SPACE(S) - Woo Fall 2020 Issue by WOO Publication

SPACE(S)

what SPACE(S) are you in?

what does SPACE mean to you?

FALL

2020 WOO PUBLICATION

SPACE(S)

LETTERS FROM THE DIRECTORS

SPACE(S)

I can definitely tell you, I never thought that I’d lead WOO during one of the biggest events in the 21st Century! Adapting to this new online format had its challenges, but it also allowed us to become even more creative; from holding all our meetings on Zoom, to having a digital interactive version of the publication. During the summer, Nicole and I were talking about living in our new normal. That’s when we had the idea for this issue’s theme SPACE(S). Not only is there a pandemic going on, but we’re also seeing the momentum of human rights movements such as Black Lives Matter. We wanted a theme that could promote any sort of SPACE whether it’s political, social, physical, mental, or emotional. We hope this Fall issue demonstrates some of the SPACE(S) that we are currently in. I am so appreciative and thankful for my team for being dedicated to making this publication happen! Finally, we'd like to respectfully acknowledge that the land which this was printed on is situated on the unceded, traditional and ancestral territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh Úxwumixw (Squamish), and Səl̓ílwətaʔɬ (Tsleil-Waututh) peoples. WOO Publication stands in solidarity with the BIPOC communities and our DMs are always open for feedback, concerns, and suggestions. Editor-In-Chief

Aviva Davis

Who knew I would be able to check "creative director of a publication during a pandemic" off my bucket list?! This issue manifests WOO’s darkest and boldest concept yet, perfectly depicting the state of both the WOO team and our readers during this unexpected upsurge of the dreadful COVID-19 virus. Having a 16-hour computer screen time, a 6 AM bedtime, and a permanent residency on Zoom has become the norm; and we’re living with it! A big, big, big, thank you to the entire WOO team for all the support in creating SPACE(S). You guys are the best! SPACE(S) is not set in stone. It’s here, it’s there, it’s online, it’s offline, it’s together, it’s apart, it’s old, it’s new, it’s slow, it’s fast. It’s everything. SPACE(S) is all around you. P.S.: Now let’s talk about the legitimacy of the moon landing... Creative Director

Nicole Yamamoto

SPACE(S)

Aviva Davis

CREATIVE DIRECTOR Nicole Yamamoto

DESIGN TEAM Aily Nishioka Amanda Sherin Carrie Braybrooks Dory Xu Paula Burbano Ruby Pang

MEDIA DIRECTOR Jessica Li

MEDIA TEAM

THE TEAM

EDITOR-IN-CHIEF

Aamir Ullah Arina Sin Joshua Louie Kin Godwin Chua Shannon Ruth Dionne Miller

EDITORIAL DIRECTOR Monique Germain

EDITORIAL TEAM Diego Cruz Madeleine Salomons Magnus van der Marel Megan Randall Nani Gonzalez 7

SPACE(S)

Abigail Taylor / How Old Is Your Soul / 31 Aily Nishioka / Untitled / 48

SELECTED WORKS

Amica Pasquale / My Own Personal, Dull Void / 45

Aviva Davis / Neon Desert / 30 Camila Szefler / Overwhelmed / 40 Carrie Braybrooks / Time and Space / 26 Doan Truong / @ECUAD / 20 Dory Xu / Rough Waters / 32 Dung Ta Hoang Nguyen / Room / 13 Erin Lucey / Garden Encounters / 16 Esteban Pérez / Bifurcación Sonora / 25 Ferj David and Shraeyas Massey / Biolux / 10 Jasmine Hsu / Work From Home / 19 Jessica Li / It's a Distant Blue Dream / 36 Joshua Louie / Untitled / 33 Joshua Ralph / Intrusion / 44 Kenneth Boediman / Galactic Diner / 27 Kosar Movahedi / Flat Space / 38 Madeleine Salomons / The World Offers Itself / 18 Megan Carroll / Domestic Spaces Studies / 49 Monique Germain / Chet Baker / 21 Nicole Yamamoto / NICO2000 / 50 Pascale Jean / Midnight Snack / 24 Ruby Pang / Grandpa's Garden / 51 Teagan Moore / In-Flux / 37 Vanessa Yendall / Distance / 12 Vy Le / When I Had Got All The Time In This World / 41

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Make "Northern" Way Great Again Nani Gonzalez / 14

