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"i still dream about you" by Roselina Hung
“i still dream about you” by Roselina Hung

For the month of February, all new subscribers to Sad Mag will be entered to win an exclusive print of “i still dream about you” by Roselina Hung. Each subscription counts for 2 entires! 

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Local artist Roselina Hung still dreams about her last cat Ari, and isn’t afraid to talk—or draw—about it. In her latest piece, i still dream about you, she incorporates these feline reveries into a poster-sized collage print, piecing together a series of hand-drawn portraits her own and others’ past cats. For ex-pet owners, Hung writes on her blog, the print might capture feelings of love, loss and obsession; but “for anyone who hasn’t owned a cat before,” she warns, “the image can propagate the idea of the ‘crazy cat lady’ ”. 

For the sake of all our self-proclaimed crazy cat readers out there, we couldn’t let this opportunity pass us by. Sad Mag sat down with Hung for the scoop on all things art, feminism, and of course…cats.

 

SM: So lets start with the basics. Where are you from? How did you get into all of this?

RH: I’m from Vancouver. I grew up here and did my undergrad at UBC in fine arts. After I finished there, I moved to London, England and I did my masters there at Saint Martins. I was there for about 3 years and then I moved back at the end of 2006.

 

SM: How did you originally get into art?

RH: I think I’ve kind of always been doing it. There was never really any doubt in my mind that this was what I was going to do. When I was growing up, I’d tell myself that I was going to do something else—you know, like a more “practical” job. But I always just kind of ended up going back to art. I just always knew.

 

SM: You’ve done some residences in some amazing places—Banff, Paris, Reykjavik—has any one place stuck with you in particular?

RH: Each one was so different. I got something different out of all of them. When I went to Paris, that was the first time I moved away from home…and the first time I moved somewhere where I didn’t speak the language. I had a studio there just off the Seine and across from the Louvre, so that was a very romantic idea of being an artist. [The residency] in Michigan was kind of like summer camp. Off in the woods, we were in cabins and there was a lagoon. We’d all come together for home-cooked meals. And the Reykjavik one was an even smaller group, and the environment there was so unlike anywhere else—almost no trees, everything’s low bush, shrubbery. Parts of it look like the moon!

 

SM: Can you tell me a little about the cat print?

RH: While I was [in Michigan] I found some fabric with all these animal heads on it. Something about it was so tacky and gross, but it also really attracted me. So I made some mock-ups with different fabrics I found—a cat one, dogs, horses.

 

SM: How did you find the cats you used?

RH: I wanted to find images with people’s pets that they didn’t have anymore—that had passed away or been given away, so I was asking people for pet photos. Not many people sent anything to me actually…I think dog people would send more. I even had people write me and say, “let me know when you do a dog one.”

 

SM: What about cats attracted you?

RH: I’ve always just liked cats, and I had a cat for a while. And my cat still comes up in my dreams—you know, every once in a while. Once you’ve had a pet and it passes away, you just always miss it.

RoselinaHung-pbkm-print
http://roselinahung.com/

 

SM: Is that the same idea behind your pretty boys kill me collection?

RH: There’s a bit of a parallel. But with the pretty boys, I guess it’s a different kind of desire and love…

 

SM: I hope so!

RH: (Laughing) A different kind. I’ve done a couple now with different [themes].

 

SM: Where do the titles come from?

RH: They’re from text messages and chats that I’ve had.

 

SM: Really? How do those pretty boys feel about it?

RH: I don’t know…I haven’t talked to any of them. In some ways, they’re so generic—anyone could say them with how people text and chat. I don’t even know that they’d know it was from them.

 

SM: It seems so much of our communication is like that these days—generic. And that we build so much of our identity through these almost anonymous texts and chats. Did you think about that while you were working on the pieces?

RH: I was interested in the way that we were communicating desire and love through these little snippets of text. There’s only so much that you can put into [them]. They aren’t even original; we’re just repeating things that we’ve seen or heard somewhere before. Kind of like lyrics from songs—clichéd and repeated.

 

SM: I also noticed that you opted for male instead of the traditional female muse for this collection. What was your intention with that?

RH: I was thinking about that a lot, actually. They had “pretty boys” in art history. A lot of times they’d be the angels or the gods—all quite young and angelic looking. But it was always men painting them. I just kind of wanted to see a woman do it.

 

SM: So, the women in your paintings, are they supposed to be you?

RH: Kind of…kind of not. They don’t look like me, but the stories are all ones that I identify with, events that have happened in my life. I put a bit of myself into it, but my identity is hidden behind those women.

 

SM: Is it hard to put so much of yourself into your work?

RH: Before, I was doing more self-portraits—I was putting way more of myself into the work. Now I can just put the work out there and stand back. It’s still personal, but not so personal that I’m…you know…taking everything personally.

 

SM: Alright, one last question for the cat aficionados out there: Do you have a favourite cat story?

RH: My cat was an indoor cat, because I used to live near the driving license place and I was afraid of letting him out. He was actually pretty big, almost 20 lbs. or so, and my bed was small. I couldn’t sleep sometimes, so every night I would close my bedroom door. For a small period of a couple months or so, I would hear my cat running around the house as soon as I went to bed. I guess he’d been chasing a necklace of mine that I had dropped on the floor, [because] in the morning, he left it at my door. A couple weeks later, he left this little artificial rose, and then the third time he left me a little teddy bear. You know how cats leave gifts for they’re owners? They’re usually dead animals. I had the best cat—he gave me romantic gifts!

 

 

heidi now  heidi1986

SadMag spoke to Vancouver-based artist, public school worker and nominated COPE school trustee  about education, art, gender, and her vision for safe, inclusive schools.

SadMag: You’re an artist but you also work with kids. Tell me about your involvement with education (past and present).

