I have gone grocery shopping alone. The paperwork is back. So much paperwork, always. They said blue pen was okay, right? Ink traces across my skin, from fingertip to fingertip. I am always carrying a pen, ready to document my origin—the space between destinations. I wish I could embrace the wonderment more. I am literally in the sky and everything is going right. Why does this part of the journey always begin with a headache? My skull is knock knock knocking saying “go to sleep! No, don’t go to sleep. Where’s your passport?” Minutes into moments into hours and I realize that only one person looked at my ID this time. I used to play the airplane TV games with strangers on the same flight. A vessel with no internet and yet virtual connection always powers through! I feel their giggles through my screen, their chess moves laughable, mine downright offensive. My opponent could be a real-life-adult. There are no games this time except the one I always play. But I do have an extra life, because I checked-in online. Remember when I could sit on the suitcases? It’s a little less stressful when I do this alone, because I never feel alone. A guardian angel but way way less mythic. Robin Roe: People I love will be watching me. Their eyes like safety nets, I can’t fall. Suspended in the air, I watch them from above; I am not afraid of falling. I am afraid of when the processes re-begin. I am afraid of bureaucracy. I never take a window seat if I can help it and sometimes I wonder if I should. I love to look out, I loved to seeeeeeeeeeeeee. I am in clouds, soft sweet cool clouds, engulfed in a single moment, and how can Time move if they do not? Every trip, I am but a passenger. I soar. Soooooaaaaaar.

“ARRIVALS”

WOO FALL/WINTER 2021

CARRIEBRAYBROOKS

YEAR 4 COMMUNICATION DESIGN PHOTOGRAPHY [2017-2019] CARRIEBRAYBROOKS.COM

"ORIGIN"

CARRIE BRAYBROOKS

carrie loves her sony THIS IS A SERIES OF PHOTOGRAPHS I TOOK BETWEEN 2017 AND 2019—SOME OF MY FAVOURITES. WHEN I THINK ABOUT ORIGIN AS “THE POINT OR PLACE WHERE SOMETHING BEGINS” IN RELATION TO MY PRACTICE, MY MIND GOES STRAIGHT TO MY RELATIONSHIP WITH PHOTOGRAPHY OVER THE YEARS. I’M A DESIGNER, YES, BUT MY FIRST LOVE WAS PHOTOGRAPHY. IT’S WHAT GOT ME INTO THIS SCHOOL (ANYONE WHO KNOWS ME KNOWS I CAN’T DRAW OR PAINT TO SAVE MY LIFE). MY JOURNEY WITH PHOTOGRAPHY HAS BEEN A LONG, EVER-CHANGING ONE. NO MATTER HOW MANY MONTHS GO BY THAT I DON’T TAKE MY CAMERA OFF THE SHELF, I KNOW I’LL ALWAYS COME BACK TO IT.

“CARRIE LOVES HER SONY”

WOO FALL/WINTER 2021

ANGELACHENG YEAR 4 INDUSTRIAL DESIGN CERAMICS [2021] @ANGELADESIGNS_

"ORIGIN"

THERE IS A SENSE OF DUALITY PRESENT IN THE TRADITION OF SHARING TEA. WHETHER IT’S TWO PEOPLE ENJOYING DIFFERENT WAYS OF BREWING TEA OR TWO CULTURES SHARING TEA RITUALS WITH EACH OTHER, THE IDEA THAT THIS TEA SET IS NOT WHOLE UNLESS IT IS SHARED INSTILLS A FE E LI N G O F CO N N ECTI O N . TH I S PRO J ECT ALLOWED ME TO EXPLORE MY IDENTITY AS A CHINESE-CANADIAN DESIGNER, WHILE ALLUDING TO A HISTORY OF CROSS-CULTURE POLLINATION BETWEEN DIFFERENT CULTURAL BACKGROUNDS.

ANGELA CHENG

confluence 合流

“CONFLUENCE 合流 ”