Our Kitchen Madeleine Salomons / 22

I Took A Ship Monique Germain / 28

WOO EDITORIAL Parched Diego Cruz / 34

Have I Wished Myself At Home Megan Randall / 42

Spaces With/In Magnus van der Marel / 46

Artwork

SPACE(S)

Biolux is a speculative design project exploring life on Mars <Ferj David and Shraeyas Massey>

in the year 2100. The goal is to provoke thought about our current relationship with the natural world through speculations about the near future. Through values of co-existence and responsibility to plants, Biolux aims to encourage a social shift in our ontology by evoking a greater sense of purpose and care for life. Living in biodomes on a foreign planet may create an environment that feels isolated, confined and extreme: it would be difficult to find fulfillment in a world like this. Our design revolves around the care for plants as a resource and as a symbol for perpetuating life. Purpose can be found in taking care of plants through the responsibility of keeping them alive and the attachment to watching them grow.

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Ferj David and Shraeyas Massey INDUSTRIAL DESIGN FERJDAVID.CARGO.SITE @SHRAEYASMASSEY

Artwork

BBIOLUUX

Artwork

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DISSTANCCE Distance is one page in a series of comics exploring the emotions that come up in relation to living in a pandemic. This page encompasses feelings of distance between self and others during this time.

Digital ÂŠ 2020 <Scan the QR code to view their website>

Vanessa Yendall ILLUSTRATION @VANESSAY_ART

SPACE(S)

Dung Ta Hoang Nguyen

ILLUSTRATION @LITTLE.SCHWARZ

Artwork <Dung Ta Hoang Nguyen>

RROOM

The room where it all quiets down. I could hear my own thoughts.

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MAKE "NORTHERN” WAY GREAT AGAIN too present day a pun to miss out Beeping transporting communicating transmuting Do you copy ? Editorial

On unceded land of the Coast Salish peoples of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), Səl̓ílwətaʔɬ (Tsleil-Waututh) and Stó:lō Nations. Where bridges weren’t built to make connections But to feed the metropolis The fire of the heart rings every time it calls on civilizations built on ashes wrapped in blankets not to keep you warm Schools for “reformation”, Residential Schools genocide of body, land, culture, language and story assimilation, manipulation, generations of trauma

decolonization in the sites of resistance “Oneness” is another word for privilege the psychology of the colonizer permeates when a violent matrix of power is needed to justify its personality and project an imperial need to “save” humanity much rather saving yourself at the back of an“other” This is not an unpopular opinion meme Instead to propose deconstruction and neuroplasticity Changing the pathways of our normative beliefs Whatever evidence-based craving- episteme Hit of dopamine and a tingle Still lingers in unavailable fresh air Learnt thought carved through nonstop repetitions Trenches of a colonial, patriarchal, white supremacism Binary one-Ways of not flowing Linear, border, avenues, rows of crops, behind bars, racks n stacks Will these voids fill with water and wisdom Make reflections in which we decolonize our minds

Nani Gonzalez

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Ven que te cuento un cuento Margarita Erase una vez una niña tan bonita Margarita tan bonita como tu Pero Margarita no puedes montarte en un bote y cortar las estrellas del cielo Eso se llama COLONIZACIÓN These routes on being and being tracked down left impressions by some sort of entanglement very non-creative narcissistic technologies Humanity lost when property is assumed Over body and land and a personal performativity of it “imagination, life is your creation”- sung only by “Ken” Take a breath Editorial

“Decolonization is not a metaphor” What about the land this “space” occupies seems like it is neutral but colonial ritual is always planned in floor to ceiling glass windows plain white walls plastered with guilt too “innocent” to be cluttered with discomfort isn’t aesthetic The gaze of modernity as cutting as its “edge” Emily Carr’s “vanishing” dreamings, an institution with its own Sky Man Train ! Petitions e-signed screen-like paper not enough

Research ones distributed in our curriculum Decoloniality in pedagogy sitting in a talking circle Shaking, sharing, shrieking, shedding, silence Paradoxes of the inside out approach and holding space settler colonialism asked me about these critical practices “what does decolonization mean to you, as an “immigrant”, taking up space?” And i replied to my self : “you’re part of the problem” i can’t be a judge or change the world

This land doesn’t know it owns itself

the legacy of our site for gentrification

Rivers come back with snakes’ windings

Pip does make a$$es look great in stretchy fabric

Ladders crumbling through stampedes Of rats first – no need to believe in purpose

What is praxis of action which honours the past for a future?