?Heidi Nagtegaal: i’ve worked for the vancouver school board for the last 8 years (since jan 2006)?. i love to work in east van, in what the vsb calls “inner city schools.” for the last 3 years i’ve worked at britannia elementary community school. before that i was working for about 10 years in respite care, home care, after school programs, and parks and recreation.

SM: What is the intersection of art and education in its best form?

HN: art can be education and education can be art. it’s all about perspective and how you see things. the best form of this intersection is when all people involved feel loved, connected, cared for, communicated with, and involved. it is in that state of mind that information can be given and received effectively. when the brain is relaxed, it is able to absorb more information and learn faster.

our brains integrate material when dopamine and serotonin are in our systems. when you make art, and you are in a creative state, your brain is releasing dopamine, which reduces stress, increases learning, and opens new neurological pathways.

stress is a brain killer, a creativity killer, it’s not good for you, not in your life, and not in schools either. self care is really important.

SM: What motivated the decision to pursue a spot on the school board?

HN: ?i was asked to by a bunch of friends. they came up to me and without knowing that any one else was doing, asked me to consider running. i was not interested at the time, and had my list of reasons why i did not want to be involved, starting from the “system is failing” to “i don’t believe in the government.”

i realized that being asked to consider this kind of position was kind of a rarity, and stared at a candle for a long time and thought about the possibilities of running for the school board as a candidate. i’ve worked in schools for so long, and have witnessed systemic violence, not because anyone is against the children, and wants them to suffer, but because the school system itself has big holes in it, and it’s not pencils that are falling through the cracks. it’s children.

so i decided to run for government, and see what happened. ?

SM: What do you hope to accomplish?

?HN: on a modest level, to get the conversation flowing, get people involved. the government is super broken, corrupted, aligned with big business; money & power are definitely all coming before people, communities.? even the bike lanes that vision vancouver put in – the ones i ride on – were put in without community consultation, and put in by a personal friend of gregor robertson. the vision vancouver Anti Poverty week was kicked off by petitioning the Supreme Court to have the tenants of Oppenheimer Park removed. tent city was started because living in the park was safer than living in their homes.

we all know there’s something wrong, but it’s hard to know what to do. i really love cope’s housing policies, and i think they’re real, based in real life, they don’t take developper donations, it’s all grass roots, we’re all activists, and artists, and i dunno, people with a plan. and it’s run with 2 staff, and this whole campaign is happening on 2 staff, no budget (well, a a very small one), and a whole lot of volunteer hours. npa and vision get donations year round, and during this campaign alone of millions of dollars, it’s crazy. and here cope is with their scraggly budget, and a bunch of good ideas, and we’re covering the news and media sources. articles are running on meena (wong) every week, and they can’t get enough.

so on that level, i’ve already accomplished my goal. on another level, it would be great to be voted in, and keep on doing the work at a municipal level, but i have to be voted in to do that, and we’ll see what happens.

there’s been polls done by npa and vision on statistics, and they don’t release them because they show that cope, vision, and npa are neck and neck. vision and npa like to say that the race is between the two of them, and vision is marketing that “you have to vote vision so that the npa doesn’t get in” when really, you can just vote cope and not bother with vision at all.

i’m really sorry to anyone who loves vision. their words are beautiful, but their actions stink, and i’m ready for a change. so i guess that’s why i joined cope, and that’s what’s happening right now. when i think about “what i hope to accomplish,” it’s happening now. the dialogue is changing.

SM: Tell me about the current transgender policy? What does it fail to address? How would you like it to change?

HN: ?for starters, i work in an elementary school. dividing students up into “boys” and “girls” is seen as an ok way to learn patterns. the children are told to sit boy/girl, and are addressed as “boys and girls.” bathrooms: boys and girls. there’s no room for anything beyond the gender binary.

children are born beyond the gender binary. they transition from one gender to another, they flow between genders, they express their genders in many ways. the conversation has started to shift around what masculinity and femininity can look like, but it’s very much centred around the “sensitive boy” or the “tough girl” which, although it expands the idea of what gender can be, doesn’t exactly collapse the binary system, or integrate genders into a fluid structure, where all genders and gender expressions are embraced, nourished, and understood.

when you hear “girl” “boy” and never anything else, do you really think we are promoting a space for other genders? he and she are used in a classroom, but most teachers are still confused about the gender neutral pronouns, such as they, zir, and yo.

gender neutral bathrooms are a start, but the work is very deep, and we have a long way to go before all children are safe to gender express themselves without being afraid of feeling shame, or getting beat up.

i mean, we feel the same as adults, but we’re trying to change the world here. we want the futures of our children to be better than the ones we have. that’s the hope anyways. otherwise, what’s the point? damage control? yes. but no.

SM: Why is it relevant to you?

?HN: i work in schools. i went to school. i love learning. i don’t think schools are the best expression of learning out there, and it could be better. bullying is real, and we don’t have to set up social structures where those things happen rampantly. we can make it safer.

parents talk to me all the time about bullying, sensitive children, the need for feelings, and how to make space for all the feelings. children have feelings. i have feelings. we all have feelings. and we all have the need for safe spaces.

when children are forced to spend 6.5 hours of everyday in schools, it has got to be a place that makes them feel good, loved, heard, respected, and safe. when you don’t feel those things you feel sad, your brain doesn’t work as well, it’s harder to make friends, you feel miserable and unwell. that’s doesn’t work for anyone.

when humans are happy our brains work better! safe spaces make people happy. it’s not only a human right, it’s good for learning.

SM: Why should it matter to the rest of us?