WOO FALL/WINTER 2021

YEAR 2 ILLUSTRATION DIGITAL PAINTING [2021] @SLYNKO_

actual art degree

ANTONYSLYNKO CEREBRAL CORTEX: “THIS IS REPULSING, A BEAUTIFUL CACOPHONY OF YOUR SELF-IMPORTANCE, SOMETHING TO FUCK THE EYES OF ANYONE WILLING TO LOOK. AMAZING WHAT YOUR BRAIN WILL TELL ITSELF IN RETALIATION OF ITSELF—WHY EXPLAIN IT AT ALL? HOW ENGAGING DO YOU THINK IT IS; HOW FASCINATING DO YOU THINK YOUR JOURNEY IS, TRULY? DO YOU THINK YOU’RE BETTER THAN THE REST? DO YOU THINK THIS IS GOING TO BE THE LAST CREATED PIECE OF ART TO EVER BE SEEN BY ANYONE? IT MIGHT BE THE QUICKEST FORGOTTEN PIECE OF ART CONSIDERING...NEVER MIND. REALLY FLEX THOSE MIND BUTTOCKS NOW—DOES THE MEANING OF THIS TRULY MATTER AT ALL? WHY SUBJECT YOUR SOON-TO-BE OUTDATED IDEAS OF WHO YOU ARE ONTO OTHER PEOPLE? LET THEM FLY, LET THEM FIND THEMSELVES IN IT AND YOU SIMPLY WATCH FROM AFAR, AS THIS ABOMINATION LAYS TO REST IN THE CRACKS OF YOUR BRAIN UNDER YET ANOTHER REPULSIVE LAUGH.”

"ORIGIN"

“

ANTONY SLYNKO

”

JIHOLEE YEAR 3 COMMUNICATION DESIGN DIGITAL [2021] @JIH0LEE

stop asian hate

I THINK MOST OF MY IDENTITIES WERE CREATED IN MY CULTURE AND AS AN ASIAN, I WANT TO HELP MY COMMUNITY. RECENTLY, ASIAN HATE CRIME SKYROCKETED BECAUSE OF A PANDEMIC. LOTS OF PEOPLE BLAME ASIANS AND MANY ASIANS WERE ASKED TO LEAVE THE COUNTRY. BUT AS AN ASIAN, I AM PROUD OF MY CULTURE AND I WANT TO EXPRESS HOW STRONG WE ARE THROUGH THIS PROJECT.

JIHO LEE

WOO FALL/WINTER 2021

PARUMVEER WALIA

my people are bleeding

[OCTOBER 8 2021]: ‘MY PEOPLE ARE BLEEDING’ IS AN INSTALLATION EXPLORING MY ROOTS AS A PUNJABI IN RELATION TO THE CURRENT CRISES IN PUNJAB AND THE FARMER’S MOVEMENT, WHICH HAS NOW FIERCELY EXISTED AT THE NATIONAL CAPITAL FOR OVER A YEAR. THEIR COURAGE AND RESISTANCE TO FIGHT FOR THEIR LIVELIHOODS HAVE BEEN MET WITH STATE ENABLED AND ENFORCED VIOLENCE AND OPPRESSION, AND WE HAVE NOW LOST OVER 600 BRAVES IN THE MOVEMENT. THESE BRAVES ARE PEOPLE OF OUR LAND, PEOPLE THAT MAKE PUNJAB WHAT IT IS, AND THE PEOPLE THAT FEED AND NOURISH OUR COUNTRY; THESE ARE OUR FATHERS, SONS, AND BROTHERS, OUR SISTERS, DAUGHTERS, AND MOTHERS. THE WORK WAS MADE ESPECIALLY IN RESPONSE TO THE RECENT LAKHIMPUR KHERI MASSACRE. THEIR FIGHT STILL GOES ON, THEIR VALOUR STILL UNDEFEATED, BUT GREATER AWARENESS, EMPATHY, SENSE OF RESPONSIBILITY AND ACTION TOWARDS WHAT IS HAPPENING IN PUNJAB IS URGENTLY NEEDED. FOUNDATION YEAR TINTED WATER ON FLOOR, WITH CUTLERY [2020] @PARUMVEER.ART

“MY PEOPLE ARE BLEEDING”

WOO FALL/WINTER 2021

FOUNDATION YEAR @AAN_8864

ANOUSHKANAIR "ORIGIN"

WHAT I NOW CALL ME In India, as we speak, there lies a total population of 1.38 billion people. Yeah I know! That’s a whole lot! In these loads of bunches of multitudes of people, there are many many families settled and enjoying their breakfast, lunch or dinner at this moment. Now you’re probably wondering why I’m giving you this vague information you have no business knowing and that’s a very valid point but let me finish, will you?! The point is that India and the concept of families are deeply entangled with one another. In fact, family is the most important institution in India, that has survived through the centuries and as a country, we intrinsically place huge importance in collectivistic values like family interdependence, harmony, loyalty, and most importantly, unity. Hence, given this information, it may come as no surprise to you, my fellow readers, that yes—I am indeed an extremely family-oriented person. The point is also that I figured this out about myself only recently; a month ago; when I shifted 11 107 km away from my family, my home, my origin—to pursue my creative education. Speaking of creativity, I’ve always been a creatively-inclined person but I never drew for myself. Because I didn’t know myself... Now, many of you may