Who needs to understand if there will ever be a day when it’s just the forest thick again

Take off our socks and fold them at the door with our ego Sink our toes in some wet soil and begin to move

our bones manage to take an exhale and settle

I know the outside may not matter now

into the dewy mist turned sediment

but admit the distractions do feel quite empty Our jaws necks hands locked downwards

I meditate on the satellite taking an image

Screening back with time and how to spend it

of that moment for no one to picture

1 16 6

Artwork

GARDDEN EENCOUNTERRS

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Erin Lucey

VISUAL ARTS + MATERIAL PRACTICES @COFFEE_BEING

These images were drawn using my non-dominant hand.

Artwork <Erin Lucey>

17 17

THEE WOORLD OFFFERS ITSELF

Artwork

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Madeleine Salomons COMMUNICATION DESIGN

@ARTICHOKELUVR

Digital Film Photo

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WORRK FROOM HOMEE Artwork

Jasmine Hsu ILLUSTRATION @BEELU_ART

During COVID-19, many have either lost their jobs completely or now suffer through the depressing realities of working from home—many are experiencing stress and loneliness due to sudden changes in their working style, environment, and lack of faceto-face communication with others. The objective of my piece, Work from Home is to capture and illustrate these feelings. This artwork introduces the idea of transferring a street-view to this reality. Imaginary trees and people are portrayed with vibrant, exciting colours, contrasting with the dull colours of the “work from home” supplies.

Artwork

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@ECUAD Digital Illustration <Scan the QR code to view their website>

Doan Truong ILLUSTRATION @BOM.TTD

Monique Germain

ILLUSTRATION @MONIQUE_GERMAIN

Artwork <Monique Germain>

CCHET BAKEER 21

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OUR KITCHEN OUR KITCHEN Editorial

Winter. Frost shimmering over the glass, spreading inch by inch as the days stretch into an endless night. Warm light bathes the kitchen, and the pot simmering on the stove begins to bubble. The dinner plates have been laid out carefully, and the wine glasses have been filled and emptied and filled again. I turn to look at you, and your cheeks are flushed. Spring. Early morning, when the birds begin to wake and greet the dawn. There is something glorious just out of reach, but spring grants a patience the colder months often hide away. Through the kitchen window, fog rolls across the hills, and I slide a plate in front of you and watch your smile bloom.

Summer. The windows hang open, and the door, and the tablecloth flutters in the breeze. The oranges have come from the tree in our garden, and the peaches are from the market. A pitcher of wildflowers, and your sun-kissed face tilted up. I do not think I have ever tasted something so sweet. Fall. Harvest has come exactly on time this year. Dinnertime, and greedy hands reach for overflowing plates, and the sun begins to dip into a long sleep. Yellows, and greens, and oranges, a rainbow of bounty painted over the walls. O, to be filled with thankfulness, to share the gift of a warm home. I love you I love you I love you I love you. Winter. And again, there you are, in our little kitchen, with a bowl and a spoon, ready to eat.

ÂŠ 2020

Madeleine Salomons

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Editorial

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Artwork

MIDDNIGHT SSNACK

This work was created when the need to being confined was not even a thought. It was created out of love for the depiction of light and analogue photography, when the rediscovery of one's apartment was not the world's common epiphany. To me, Midnight Snack's meaning changed ever so slightly. Now, it represents the feeling of choice and deliberate focus on the mundane, rather than a shift of focus caused by a lack of commodities or entertainment. The subjects float in time and space, the darkness engulfing them allowing them to exist in an unknown timeline. Midnight Snack is yesterday and today. Midnight Snack might be tomorrow. I don't even know what day it is anymore anyways.

Analogue Photography ÂŠ 2019

Pascale Jean FINE ARTS @PASCALE.PAPERCUT

Bifurcación Sonora, Installation/Sound

2020

Artwork

Esteban Pérez FINE ARTS @ESTEBANPEREZART

The bricks for this construction were made of a mix of Unceded Territory, First Nations Land, and water. The room was filled with the amplified sound of the earth, recorded from the place where the First

BIFFURCACIÓN SONOORA

SPACE(S)

Nations Earth was collected.

The bricks for this construction were made of a mix of Unceded Territory, First Nations Land, and water. The to room was ﬁlled with <Scan the QR code the ampliﬁed sound of the earth, recorded view from their website> the place where the First Nations Earth was collected.