HN: ?why would anyone want a school system where it is the way it is?

children go to schools that are underfunded, don’t have proper support, are in the dark as far as the full spectrum of gender and sexuality are concerned, not effective against bullies, or the creation of safe spaces, and have long wait lists for psychologist, school counsellors, special needs, or anything outside of the education of a standardized learner who fits within a binary.

that doesn’t seem healthy, supportive, or nourishing. it would be hard as a student to learn in a system like this. and it would be hard as a teacher to have a classroom full of children, and know that you can’t support them them the way you want to. as a support worker in the school system, i see children i love, who i have spent hours of time with, fall through the cracks. i know what it feels like to know that it could be different. and it matters. every child matters.

i want justice, not charity.

SM: What’s amazing about kids?

HN: … it’s endless. we play together, we love each other, we help each other. they carry around my coffee cups for me if i forget it on their table, and then giggle about it. when i go outside and i’m a bit late for something or i get switched, and then SURPRISE heidi is here, it’s not uncommon to get a “HEIDI!” and a group hug

i get secret messages and art works and handshakes from children every day. their parents and i bond simply because i love their kids and they hear all about me after school, to the point that they feel like they know me.

?according to the vancouver school board, i work with the most vulnerable youth in the district. when i go home to the valley, or talk about my life in vancouver, people are mixed. one reaction is “that’s so awesome!” and then there’s the “how do you do it?” and then the “isn’t it hard??”. and the “isn’t it hard” always freaks me out a little bit. like they’re saying “it’s too hard.” sometimes, that’s my projection, and other times it’s a real read and it’s actualized by a follow up comment featuring a racist, sexist, homophobic, classist rant about “those people.”

those people are our people. we can’t have a strong society when don’t see ourselves as a whole.

Finger guns are a key aspect of Kim's creative process.
Finger guns are a key aspect of Kim’s creative process.

So you want to live a more passion-filled, purposeful and creative life . . . riiiight after you watch that Seinfeld re-run, organize your Tupperware drawer, talk to your cat Professor Snuggles, and water your cactus plant. Sound familiar? The anxiety over starting a creative project and making it perfect can be so overwhelming at times that we’d rather do almost anything else. Solution? Do it—and make it ugly. In fact, Make it Mighty Ugly says Kim Piper Werker, the author behind the motivating handbook for vanquishing creative demons.

Sad Mag: Tell us a little bit about yourself:

Kim Piper Werker: I’m a writer and editor in Vancouver. I’ve worked for the last decade in the crafts industry, editing magazines and writing books. In 2010, I started a project to address some of the issues I kept bumping into personally and professionally—it involves making something ugly. On purpose. Personally, this addressed a nagging habit I had of feeling very concerned that people would discover I wasn’t actually very crafty. I was so plagued by this feeling that I’d often sabotage my own projects. If something was going really well, I’d sort of intentionally mess it up, to save myself from feeling the pressure to keep it going well. Nuts, I know. But that self-doubt (or, maybe, that certainty that I wasn’t talented or creative or skilled enough to make something great), fear of failure and perfectionism are pretty much universal – everyone feels some of all of that at some point or another (or all the time). Anyway, the ugly thing really stuck with me, and it’s been my primary focus for the last few years.

More personally, I was born in Brooklyn, New York, and moved to Vancouver twelve years ago. I love to read books, chill with my family, and I’ve gotten a little obsessed lately with making soap.

SM: I admit that I’m a little envious of your New York roots. What was growing up in Brooklyn like? What drew you to Vancouver? 

KPW: I grew up in a lower-middle-class neighbourhood of Brooklyn called Canarsie—probably one you haven’t heard of, eh? My family lived on the top floor of a post-war three-story walk-up, and I really and truly had that childhood where I played in the street with the neighbour’s kids and my mom would yell out the window for me to come inside for lunch. I walked to school by myself from the time I was six, and I was heartbroken when my family moved to a suburb of another city in New York State when I was ten. I was a city kid, man. The suburbs seemed like another planet to me.

At the same time, I really loved the open space of living closer to the country, and because I spent my summers in day camps or overnight camps way out in the middle of nowhere, that love of nature created some confusion for me and my simultaneous love of the city. So when I was in university, I decided, without ever having been there, that San Francisco was my obvious goal. I’d move there and have both city and a slower pace and some nearby open spaces.

Then, when I was in grad school when I was twenty-three, I met a guy I ended up marrying, and he had grown up in Vancouver. He’s the only person I’d ever known who couldn’t wait to move back to his hometown, and when he brought me to Vancouver for the first time to visit, I discovered that it had everything I’d wanted out of the mythical San Francisco, and I fell in love with Canada, too. So after we got married, we moved here, and though I find the city a little slow for my taste sometimes, and a little lacking of the gruffness and openness of urban life I really value as a New Yorker, I love it here.

SM: What inspired you to write Make it Mighty Ugly?

KPW: I’d been doing Mighty Ugly workshops for a couple of years when I had the idea of writing a book inspired by it. In my workshops, I walk people through making an ugly creature that’s intentionally hideous. It’s a great challenge for a lot of people, and very liberating for others. Every time I’d lead a workshop, I’d have at least one utterly fascinating conversation with someone about the exercise. One day I decided I wanted to explore the idea in-depth—how and why it’s important to me, how and why I think it can help people address their own creative demons, etc.

SM: Why make something “mighty ugly?” How does this process liberate the artist within?

KPW: It’s just something we’re never, ever asked to do. Which makes it a very different sort of exercise, and difference – and the discomfort that comes with it – can be tremendously liberating. Making something ugly on purpose forces us to be aware of how we consider beauty/aesthetics/marketability/appeal in ways we usually just take for granted when we make things. And for people who don’t consider themselves creative, who may not focus on beauty/aesthetics/marketability/appeal in the course of their daily lives, making something ugly on purpose removes the pressure they feel (for surely they feel it, whether they realize it or not) to make something that possesses those qualities, something they’re inclined to say off the bat that they can’t do.

This little cover is anything but ugly.
This little cover is anything but ugly.

SM: Why do you suppose fear of failure is the ultimate enemy of creativity?