be thinking, really?!! Please tell me we’re not gonna be jumping on the knOw yOUrsElF bandwagon—yes we are. Because art and your origin of identity are deeply interrelated. Who are you? Why are you making art? What does it mean to you? These questions need not be answered right at this moment, but you should know what you want out of your creative purpose. One way of truly knowing that is knowing your origin, for the phrase origin means nothing but the beginning of a story; in this case—your story. Speaking of stories, I have one as well. One that inculcates my family and friends: to start with, let me introduce my parents—Mr. and Mrs. Nair, the Jodha and Akbar in my life. My mom, although the eldest, is undoubtedly the “spoon” of our family. She is the smallest, yet is the one without whom we just can’t get anything done. She brings us together and is a very family-oriented woman; a born leader, an amicable team player, an amazing partner and a loving mother. Just as every spoon needs a fork, my mom needed my dad—Mr. Nair, the “fork” of the family... He successfully does the things the “spoon” couldn’t. The backbone, or rather “back-fork” of our family—he conquered the IT world and is one of the most irrefutable geniuses I’ve ever encountered. Co-found-

ANOUSHKA NAIR

ing six companies and living up to the esteemed title of “the CIO” can be quite burdening, but that never stopped my dad from bringing the brightest smiles on our faces every time he came back from work. All the way from getting fascinated by how well I could draw a small flower to supporting my life decisions to become a designer, my dad has always satiated the true definition of a “father”. Although he may seem like one of the most uber masculine men one may ever come across, in his personal world, he is the softest fork a person can ever be. Now I’m not going over the details, but let’s just say the spoon and fork had two “sporks”—my sister and I. My elder sister, who likes to enunciate on the “one year and eight months age difference” based on her convenience, is one of the bubbliest people I have ever seen. She is literally a “spork” kind of person—she can be a little edgy on some days, but has the ability of making every person in the room feel included when she talks. She gets her “social skills” from our mother and her “IT skills” from our father, as she aims to follow a similar path my dad walked through. She’s technologically gifted as she knows her coding skills well (something she likes to tease me about), but also gets extremely excited and proud whenever I achieve something in life. Now, the one member that I adore the most, is my grandmother—the “table napkin” of the family. She takes care of all of us, wraps us all with her love and affection and doesn’t expect anything in return. She’s been through her share of obstacles in life, having been someone who went through child marriage, she had to take care of an entire family at an age when I now imagine to pursue my dreams. She forgot her dreams to support her family, but it never killed her passion. She still loves to sing, dance, draw and play the keyboard—watching her live her life as if it has just begun made me realise that there is simply no age limit to happiness. Her drive for outdoor activities, playing games and socialising, makes her seem like more of a teenager than me. I learn from her every single day to never give up on something you truly enjoy doing, that being successful in life doesn’t simply mean surviving hard times, but thriving through them. Again, y’all can definitely question why I just gave you a breakdown on my family, when you have no purpose knowing them. But I did it to show you that each and every member of my family wrote the beginning of my story, gave me a canvas to express myself on, added to what I now call—me. You see, through knowing my personal beginning well—I realised that art was genuinely, whole heartedly, sincerely meant to express, not impress. Whatever you

wanted to express was your choice, but it should be something that comes from you. That’s why I believe an artist’s job is one of the hardest jobs to ever exist. I know that society has a preconceived notion about what “good art” is supposed to look like, but no matter how terribly easy or difficult an art piece is, no matter how much of an “effort” a person puts in it—it has a story behind it.

THAT IS EXACTLY WHAT MY FAMILY HELPED INSTILL IN ME TILL NOW— A SENSE OF PURPOSE, A STRONG PILLAR THAT NEVER BREAKS, THIS IDENTITY I NOW EXPRESS AS ME.

I also know there are people who misuse this field of occupation only to acquire money. Hence, generalising this concept isn’t my right, neither should it be anyone else’s. Know someone’s story before you scrutinise and deliberate upon their work; if you must, ignore them if you don’t believe them. But while other professions may require you to primarily conquer and understand the external world, Art as a profession requires you to conquer the internal world. To have the courage and stability to lay down your feelings on a canvas and have people scrutinise and judge how much your artistic expressions are valued in terms of materialistic possession. To have the humility and self esteem required to let people invalidate your art pieces for its price or story behind it. It takes a humane person to let people into their world and not have their opinions affect their reality. That is exactly what my family helped instil in me till now—a sense of purpose, a strong pillar that never breaks, this identity I now express as me.