Untitled,2020 Oil on Canvasv 155 x 190 cm

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Artwork

TIMEE

AND SPPACE

Losing the ability to travel this year has forced a lot of us to contemplate the

Photography

spaces where we feel most alive, where

time doesn't feel wasted—rather well

Carrie Braybrooks COMMUNICATION DESIGN CARRIEBRAYBROOKS.COM

spent. It's had us searching for these spaces near home, where we wouldn't usually look. And some days when we're lucky, it feels almost as good as hopping off a plane.

One of these photos is taken in New Zealand, the other just in Squamish. Near or far, there are adventures waiting to be had and beauty to be captured.

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Kenneth Boediman INDUSTRIAL DESIGN @LIMITED.EXE

Artwork <Kenneth Boediman>

GALLACTIC DDINER 27

Editorial

SPACE(S)

I TOOK A SHIP I TOOK A SHIP I TOOK A SHIP

I took a ship to outer space It wasn’t worth the hype My skin still flakes My hands still shake I still can’t sleep the night The air I breathe is filtered clean My food is paste and chalk Against my skin My soles wear thin Decaying as I walk Forgetting to look upwardsThe ground became my sky Reflections of The stars above Replaced them in my eye

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Editorial

The memories I’d hoped would fade I meet with every day They ask me if I thought I could Just meekly slip away <Monique Germain>

Into the endless galaxies Neglecting what was minePretending that The life I’d lived Could be shrugged off behind As if the lives that I had touched And broke and hurt and crossed Weren’t tightly pressed Within my chest Refusing to be lost

Monique Germain 29

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Artwork

NEOON DDESERRT

My idea came from a positive/ <Scan the QR code to view their website>

negative drawing I did of one of my mom’s photographs from a trip to Israel in the 80’s.

Aviva Davis COMMUNICATION DESIGN @AVIVADAVIS_FINAL.AI

SPACE(S)

Abigail Taylor VISUAL ARTS @ABI.T.T

Artwork

This is a zine created off a conversation I had with a friend. Flip the image around to read all of the sides!

ISS YOOURR SOUUL 31

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ROUUGH WATEERS Having spent several weeks on end in my house, I felt as if I was riding on rough waters the entire time. This piece is an expression of my emotional headspace

Artwork

during a time of quarantine.

Dory Xu COMMUNICATION DESIGN

@BIGBLUETANG

SPACE(S)

Images capturing our transition into our new normal. Artwork <Joshua Louie>

Joshua Louie INTERACTION DESIGN @JLOUIE_ART

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Editorial

Diego Cruz

PARCHED

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In the depths of the dark realm, I dreamt of glitter and gold And you hated that I did, With your unwavering hold. The narrow cave we called home began to shrink on us, Editorial

the space between us has become a void. We used to only breathe our aspirations Now the smell of sulfur is the only thing linking our lungs. The last leaf in the tree of our affection, dead on the ground.

The fire is all around, That wood is what fuels it now. Embers in the sky, like stars up in space You won’t escape this perdition, but I’ve tamed dragons before Finally, I see there’s beauty in breaking I get to rebuild, but I know you won’t even try I’m parched for love But your blood will quench that now.

SPACE(S)

A look into how a

Jessica Li

exist in the future.

COMMUNICATION DESIGN @JESSIIICA_LI

https://www.youtube.com/watch?v=4-mepl_sYPM&feature=youtu.be

Artwork

IT’S A DISTANNT BLLUEE DDREAAM 36

calm dystopia will

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IN -FFLUUX Viewers are encouraged to think about their relationship to the land they live and travel in. Property-making fences were and continue to be used to colonize by subdividing land for sale. I removed the fence where I lived (made of barbed wire) and repurposed some of the wire into this sculpture. It is installed publicly by a busy street on the unceded territories of the Coast Salish peoples, ancestrally known as Shiyaâ&#x20AC;&#x2122;hwt.

Artwork <Teagan Moore>

Encaustic, Barbed Wire, Charcoal ÂŠ 2020

Teagan Moore VISUAL ARTS

Artwork

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Artwork <Kosar Movahedi>

FLLAT SPACEE Flat Space is a series of abstract photos from 20162020 that explore interior

Digital Photography

architectural space by reducing

ÂŠ 2020

the elements of a photograph to raw lines and shapes. This

Kosar Movahedi

flattening effect makes familiar

PHOTOGRAPHY

spaces such as my bedroom,

KOSAR.CA

university staircase, and office hallway look unrecognizable and of a different dimension.