KPW: That assertion was pretty much marketing copy. I think perfectionism is no less powerful an enemy of creativity. But fear of failing is a fabulous excuse to give up on an idea before you even try it out. So I suppose maybe it really is the ultimate enemy of creativity, because we use that fear as a reason not to even try.

SM: How do you make time for creative projects? Do you follow a schedule or are you more spontaneous?

KPW: No schedule for me. I’m doing a project this year called #yearofmaking, for which I’ve committed to making something—anything—every day. Sometimes it’s spaghetti and sauce from a jar for dinner. Sometimes it’s starting an art journal or knitting a few rows on a scarf. Sometimes it’s making a batch of cold-process soap. So for at least a few minutes every day, I make something. 

SM: How do you set the mood for creativity?

KPW: I don’t. I just make stuff or write stuff. If I get really into it, I allow myself to push other things aside so I can follow it through, but I don’t think creativity is some divine sort of thing that requires a particular mood. As author/artist Austin Kleon wisely says, creativity is a tool. I make sure I use it frequently.

SM: What music are you listening to right now? What book is by your bed?

KPW: I’m not! I have a timer ticking in the background to help me focus (go Pomodoro Technique!), and my dog’s barking at someone walking by outside. The book by my bed is The Faraway Nearby, by Rebecca Solnit.

SM: What advice do you give aspiring creatives?

KPW: Stop aspiring, start creating.

Kim will be joining two authors, Leanne Prain (author of Strange Material: Storytelling through Textile) and Betsy Greer (author of Craftivism) – on a book tour in October. Details can be found online.

Also, check out her blog, and the Mighty Ugly website (with a book-group guide and more info about the book, etc.). Other online stuff: kpwerker on Twitter, Instagram and Pinterest.

 

He's got the whole (gay) world in his hands.
He’s got the whole (gay) world in his hands.

We last spoke with Christepher Wee in February, shortly after he won Mr. Gay Canada.

Since, then Christepher has continued to focus on his activism, using his new title as a platform to reach a larger audience.

And reach he has! Christepher has been involved in Pride events across the country, from World Pride in Toronto to Jasper, and was a keynote speaker at Surrey’s Pride in July.

But it’s not all parties and parades: Christepher now serves as an ambassador for Rainbow Refugee Canada and the Men’s Heath Initiative. He’s also a resource for the Gay Straight Alliance and has been officially adopted by the Two Spirit First Nations community who have named him Sage Niis Miou.

Christepher sat down to chat with Sad Mag about the upcoming Mr. Gay World competition in Rome, Italy where he will be competing on the world stage.

Sad Mag: How was your Pride?

Mr. Gay Canada, Christepher Wee: It was excellent. I’ve been going to Pride since the end of March! Vancouver Pride was at the beginning of August and prior to that I was at Surrey Pride. I got back from World Pride in Toronto just the night before. It’s always great to be home.

SM: What’s your favourite thing about Pride events?

CW: All the community events. The family picnics and the seniors’ days—in Vancouver, we had Aging with Pride, the Pride Picnic at Brockton Oval, and the Pride Run and Walk. I don’t go to the party events at night so much. I may drop in for an hour or so, but I really love the community events. That’s when you get to talk to people, interact with people.

SM: What do you think is still important about Pride? It’s been around a long time—what is it that makes it relevant to us now?

CW: I think they’re still very relevant and important for a few reasons. There’s still a long ways to go in terms of equality so we need to keep at it and be visible and vocal.

Pride events are also a time to remember our ancestors, what they did and what they went through to get where we are today. There’s an element of remembrance.

It’s also a celebration of all the victories we’ve achieved this year. In Vancouver, we had the Parks Board initiative to provide gender-neutral bathrooms and the School Board’s revision of its LGBTQ policy. These things need to be celebrated with the whole community, not just the LGBTQ population but with our allies as well, who come together and join with us to show that we’re united in building a better tomorrow.

This year, Surrey City Hall refused to fly the rainbow flag so there’s a lot of work that still needs to be done. We’re not at the day where Pride Week or Pride celebration doesn’t need to happen because equality…we’re not there yet.

There’s still a long ways to go. Until everyone, everywhere can be free, I think we need to keep celebrating Pride and pushing for change.

SM: You’re headed to Mr. Gay World in Rome, Italy. What are you most excited about, heading into that competition?

CW: I think I’m most excited about meeting all of the delegates to see what kind of activism and community service actions they’re working on. I’d like to see if we can get something going globally. Imagine dozens of us from all parts of the world doing something at the same time – that could create a phenomenon!

SM: What kind of events will be happening in Rome? What will you be doing there?

CW: It’s a regular pageant so we have a lot of pageantry elements: the photoshoots, the Q&A session, the panel judging, and the talent portion. There’s also a city tour and a look at the LGBTQ services offered in the city. On the Mr. Gay World website, you can see our itinerary—it’s very detailed!

The other thing about the competition is that it gives competitors a worldwide platform to talk about what we’re doing and to bring our issues to the world press. One of the new components at the competition is a pop-speech. You’ll be given a word or topic and you’ll have a minute to talk about it. This is to see how articulate you are and how you can think on your feet.

We also write an exam when we arrive. You need to know your LGBTQ current affairs and history, and Pride history. It’s not just about your looks or how you strut your stuff on the runway.

There’s a sports element too. Last year they went to a police training camp and completed the course there. I’m quite interested to see what we’re doing this year.

We’ve already started our competition with a set of online challenges. Our first challenges was to pick an iconic place where we live and do a 60 second video, unedited and uncut, introducing our city and ourselves. I went to Stanley Park and stood where you could see Canada Place and the Vancouver skyline. We also have online quizzes and handbooks that we need to read. Our current challenge is to present a short documentary of our gay life in our city. This is great for me because I can use all of the video clips I’ve been shooting across Canada.