VALERIA PAZGARCIA pancita llena, corazón feliz zine

YEAR 3 COMMUNICATION DESIGN PUBLICATION DESIGN [2021] @VALPAZ_PHOTOS

After two years living away from my beautiful country, I realized what I missed the most besides my family and friends: Mexican street food. Cheap, delicious Mexican street food. In high school, most of my food came from different “carritos” street vendors. One could say that the food from the vendors raised me and helped me pass many exams by giving me energy and sustenance. Since I moved to Vancouver, the search for authentic Mexican restaurants started, and I’ve found some, but not all of them sell what I want. Thus, I decided to cook the food and dedicate a whole zine to street vendors. One can also know who someone really is by their favourite “carrito” or favourite “taco de canasta” order. Therefore with this zine, one can learn who I am. THROUGH THIS PROJECT, I WANTED TO SHOW PEOPLE THE LOVE I HAVE FOR MY CITY AND ITS STREET FOOD. IT IS ALSO A WAY TO PORTRAY A DIFFERENT SIDE FROM MEXICO CITY THAT MOST PEOPLE FORGET OR ARE NOT REPRESENTED IN THE MEDIA. Street vendors, for me, are a kind spandrel of the city. They fill every street and block of the whole city. One can find street vendors in any part of the city, rich, middle, or low. There are socio - economic disparities in the city. However, street food unites the town.

“PANCITA LLENA, CORAZÓN FELIZ ZINE”

WOO FALL/WINTER 2021

LUCIA PONCE LARESGOITI YEAR 4 INDUSTRIAL DESIGN DRAWING + PAINTING [2021] BEHANCE.NET/LUCIAPONCEL

WE LOOKED AT DIFFERENT HELMETS AND GOT INSPIRATION FROM EXISTING DESIGNS, ELEMENTS OF NATURE, AND INDIGENOUS MEXICAN SYMBOLS AND PATTERNS. HE TRIED TO KEEP THE DESIGN MINIMAL AND CLASSIC, WITH THE DETAILS CONTAINED WITHIN A SPACE SO THEY WEREN’T OVERWHELMING. MY BROTHER ALSO WANTED A SIMPLE BUT BOLD COLOR PALETTE. WHILE INITIALLY THE CONCEPT FOR THE BACK INCLUDED THE MAYAN SYMBOL FOR THE DEER, MY BROTHER’S ANIMAL AS PER THE MAYAN HOROSCOPE, HE LATER HAD THE IDEA OF REPLACING IT WITH A TREE TO REPRESENT THE AHUEJOTE—A TREE SPECIES FOUND BACK IN OUR HOMETOWN, MEXICO CITY. MY BROTHER AND HIS FRIENDS USED TO SIT UNDER ONE TO HAVE LUNCH EVERY DAY IN HIGH SCHOOL, AND IT SOON BECAME A SYMBOL OF THEIR FRIENDSHIP.

"ORIGIN"

raised in mexico and racing like a mexican

I DESIGNED THIS HELMET FOR MY BROTHER WHO IS A KARTING AND CAR ENTHUSIAST. BEFORE WE MOVED TO CANADA, MY BROTHER USED TO DRIVE GO-KARTS IN MEXICO, BACK WHEN HE WAS YOUNGER. HE PICKED UP THIS PASSION WHEN HE MOVED TO MONTREAL AND ASKED ME TO HELP HIM WITH THE DESIGN OF HIS ARAI HELMET.

LUCIA PONCE LARESGOITI

My childhood dream was always to become a designer. I loved designing in every form, from experience design to product design and as I grew older, the question that plagued me was: which type of design did I want to pursue? How could I make my dream a reality? Architecture was always out: Too competitive, too crowded, and unrewarding. Graphic design had similar problems: competitive and a bit demeaning in the worst of circumstances. So, I thought industrial design was a good fit. It has a more open playing field, better job prospects, but also has lots of flexibility. When I applied to Emily Carr, it was to chase my dream, to become a world renowned industrial designer, like Dieter Rams or Jony Ive. I wanted to be that talented, and it felt like there was nothing that could stop me. Emily Carr stopped me. I was more interested in hands-on work and learning the ins and outs of design than writing or appreciating art history. Unfortunately, the latter two things made up much of Emily Carr’s program. Because of this my grades in the humanities dragged my GPA down to the point where I was no longer eligible to go into Industrial Design—what I came to the university to do. It felt like that was the end of my design career, the end of my dream, and at that moment, it really was. I left Emily Carr, went back home to Nova Scotia, and decided to start a degree in business at St Mary’s University. You won’t believe this but I wasn’t very passionate about Excel spreadsheets. When I first began my business degree I thought it would be a fun, dynamic entrepreneurial experience; it was not that. It was math, Excel, and plot diagrams. For many people, this is great work, yet for me I couldn’t help but feel like I was wasting my time, that I was missing out on my real passion. I only lasted one semester at St Mary’s. One semester that at the time I thought didn’t teach me anything, but looking back on it now, I think it taught me maybe the most important thing of my entire youth: that no matter what happened to me, no matter what setbacks I faced, my true passion would always be design, and anything else would pale in comparison. Even though I’d given up, my dream was still alive and begging me to chase it. I knew deep down that I had to be a designer; it was like a physical impulse. So I quit. I left St Mary’s, and reapplied to Emily Carr. I packed up all my things and for the second time moved across the country to chase my dream of becoming a designer no matter what, even if it wasn’t industrial design. So I started my degree in Interaction design, and I can’t lie, it’s been a love-hate relationship. From the get-go I felt limited by doing two dimensional work and only being able to create squares on squares with different varieties of layers and stacks and on top of that learning to take user feedback was a challenge, especially in something I was so passionate about. Taking criticism about work you’ve poured your soul into takes a tough person; you have to be able to stand behind your ideas while somebody tears them apart. Sometimes I felt like Interaction Design wasn’t for me, but I knew that this time I had to stay and see it through. If