OOVEERWHELMEDD

Artwork <Camila Szefler>

Camila Szefler ILLUSTRATION @CAMILA.SZE

SPACE(S)

Artwork

My perceptions of time and

Pixel Art

space are intertwined. Maybe

that is why I always feel so disoriented and scared of the

Vy Le 3D ANIMATION

I can never know what might happen the next morning,

<Vy Le>

@5AMCEREAL

spaces where I am existing—

next hour, or next moment. <Scan the QR code to view their website>

WHEN I HAD GOT ALL THE TIME IN THIS WOORLD 41

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HAVE I WISHED MYSELF AT HOME Megan Randall

Editorial

The longer I spend under this new status quo, the more I seem to drift into the past. Something about this particular situation—‘you can go outside, but it’s better if you don’t’—keeps me returning over and over to places far away in both time and location, the most inaccessible regions my mind can muster up. [2020, Vancouver] The day drags on. Going from sitting at your desk to sitting at your sofa, moving to the armchair, leaning on the kitchen counter for an invigorating change. Stewing in malcontent; lethargic mind and restless hands. Reorganizing things on your desk, the most excitement you can wring out of a day this year.

SPACE(S)

running through the prickly bushes and ending up with little pale scratch-marks up to your thighs, soothed by the feeling of damp dew of some fern or grass stalk trickling down your leg and dampening your socks. Both the scratches and the wet socks invoke the sort of innocent, roughand-tumble thrill that holds less danger than the other sort of thrill here, the sort where you trip and fall face-first into the nearby river.

sand and cutting your feet on sharp shards of shells, completely oblivious as you race towards a picnic basket. After lunch, you’re back on the dunes, slipping on sand and scratching your bare calves on the stalks of dry grass, sliding and falling on your bottom. You end up lying in the sand on your belly trying to count each sand grain with poor eyesight, specs off in case the sand grit wrecks them.

[2020, Vancouver] Sometimes you wish you had fallen in.

[2010, Leziate] More exciting memories now. A short car ride down a countryside lane, across the ford and arriving at the fens. A trip across the wetlands in trainers: oh, revel in the exhilaration of springy moss bouncing you onward. Briefly tripping in a rabbit-hole and tearing off again, avoiding the soggiest areas where the long grass droops into deep black pools of water. You head for the trees,

[2020, Vancouver] Something else — a deep, deep ache you’ll push aside for now, something raw and quivering and terrifyingly vulnerable. More important things to worry about: that checklist won’t tick itself. [2010, Leziate] Still, in your memory-moorland, you’re at peace. You’ve flopped down on the moss, curling your fingers in purple heather, grinding dirt into your fingernails. You’ll forget to wash your hands and eat supper with your palms smelling of the fresh outdoors. Moss stains on your trousers from lying down too long. Peatbog mud still under your fingernails, even a nailbrush-and-a-half’s worth of washing later—you’re dubious as to whether it will ever wash away.

[2020, Vancouver] These days, you find yourself measuring your life in as many different ways you can quantify. It’s six degrees colder this morning than yesterday, you’ve got five more things on your checklist, you’ve had four cups of tea today, you’ve only got three melatonin tablets left; you’ve cut your nails twice this month, one more day until rent is due.

[2008, Wells-next-the-sea] Home from the seaside, finding sand in your socks and knickers, all tangled up in your hair. You leave a pile of wet sand in the bathtub once you’ve scoured yourself, but you go to bed with sand still stuck between your toes and the seaside breeze still in your lungs.

Editorial

[2008, Wells-next-the-sea] Oh, to be beside the seaside! Everything washed out, desaturated to the point where sand and skies are the same shade of grey, bundled up in scarves and hats to counter the brisk coastal breeze. Beaches with hidden coves and black mud close to the water, lugworm coils and washed-up jellyfish in translucent heaps. Further up the shore, soft sand where your pink piggy toes sink in — memories of running across that

Artwork

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Joshua Ralph 2D ANIMATION JOSHUARALPHART.COM

INTRRUSSION This last summer, I stood by to watch as two territorial <Scan the QR code to view their website>

Red-Winged Blackbirds evicted a Great Blue Heron from their space. Was it a heroic act of biblical proportion, or did I bear witness to a miniature gang mob against a well-meaning fisherman?

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Amica Pasquale Artwork

ILLUSTRATION @NEVER.MORE 10/15/2020

personal_void_apasquale.png

Anyone else feeling like their rooms are starting to get smaller? Or is it just me?