SM: How many countries compete at Mr. Gay World?

It’s different every year. This year there are 32, last year there were 25 so the numbers are definitely increasing. This year is the largest yet!

SM: What are you hoping for out of this competition?

CW: One, I’m hoping that the delegates can collaborate and do something globally. Even if I don’t win, that’s something I want to do. I’ve already started with my contacts in Asia, being a support for local groups. I definitely want to do something with the Mr. Gay World delegates, if possible.

I’m hoping to do really well in the compeition because of the platform the title provides. I’ve noticed that since I won the title of Mr. Gay Canada, it’s made a huge difference in terms of media coverage and profile. If you’re just Christepher Wee, well, you’re just Christepher Wee. But if you have a title behind your name, it gives you the opportunity to be a visible voice

What's next for this guy? Lots is our guess. Image courtesy: STUDIOZ QLIX
What’s next for this guy? Lots is our guess. Image courtesy: STUDIOZ QLIX

SM: You mentioned that being Mr. Gay Canada has given you a platform, a higher profile and more media access. We talked a bit about that in the last interview. Have you found you’ve been able to more your various goals forward?

CW: Definitely! I mentioned working with Gay Straight Alliance (GSA) last time and, before I became Mr. Gay Canada, there wasn’t a lot of interest. But now that I’m Mr. Gay Canada, I’ve become a national resource on the GSA Canada website. People from all over Canada can contact me and ask me to come to their school and speak, to write something or give advice. I don’t think that would have happened if I were just Christepher Wee. Mr. Gay Canada opened the doors to that.

I’ve also been approached by organizations to act as an ambassador. I’m an ambassador for the Rainbow Refugee society. I’m proud to speak out to help our brothers and sisters who live in countries that have anti-gay laws. I try to bring attention to the plight of these refugees who flee their home countries to avoid persecution.

I’m also an ambassador for Men’s Health Initiative. They’re a Vancouver-based organization that not only focuses on HIV awareness and education but also generally on men’s health – social health, physical health, mental health. We started a campaign together to raise the visibility of minorities. When you see a lot of MHI advertisements and education materials, you only see Caucasian men. I felt that we needed to increase the visibility of other demographics. So we just started a new campaign, Vancouver Fabulous, where I’m on the poster and the post card and there’s a second version coming out in the fall. We’re also launching a Chinese website – a replica of the MHI website but in Chinese with Chinese individuals pictured on the website. Moving on from that, we’re going to look at other demographic groups that need visibility.

SM: Aside from the networking and realizing how much of a platform you have as Mr. Gay Canada, What would you say you’ve learned in this role?

CW: I don’t think I realized the magnitude of impact that I can have with this title. Originally, I wanted to use the title to do good for my community, to have a voice and be visible. I didn’t realize the impact it would have on so many people. The Facebook messages I get, the emails I get, the thank yous from people that I meet at events—it just blows me away. I didn’t anticipate having that much of an impact. I’m really grateful for that.

I’ve also learned a lot about Canada and how wonderful everyone is. I sometimes sound like a broken record on my videos because I always say how proud I am to be Canadian and how proud I am of the community here. But it’s the truth. Everywhere I’ve gone, from Jasper to Toronto, it’s amazing the response you get from people. And the way you see people treat each other is amazing too.

At the Trans Pride event this year, I met three guys from Edmonton who had come out just to be allies, to be visible allies. They’d made up a bunch of T-shirts to hand out to people. I’m planning on working with them to help them develop their business so that their T-shirts with positive slogans can become more than that. Can become an educational medium. We’re going to do something that has an educational element with the message. Hopefully, we’ll be able to get something ready for the Mr. Gay World competition.

SM: What advice would you offer to those looking to be activists?

CW: I just want to say that everyone, everywhere should pitch in where they can. It doesn’t matter what community you belong to or how you identify yourself, it’s all about the entire community working together as one community. Working together so that our children and our nieces and nephews can have a better life than ours. So if everyone can pitch in and help out wherever they can and be a voice on a daily basis for activism – you know, activism is not just about Pride once a year. It’s about daily activism work, educating your friends and parents. For every person you educate, they can turn around and educate someone else. It’s a great way to give back to your and to move forward. It can totally change what our society will look like, 5 years from now, 10 years from now, 20 years from now.

You can fol­low Chris­tepher Wee on Twit­ter (@ChristepherWee) and on Face­book. He also holds the Twit­ter han­dle @WeeChristepher as a plat­form for his hi5Diversity program.

Mr. Gay World will be crowned on August 31, 2014. You can check out the pageant’s program here. You can also vote for Christepher here – you can vote every day until August 31!

 

Daryn Wright heads out to Lake Errock, BC to chat with Suburbia Issue artist, Shelley Stefan. Check out Stefan’s up-coming exhibition at Make Creative on Thursday August 28, 2014: Multiplicity of Self, Queer Portraits. Read the full article in Sad Mag’s Suburbia Issue, out in Fall 2014. 

Shelley Stefan stokes the fire in her wood stove.

Her small studio is an artist’s dream: heavy wooden doors open up to a tiny room filled with tubes of oil paints, a cushy armchair, and various bric-a-brac—a seventies bear lamp, an American flag. The most striking element of the space, however, are the self-portraits that cover the walls from floor to ceiling. In black charcoal, images of Stefan look back like from a broken mirror—some look angry, some sad, some pensive.

Stefan's studio in Lake Errock, BC. Photo by Daryn Wright
Stefan’s studio in Lake Errock, BC. Photo by Daryn Wright

Stefan, whose work includes “The Lesbian Effigies” (2006) and “B is for Butch” (2010),  studied at the University of Notre Dame in Indiana and the Maine College of Art, and currently teaches in the Department of Fine Arts  at the University of the Fraser Valley. Growing up in Chicago, Stefan has lived in several urban centers but now calls Lake Errock  home. The rural setting, far from a stone’s throw from the city, seems at odds with the politics of identity, sexuality, and gender at work in her paintings.