origin of a dream I wanted my dream to come true, I had to be more tenacious and just get the damn degree. That wasn’t the end of my story though. Over the years I began to fall in love with experience design, and I found niches within the field that I felt I could learn to love and be a part of, even though it wasn’t my original goal of industrial design. I began to feel more like part of the community, and part of the field in a meaningful way, like I could have an impact on something as dynamic and fast paced as experience design. So I made a commitment to myself. It came after a series of conversations with my best friends: “do you really love your job? Like, every aspect of it? How did you come to choose it?” I asked. They told me that they didn’t, but that they committed themselves to it one hundred percent and they found passion in their dedication to their craft. I took that to heart. I figured it was time to stop feeling as if there was something else for me, to give up the musing of being someone else and doing something else, and become the designer that I always wanted to be; to dedicate myself to interaction design and give it all of my energy. To master the craft. This was a complete game changer. Once I stopped imagining myself as being something else and just dedicated myself to improving my skills in interaction design, I started to find a deeper passion for it, I started to stake out my niche. This began with researching the people that inspired me the most, creators like Gleb Kuznetsov, or Phenomenon Studio, and I asked myself: “How do these guys create this?”, “How am I going to learn how to make this?” And so I did. I studied every single day, YouTube tutorials, online forums, learning everything I could about how they create their designs. I’ve still got a long way to go to reach their level, but for each new design I make I feel I get a little bit closer, and it’s the most rewarding feeling I’ve ever experienced in my life. I am, for the first time in my life, confident in my own ability as a designer to create work that is objectively exciting and innovative. I can’t begin to describe how that feels. Following your dream may not play out how you imagine. It will inevitably take you to places you could’ve never imagined. You won’t be who you were when you started, and you will fail. You will give up. You will be lost. You will feel hopeless, and you will doubt yourself and your abilities. But sometimes you have to go through setbacks and self-doubt to realize how much your dream means to you, and realize your drive to pursue it. If I have learned anything, it’s that you have to keep going, you have to find your niche, and you have to find your passion and stake your claim. And once you’ve found it: Master it. Live it. Breathe it. Make it all you care about. All you do. Make it what you get out of bed for and what you stay up at night dreaming about. Because what’s a life worth living if you aren’t doing what you love to do?

LEONARDO FELIX GIORDANI YEAR 4 INTERACTION DESIGN

@ITS_LEO_GIO

LEONARDO FELIX GIORDANI

WOO FALL/WINTER 2021

goblins of the night

I decided to tell a story that was inspired by my little brother. When he was little, five or six years old, my brother would walk around with his nerf gun and minecraft foam swords everywhere. As this was not strange for a little boy, no one genuinely questioned it. One time, he took a foam sword with him on our trip to visit our family in South Korea. I think you know where this goes. To this day, I have no memory of how his toys got through customs and security. But he did, and I remember vividly the alarming yet playful sounds that those toys made while he blasted his toy guns and swords at actual people in the airport. It is possible that I might be remembering the logistics of this memory wrong but what I do remember is the feeling of utter shock. How could my parents just let this happen? But then again, they did have to take care of the four of us so now I can see how things got a little crazy sometimes. Now, this is the part where I explain the image. My mom told me a story about some forest goblins that live in the country side. And with them at all times is a very magical looking weapon-like drumsticks that give them the power to determine one’s health, fairness, and good fortune (unfortunately I ran out of time to add this wand in). But whatever you do, never show greed and disrespect to these enchanted goblins or they will give you a punishment until you’ve learned your lesson. In this illustration, I wanted to portray my little brother (being the chaotic ball of energy that he is) encountering a goblin spirit in the empty enchanted woods of rural Korea. It was a chance for me to be playful and experiment with new textures and compositional ideas. I also wanted to try out outlining and non-outlining techniques and how that can add to a scene. I tried to create an intense dynamic between the two characters but also leave room for interpretation. This was also an opportunity for me to showcase my heritage and some stories my mother would tell me and my siblings when we were young regarding traditional folk stories about South Korea.