45 https://drive.google.com/drive/folders/18upqwhsmM8q8uZX66xUjkwj1dk5jZi7j

1/1

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Magnus van der Marel

Editorial

SPACE(S) WITH/IN

We think of the body as one space, one whole. It’s how you interact with the world, and how it interacts with you. It holds all your thoughts and dreams, it carries the weight of your trauma, it holds every scar and mark you’ve collected on your way to becoming. It’s your base form, the physical you. It is your space, your home. I think of the way my relationship to my body, my space, has changed. It used to be something I didn’t think about, or avoided thinking about. Something to move about in and that worked without question. There was nothing to think about, it simply was.

SPACE(S)

Editorial

Maybe that’s why I didn’t accept it when it stopped working as it should have. My most basic space of existence became a threat to itself. I became very aware of my body in a way I never had to be before. Being that weak, that sick, feeling your bones against your skin, feeling ever so small and helpless in the great expanse of the world, you feel trapped.

For years my body felt alien to me. Like a slightly illfitting suit or a building that just feels off. Something’s wrong, it’s too tight and too loose, the hallways are winding, and you’re not sure where you’re supposed to be. Or what you’re supposed to be. It becomes hard to interact with the world around you, when the world’s perception of you is warped and distorted. Now I’m getting used to this body again. It’s strange building up trust again, knowing so much is different now. The spaces within me have evolved and changed, and I with them. It’s like moving back into an old building that you’d abandoned. You clean it up, get rid of the things that are too broken or unwanted, fix up the things worth saving, decorate the blank walls, and fill it with everything that feels right. Make it your space. Make it home.

Artwork

UUNTITLEED

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Aily Nishioka COMMUNICATION DESIGN

@AILYN_026

The poster explores the blurred boundaries between reading and seeing, and was inspired by the quote, “the more we read, the less we see [...] overfed with reading as we are, the practice of reading must be activated. A new effort is needed to recapture and retain freshness” from On Typography by Herbert Bayer. An attempt to draw a line between commonly perceived Boundaries is not about separating the two words, but to recognize their relationship. Expanding on how we read and see, I also examined the division between shapes and letters through my geometric, incomplete letter-forms. This poster explore ways to activate a new “practice of reading” and seeing, which may be through questioning not only what we read and

see, but also the how.

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MFA LOW RES @MEGANHCARROLL_ILLUSTRATION

I am trying to carve out time as a mother and a wife to be an artist, before COVID I thought this was going to take me out of the home but here I am, and here we are. I used to use my domesticity as an excuse to not make art, but how can I use it to make art? How does it inform what I make, when I make it and how I make it? Is cleaning the bathroom a performance or

making a meal a canvas?

Artwork

Megan Carroll

DOMESSTIC SPPACES STUDDIES

Digital Drawings, Procreate

Artwork

SPACE(S)

NICCOO2000 Digital Design <Scan the QR code to view their website>

Nicole Yamamoto COMMUNICATION DESIGN @NICKYTINE

SPACE(S)

Ruby Pang COMMUNICATION DESIGN RUBYPANG.COM

comes with being permitted to enter the spaces that hold significance in his life.

grandfather, and the emotional intimacy that

Artwork

GGRANDDPA’S GARRDEEN A piece exploring my relationship with my

@woopublication

#woochallenge

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WOO CHALLENGES <Scan the QR code to view the Instagram page>

@woopublication #woochallenge 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 page every Friday. Our DMs are always open!

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FACES OF EMILY CARR @facesofemilycarr

@facesofemilycarr

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 peopleâ&#x20AC;&#x2122;s stories, familiarize faces, and help create a community in and outside the campus (even during a pandemic)!

@facesofemilycarr

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WOO is available at Emily Carr University and woopublication.ca.

COLOPHON

The views expressed in this publication do not reflect those of Emily Carr University or the editors and publisher. ÂŠ 2020 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 support of students, alumni, faculty, the Emily Carr Studentsâ&#x20AC;&#x2122; Union, and the Administrative Board at Emily Carr University. Inquiries can be addressed to the Directors at woo@ecuad.ca

Printed with Hemlock Printers. The typefaces used in this publication are: Stretch Sans Pro designed by Jetsmax Studio Hanson designed by HMD Studio Briller designed by Kostic Type Foundry Acumin Variable Concept Wide designed by Robert Slimbach This issue is limited to 250 copies. WOO PUBLICATION 520 E 1st Ave, Vancouver, BC V5T 0H2 2nd Floor EMAIL: woo@ecuad.ca WEBSITE: woopublication.ca FACEBOOK: woopublication INSTAGRAM: @woopublication @facesofemilycarr

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