Despite this, Stefan seems at home. Throughout the interview the 40-year-old painter kept the stove, whose masonry she laid herself, well-fed with the firewood she chops and stores just outside.

Shelley Stefan: Right now I’ve got about four series on the go. In the studio here there’s a series of self-portraits—I’m aiming to do hundreds of mirror-based [self-portraiture], kind of old-school, academic, kind of dialing it back to the traditional methods of introspection.

I find there’s something really neat when there’s the human form live, and you surrender a bit of accuracy, but what you get is kind of like raw imperfect humanness that I really like. I’m working with my own face for awhile, just to see if I do this 300 times, am I seeing different elements of myself? Some of them are off, some of them are moody, and some of them look like my ancestors.

They all seem different. They’re all me looking in a mirror at different times. It’s almost embarrassing, and I think that’s the point. I’m at the point in my career where I kind of want to allow myself to be vulnerable.

Sad Mag: Self-portraiture—particularly the kind you’re doing, with a mirror—is rooted in an old art form. There seems to be a connection between this practice and the rural space you reside in. Do you think they’re related in any way?

SS: I think that there’s a part of me that’s very raw and sublime. I think that comes first. I have Italian ancestors who were artists, and that can mean many things but what it means for me is there’s this intense passionate anchor. So having my studio in a rural space like this is a way to ground and isolate that kind of passionate energy in a way that ironically isn’t ego-based. It’s almost like it’s a laboratory and I’m trying to keep the dish clear. So I guess on some level as an artist, my choice of a rural studio feels like the best substrate to tease out the rawest and purest emotion in my work. I’m really influenced by my surroundings.

SM: Through the process, have you learned anything about yourself?

SS: I’m still discovering. Through my works in the past few years I’ve discovered a lot about interiority. When I’ve been working in portraiture, I’ve realized on some level, self-portraiture, if done properly, allows for uncovering different facets.

I feel completely connected to my Italian ancestors when I paint and draw. It’s crazy. There’s something about listening to Italian opera and being in here and being like, “They get me.” When I’m painting and I’m in the middle of it and there’s Italian opera on I’m like, “Those fuckers are crazy and so am I and it’s okay, because you’re human. You’re alive on this planet.”

You can see Stefan’s work up-close and personal at her upcoming solo exhibition at Make (257 East 7th Ave) on Thursday August 28th from 7– 10pm featuring Italian-themed beverages and the musical stylings of DJ Ruggedly Handsome.

Shelley Stefan
Multiplicity of Self – Queer Portraits
August 28 to September 22, 2014

OPENING RECEPTION:Thursday August 28, 2014 from 7– 10pm

 

 

 

My friendship with Ben Garner goes back to 2007, when we met at a bar named Canvas Lounge. We were both hired to work as the VIP hosts for a New York influenced minimalistic and modern venue. Between dealing with drunks and interpretive dancing, Ben and I got to know each other better and became friends. A couple of years later, I moved out of the country and Ben and I took different directions in our lives and careers. Having returned home I’ve come back to chat with Ben and catch up on time lost. Sitting down at his home and studio workspace I get to hear what he’s been up to, learn more about his art and get crotched-sniffed by his new pure bread boxer, Othello.

Ben Garner at his home studio.
Ben Garner at his home studio.

SAD MAG: It’s been a long time, Ben! It’s great to be here and catch up with you.  

BEN GARNER: Yes, definitely! I’m excited to be chatting with you.

SM: It sounds like you’ve had several busy years while I was away. But before we get into any of that, let’s talk a bit about your background. How and where did the story of Ben begin?

BG: Well, I’m 34 years old and I was born in Phoenix, Arizona. I grew up in a place called La Quinta in California, which people commonly make reference to when I tell them that it’s about 20 minutes from Coachella. When I was in second grade my Mom, Dad, brother, sister and I moved to West Vancouver. Growing up I was involved with acting and modelling. I took modeling classes at Blanche MacDonald before it was even a thing. In my teens we moved back to California where I got heavily involved with theatre. Growing up I always knew I had to be creatively involved somehow…when I was 18 years old I moved back to Vancouver to attend Studio 58… this is where my life really started to take off in a whirlwind.

SM: Tell me more about that.

BG: Coming back to Vancouver I moved in with a total pothead chick named Elena. We lived downstairs while two lesbians and an East Indian dude who walked with one leg lived upstairs. Once I had settled into my new found freedom I started going to gay clubs. Elena and I were doing acid together-we did it every weekend for a month until we had a really weird trip in the Real Canadian Superstore and never did it again. I kind of felt like this was the initiation stage of entering into the ‘real’ world. It wasn’t that I had been detached from reality but I had finally birthed into my own perception of it. [And] this new perception-between hallucinations and hidings-would feed my desire to be somewhere else other than in the boring mundane 9 to 5 reality that I thought the world to be; I needed to believe the world I lived in was a magical place…

SM: So you had this awakening, you were trying to find your ground and make sense of the world and you realized you needed to be in a place that allowed your mind to expand. Am I hearing that right?

BG: Yes, absolutely. And even though I was sort of making some good progress in terms of coming into my own, into being Ben, I was going about it in a very disillusioned way. I began to have typical gay relationships and experience the highs of the nightlife combined with the lowest of lows… I struggled with depression and suicide many times… I was hospitalized a number of times and my personal life grew very difficult, especially as my sister was killed in a car crash only one month after I tried to take my own life…after traveling all over the states and experiencing more chaos in my life, I came back to Vancouver again. I was 23 years old and got into crystal meth with a friend who offered me a place to stay…I quickly relied on the drug as it proved to be the only way I could still believe that fantasy world I longed to live in…Looking back I was just afraid of life…and myself.