OLIVIAOH YEAR 3 ILLUSTRATION DIGITAL 8.5X11’’ [2021] OLIVIAOH.CA

"ORIGIN"

OLIVIA OH

W H AT W I LL H A P P E N N E X T, I WO N D E R ?

KENNETH BOEDIMAN YEAR 4 INDUSTRIAL DESIGN MOBILE PHOTOGRAPHY [2019] @LIMITED.EXE

home

FOR THIS YEAR’S THEME OF “ORIGIN”, I HAVE CURATED A SERIES OF PHOTOS THAT RESONATED WITH ME THE MOST WHEN I THINK ABOUT WHERE I CAME FROM AND THE PLACES I HAVE BEEN. HAVING FAMILIES IN DIFFERENT PARTS OF THE WORLD, I OFTEN STRUGGLED WITH MY IDENTITY AS A KID, BUT NOW GROWING OLDER, I CALL HOME THE PLACE WHERE ALL MY FAMILY CAN ALWAYS RETURN TO AND BE TOGETHER. IN MY CASE, HOME IS IN INDONESIA AND SINGAPORE. "ORIGIN"

KENNETH BOEDIMAN

“HOME”

WOO FALL/WINTER 2021

BORN TO A WOMAN OF SACRIFICE & COURAGE BORN TO A MAN I AM STILL LEARNING BORN IN A CITY THAT HAD LITTLE LOVE FOR THOSE LIKE HIM [SENT TO A SPACE THAT HAD LITTLE SPACE FOR HIM] "ORIGIN"

PARUMVEER WALIA

DEFYING

THE

SINGULAR

THERE IS SOMETHING ABOUT THE and that my eyes will adore the ground I I hope that maybe you’ll believe me when I ABSOLUTISM OF MY ORIGIN THAT I am on and not look to a Mecca in the fu- tell you I am originating anew again—that as I sit in a rickshaw and go out to grab ice AM STARTING TO PROTEST AGAINST. ture I am yet to make or discover. cream, I take in and cherish the delightTo have my celestial complexity and dimen- My story changes at every stage. And fully chilly and clearly polluted air around sionality flattened onto a paper surface with that, I start to become someone new me, and hold it in my lungs for as long as I can. Because I know I miss it already. Beto make palatable to another and easier or someone different at every stage too. cause this is what Home smells like and, if to archive in the record of all of life is a the stories are true, I don’t expect the air I know this is not the correct answer. sin I wonder how long I can remain comin Canada to smell of this. plicit to. I am originating, so what shall I answer when asked about my origin, as if But I need to tell you that I originated when set in stone and locked away in the Tem- I was on that high school stage under the We spend our lives trying to make sense ple of Truths, where any questioning of bright stars that shone just for me and of the story we have been told as our orit would make me blasphemous and un- shakily orated a poem about a crocodile igin, not realizing that we are beings of holy? How do I tell you that my hands are that eats boys and girls alike. That when continuous origination, creatures and dirty because I am still chiseling away at I was hugged and held by strangers right bringers of delectable entropy that could this artifact I indeed did go and reclaim? after, the first time I experienced a crowd never exist in a static constancy, that we How can I get you to believe that I am of mobbing to share love, is when I was born were meant to be non-finito, designed to be the painting that is perpetually drying, infinite origins, that every day I learn more into something else unknowingly. that is never separated from the brush of the origins of the people who originated me, and that that seems to change my That I had my origin last month when I because there’s always something to stories in ways that sometimes I feel like hugged my best friend of 19 years good- add, something to layer, something to I’ve picked up a totally different book to bye so she can move towards originating hide. As we move recklessly through the read—its story too unfamiliar and wildly the story she had always wanted for herself. continual of constructing and detonating landscapes and stories both around and morphed overnight. That I had an origin when I broke my first heart, within us, we become embodied evolutions much more wondrous than any DarHow do I sound like I’m not bullshitting you when I tell you that I have had multi- Or when that guy stood across from me, winian laws I have ever heard of. ple births, and continue to have them, and laughing, fingers pointed and called me a I guess what I have taken these thousand that it’d be a shame to be remembered for chakka in 10th grade. words for is to try to ask you, get you to just one? Or when I asked my mother if she’s ashamed see, that till the nebulous divergences of our being synthesize into an existence I’d like to know how I can keep your inter- of me when I told her who I really am, that no longer exists as a challenge to est and not have you flip the page when and then decided to stop being space and time—let us not attempt to be I tell you that I am a nexus of intertwining ashamed for the burdens other people singular, for we were never meant to be. stories, histories, loves, and expectations are carrying on their shoulders. that I hope will one day miraculously clash We are thousands within one. We are into one; that, just like those Big Bangs my books tell me of, I too will synthesize I need to let you know that I also had an or- as brief and as eternal as the near-silent into an existence that no longer exists as igin when I saw a shirtless Chris Evans in gust that carries soul before skin. a challenge to space and time—that I’ll Fantastic Four, lighting flames across citARE ORIGINATION. become someone that exists in that mo- ies and hearts, and that that was the first WE ARE ORIGINATING. ment only, not busy reconciling with the time the caramel popcorn in my mouth WE shards of the histories I have walked on, tasted spicy.

PARUMVEERWALIA FOUNDATION YEAR

@PARUMVEER.ART “DEFYING THE SINGULAR”

WOO FALL/WINTER 2021

RYUNOSUKE KIKUCHI YEAR 4 ILLUSTRATION DIGITAL [2021] @RYUISON

"ORIGIN"

RYUNOSUKE KIKUCHI

the air without you

A GIRL PLAYS A HARMONICA BY THE WINDOW. YOU

T OVER.

SHE TURNS TO YOU, SMILES AND SAYS-

“Don’t tell my sister that I died.” SHE VANISHES.

A LUCID DREAM I HAD ALMOST 10 YEARS BACK. IT STUCK WITH ME FOR MANY YEARS AND WAS W H AT G OT M E STA RTE D I N LUCID DREAMING AND DREAM ART (WHICH NOW CONSISTS OF MOST OF MY ART PRACTICE). A PIECE THAT I HAD STARTED AND FAILED MULTIPLE TIMES, I COULD NEVER GET IT RIGHT AND HAD TO GIVE UP DUE TO MY LACK OF SKILLS. FEELING TH AT TH E TI M E I S R I G HT, I CHALLENGED IT ONCE MORE AND TOOK MY SWEET ASS TIME WITH IT. IT’S FINALLY COMPLETE.

“THE AIR WITHOUT YOU”

WOO FALL/WINTER 2021

MICHAEL OYARO

HE/HIM YEAR 3 FILM + SCREEN ARTS @MICHAEL.OYARO

faces of emily carr

FOLLOW AND SEND A DM TO @FACESOFEMILYCARR ON INSTAGRAM I F Y O U W A N T T O B E F E AT U R E D

FACES OF EMILY CARR CAPTURES THE STORIES, PERSPECTIVES, AND LIVES OF THE PEOPLE AT EMILY CARR UNIVERSITY. INTERVIEWING STUDENTS, FACULTY AND STAFF, FEC HIGHLIGHTS THE DIVERSE BACKGROUNDS AND CULTURES INDIVIDUALS COME FROM AND HOW THEIR PRACTICES HAVE BEEN FORMULATED. THE GOAL OF THIS STUDENT-RUN PROJECT IS TO SHARE PEOPLE’S STORIES, FAMILIARIZE FACES, AND HELP CREATE A COMMUNITY IN AND OUTSIDE THE CAMPUS.

W H AT I S T H E O R I G I N O F YO U R ART PR ACTI C E? How I feel about life, my emotions, what I go through, life experiences. My art practice originates entirely from that. If I wake up today and I’m in a good mood, I might as well do something with that on a canvas. And if I’m in a bad mood, I might do the same thing.

A S A N I N T E R N AT I O N A L S T U D E N T, D O Y O U F E E L IT I S I M P O R TA N T TO FE E L CONNECTED TO YOUR ORIGINS? Absolutely. You always have to go back to your origin because that is where it all started. When you come to a place where you have the resources to make art—which not many people in the world have access to, you always have to remember that your roots is where it all started. You came here and you grew... so you have to go back and plant more seeds.

DO YOU HAVE A FAVOURITE PART OF YOUR ARTISTIC PROCESS?

WHAT IS YOUR GOAL FOR YOUR ART PRACTICE RIGHT NOW?

My favorite part is the sketching process, which is where you transfer information from your vision to the paper, you design models, whatever you want. You can see a range of ideas coming together. That’s when you decide what something is going to look like, then you just need to fine tune it. I like that you can do this with whatever medium you are working with. It could be painting, or photography, or film. So that’s my favorite part — the beginning, which is the hardest.

My goal is to evolve my craft and improve it to a point where I can pass it down to the younger generations. I want to create a foundation where younger generations can be motivated and inspired to learn from art. I believe if you are gifted in such a way that you have ideas and create things that feel new to people, it is important to inspire and motivate others because you never know what they can create. I would like to have a foundation in my country Kenya, and eventually expand it.