SM: So what happened next?

BG: [Well], after some time I was not [considered] safe to function in reality. I was picked up by ambulance several times and treated for psychosis…I very quickly became detached from any kind of reality. I truly was crazy…[and amidst all of this] everything around me was speaking to me. I was constantly trying to figure out some hidden meaning, some intricate formula for life…after months and month of manic behaviour I finally hit the bottom; there was nowhere else to go in my head. I began to pull myself into a different direction. I sobered up, got a job and went to back to college. I began taking classes again which sparked my interest in art and creativity. I went away on a travel abroad art history program for two months in Europe and upon returning I decided to enroll in Emily Carr.

SM: Wow, that’s quite a lot that you worked through. How empowering! So tell me about your project(s) with Emily Carr and how they came to be.

BG: My time with Emily Carr was extremely rewarding. I was commissioned to work with Sumac Ridge for the launch of one of their new wine labels, had a chance to work with Bob Rennie and the Rennie Collection in collaboration with the Union Gospel Mission to produce art for their new cafeteria which I ended up being the spokesperson for Emily Carr during that project. Most recently, I graduated and presented my grad piece at The Show, which has now become a continuing and well-received artwork…I have been exploring and referencing mandalas throughout my studies at Emily Carr as they best represent my worldly experiences-my grand psychosis. You see, I’m always going to be psychotic; now I just know how to live in the real world as one.

BenGarner2
Ben showing me how his mandalas ate typically made; Othello resting on the couch.

SM: Can you tell me more about the mandalas?

BG: Sure. Mandalas are cosmograms: maps of the universe. In Buddhism and other Eastern philosophies they are used for meditation to contact higher awareness, states of being or enlightenment. My project started as a series of ink drawings and moved to large-scale coloured geometric patterns resembling starburst. I remembered learning about an artist who used his blood to make statue busts of himself and it inspired me to think about my own identity, especially when my last course before grad was a Queer Theory course. I decided blood was the only way I could genuinely represent all of an individual in the truest form. I took on my grad project and constructed these blood mandalas, of myself and others. The project spoke to me and provided an opportunity to examine myself internally and see that all of my experiences could be brought to this one piece, this one place, with my own blood. It then also became my gift to others, to use their blood and create a portal from their reality, their DNA, and transcend the inner workings into the world of the spirit.

SM: So where are your mandalas now? And what’s next for Ben Garner?

BG: Until last week my mandalas were on display at the Windsor Gallery. I currently have three test tubes in my fridge of the blood of others, waiting to be transformed into a mandala. I plan to finish 8 more and present another showing in the weeks to come.Ater that we’ll see where things can go and until then, I’m continuing to follow this journey and am fixated on my [burgeoning] career as an artist.

Ben standing with one of his featured blood mandalas.
Ben standing with one of his featured blood mandalas.

After we finished our conversation, Ben showed me some of his works in progress as well as other abstract canvas art he has been working on. For more information or to follow Ben’s work find him at online and on Instagram.

Grit & Gristle artist Nicola Tibbetts has organized a new group exhibition for the North Vancouver Arts Council. On until July 26th, it features her work along with that of Ying-Yeuh Chuang and Ben Lee. Sad Mag talked with her about her donut painting on the back of the Grit & Gristle issue and her love of food.

Art + food. A match made in heaven.
Art + food. A match made in heaven.

Sad Mag: I was introduced to your work when one of your paintings was on the back of Grit & Gristle. The painting has Honey Cruller and Vanilla Dip donuts positioned on a stage of sprinkles and is part of a series that reimagines The Marriage of Figaro using Tim Hortons’ donuts in the place of actors. Each donut was given a character from the opera based on its appearance, texture, taste, and popularity. It was a perfect note to close the food issue and I think readers would be interested to know where the idea for this series came from.

Nicola Tibbetts: I had been using food as my subject for a few years at that point and was looking to put the foods into a context instead of painting them into flat saturated colour fields. I was sitting in Tim Hortons in Halifax drinking a hot chocolate and I began thinking of ways to do this. I realized that Tim Hortons donuts were a perfect “food” to anthropomorphize and play with because of the variety of textures, colours, shapes, fillings, and associations people have with certain varieties.

I chose The Marriage of Figaro as my narrative because it’s a ridiculous and melodramatic opera, which exaggerates the absurdity of anthropomorphizing donuts. I liked that Tim Hortons donuts are the epitome of low quality food while opera is one of the most bourgeois and “high art” of art forms.

SM: I’ve been looking at your work and food is common to all your series. Could you give a little context to your interest in food? 

Eat. Art. Repeat.
Eat. Art. Repeat.

NT: I’ve been interested in food for a long time. It began with baking and moved on to cooking when I realized meals were more important than dessert. Growing up we would talk about food, recipes, and our family food history around the dinner table and my sisters and I have continued that into our conversations today.

I love to read books and watch movies about food as well; two of my favourite books are The Art of Eating by MFK Fisher and Charlemagne’s Tablecloth by Nicola Fletcher. My favourite food films are ‘Tampopo’ by Juzo Itami and ‘The Cook, the Thief, His Wife and Her Lover’ by Peter Greenway. Because I lead a food-centric life that’s all I want to make art about. For now.

SM: Many of your paintings anthropomorphize food and I think the result is at once humorous and elegant. Do you find the use of humour to be a balancing act?

NT: Sometimes the humour in my work is evident from the very beginning like in The Marriage of Figaro series while other times it becomes apparent later. I often appropriate ideas from art history and tend to choose stories and images that I find entertaining and strange which then find their way into my work. For Progress of Love series I copied the backgrounds and took the titles of French Rococo painter Honore Frangonard and inserted my own food characters where he had painted a courting couple. The Rococo genre was a very romantic, playful, and often frivolous period in art history and I wanted to heighten and exaggerate those aspects when I made my works. I’m not laughing at my ideas as I’m making the work but I do sometimes chuckle during an artist talk when I realize how crazy I must sound.