FACES OF EMILY CARR

AS A THIRD YEAR , WHAT IS YOUR ADVICE TO FIRST YEARS? Right now, I’m working on a short film about time, so I’ve been thinking a lot about the importance of time. My advice would be to just make the most out of your time here, improve and hone your craft whenever you craft, do research, experiment all forms of art and explore. Make good use of your time and experiment as much as you can.

WOO FALL/WINTER 2021

faces of emily carr

FOLLOW AND SEND A DM TO @FACESOFEMILYCARR ON INSTAGRAM I F Y O U W A N T T O B E F E AT U R E D

WHAT INSPIRES YOUR FASHION? My fashion is inspired by Vancouver’s environment, vintage camping/outdoor styles, and old military equipment for bushcraft. I think my interest in vintage style began in the middle of high school. Some of the resources I look at for inspiration are old photography and the internet. My fashion combines modern street style with vintage outdoor style.

W H AT D O E S T H E W O R D “ O R I G I N ” M E A N T O YO U ? For me, origin means where you were born and raised for a long time. It is belonging somewhere that forms your identity and feelings of nostalgia.

W H AT ’ S T H E M A I N T H I N G YOU’D LIKE YOUR ART TO BE KNOWN/REMEMBERED FOR? I would love for people to remember my work for its interesting ideas that evoke nostalgia + modernity at the same time.

"ORIGIN"

H OW D O YO U R O R I G I N S I N F L U E N C E YO U R WORK AS AN ARTIST? I’m an international student from Japan. My cultural background and identities really affect my design, thinking, and work. I’m into community based social structure and sustainable roles in society from ancestral ages—this always gives ideas for my work. Also, I’m a part of the late 90s generation so vaporwave culture has influenced my work as well.

CAN YOU DESCRIBE ONE OF YO U R C U R R E NT PR O J EC TS A N D T H E T H E M E S YO U ’ R E EXPLO R I N G TH RO UG H IT?

W H AT A DV I C E WO U LD YO U G I V E TO YO U R PAST S E LF, NOW THAT YOU’RE IN YOUR F O U R T H Y E A R AT E C U ?

I’m currently working on a project about internationalism through vaporwave and retro aesthetics that were born from weird internet culture. I’m exploring how cultures are influencing, idealizing, and imitating the styles of one another.

Motivate yourself, keep working on the concept even if it ends up failing or you don’t like it. Find the motivation to challenge yourself, and do it anyway.

FACES OF EMILY CARR

MASHU HIGA

HE/HIM YEAR 4 COMMUNICATION DESIGN @RETRODIGGER

WOO CHALLENGES @woopublication

"ORIGIN"

WOO CHALLENGES ARE UNIQUE WEEKLY PROMPTS THAT ENCOURAGE THE EMILY CARR COMMUNITY TO EXHIBIT AND SHOWCASE THEIR WORK, NO MATTER THE MEDIUM. CHALLENGES CAN ALSO GIVE STUDENTS THE OPPORTUNITY TO SHARE PIECES FROM THEIR LIVES, SUCH AS MUSIC AND FUN PHOTOGRAPHS. THIS PLATFORM EXPRESSES THE DIVERSITY, TALENT, AND CREATIVITY THAT INHABITS THE SCHOOL. STUDENTS CAN TAG #WOOCHALLENGE OR @WOOPUBLICATION IN THEIR STORIES OR POSTS TO BE FEATURED ON OUR INSTAGRAM. OUR DMS ARE ALWAYS OPEN!

WOO CHALLENGES

WOO FALL/WINTER 2021

COLOPHON

WOO is available at Emily Carr University and woopublication.ca. The views expressed in this publication do not reflect those of Emily Carr University or the editors and publisher. © 2021 including all content by the artists, authors, and editors. All images are reproduced with the permission of the artists. WOO assumes all work published here is original and the work is the property of the submitting students. All artwork titles and student names are trademarked or copyrighted by their respective owners. WOO gratefully acknowledges the location of our main facilities on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations. WOO is also grateful for the support of students, alumni, faculty, the Emily Carr Students’ Union, and the Administrative Board at Emily Carr University. Inquiries can be addressed to the Directors at woopublication@gmail.com Printed with MET Fine Printers. The typefaces used in this publication are: Neue Haas Grotesk designed by Christian Schwartz from Monotype. Obviously designed by James Edmondson from OH no Type Co. Swear designed by James Edmondson from OH no Type Co. This issue is limited to 300 copies. WOO PUBLICATION 520 E 1st Ave, Vancouver, BC V5T 0H2 2nd Floor Email: woopublication@gmail.com Website: woopublication.ca Facebook: woopublication Instagram: @woopublication @facesofemilycarr

origin