SM: Some of your work explores performance and theatre as well as food. Do you see an inherent connection between them or is there something else you are wanting to evoke in bringing them together?

NT: I think of cooking and serving food as performative even within my home. The series The Feast is inspired by medieval feasts, which were extremely performative. Every dish served had a specific history and meaning. In the Progress of Love series I took this concept even further by making the foods themselves the characters.

SM: You, Ying-Yeuh Chuang, and Ben Lee all use food as inspiration in your practice. What was your intention behind the exhibit with works from you three artists?

NT: The three of us have been colleagues in the Studio Art department at Capilano University for the last few years until the program was cut in April. Oddly I didn’t realize until about a year ago that our processes’ were so similar. I was interested in bringing together three very different practices that were united by the use of everyday objects like food to make curious and unexpected artworks. And in your words from earlier they also balance humour and elegance in their work. Basically I just love both of their work!

Processed with VSCOcam with m5 preset
” I realized that Tim Hortons donuts were a perfect “food” to anthropomorphize…”

SM: Most of the pieces you have at the exhibit are from The Feast series, which imagines a banquet from beginning to end—untouched ingredients to dirty dishes. Was there a reason you brought this series to the context of this particular exhibit?

NT: Of all my paintings The Feast series is most focused on food and this exhibition highlighted food as subject. I felt that the minimalist nature of much of Ben and Ying-Yueh’s work also contrasted nicely with the abundance and excess in The Feast paintings.

Extraordinary will be on until July 26, 2014 at CityScape Community Arts Space in North Vancouver. More information about the exhibition and artists.

selfiedanakearley
Before there were selfies, there were self-portraits

As a child, Dana Kearley remembers an obsession with deep sea and prehistoric animals.

“I love horror and gore, and I think that came from those creatures,” says the Vancouver-based illustrator. “I love the feeling of being grossed out by something. I would look at books, be grossed out, close the book and then open it again.”

Today, her illustrations aim to give viewers the same uncomfortable feeling of both wanting to look and wanting to look away through ambiguous interactions between humans, animals and hybrid creatures.

“Sometimes I’m like, ‘Why am I drawing blood?’,” she says. “I don’t know. I kind of want to make people uncomfortable. It’s so gross, but also cool—and it can be cute too, kind of funny in a different way.”

bearddanakearley

Kearley finds inspiration in the work of Marcel Dzama, a Canadian multidisciplinary artist who is best know for drawings that seem like children’s book illustrations at first glance, but are full of surreal interactions and strange details upon closer inspection.

“He’s in his own little world, and that’s how my work is too,” Kearley explains. “It’s hard to get what’s going on in my head into words, but it’s not hard to get it into images.”

Kearley is studying part-time towards a BFA at Emily Carr University of Art and Design, majoring in Illustration and Drawing. In addition to her coursework, she has recently completed the album artwork for a split seven inch EP for Sightlines and Crystal Swells.

She also volunteers for Discorder Magazine, creating a monthly illustration for the CiTR-published music magazine.

Discorderillodanakearley

“I like doing it because it doesn’t have to be completely literal. I listen to the bands first and then go from there,” Kearley explains, saying she’s done illustrations for some of her favourite bands: The Courtneys, Cool and most recently, Skinny Kids.

“I’m really happy with the illustration in this month’s magazine, so I’m going to continue with that idea [little human-ish creatures in leotards and masks, dangling from a hairy arm], but with different body parts,” she says.

“I really like Pussy Riot with their masks,” she continues, pointing out the many characters in her illustrations who also wear masks. “You don’t know who’s under there.”

7''spitdanakearleyKearley’s work can be found in this month’s Discorder magazine, and on her website: danakearley.tumblr.com.

There is something distinctively charming about listening to a bearded, glasses-clad, hipster cowboy singing songs about ponies–in a venue also called Pony. Sad Mag caught up with Tenderfoot before his afternoon ‘salon’ show at Seattle’s most geometrically acute gay bar.

How long have you been play­ing as your cur­rent project and where are you from?
I’ve been making music under the name Tenderfoot for 5 years now, with different iterations of bands and accompaniment. I was born in Valdosta, GA and grew up in the South until I was 21, then made my way up north to the Detroit, MI area where I Iived for 6 years. After living on the road for a year with a partner in a vintage travel trailer, I spent some time in San Francisco, then finally settled in the PNW.

What draws you to ‘Mo-Wave?
I love the artistic diversity Mo-Wave represents in their line-ups and events. There are so many ways to be a queer artist, and the festival crew really tries to cover the spectrum of the more underground and above-ground queer movements. Mixing in internationally recognized headliners with local queer bands and artists helps elevate everyone involved, and pollinates our scene creatively.

photo
Tenderfoot at ‘Mo Wave 2014

What do you think can be done to make more stages for queer artists?
I think queer artists need to make their own stages. I just finished a small tour in Los Angeles and San Francisco, and met with a lot of movers-and-shakers in the queer creative community. I’ve noticed a cultural trend: people are thinking smaller and bigger at the same time. Small, well-curated art & music shows are popping up in backyards, homes and dive bars, and these smaller shows resonate on larger levels through word-of-mouth and online. As has been the historical norm for queer artists, we can’t really wait for people to be ready for us and what we have to offer, we just have to do it ourselves.

To read more about Tenderfoot and his Whitmanesque ways, check out his website here: http://tenderfootmusic.com/

We have to admit we were warned. The chatter around Mo Wave’s main venue, Chop Suey, was awash with promises of filth and butt-holes from Headliner, Christeene. Hailing from Austin, Texas, Christeene is equal parts musician and performance artist with a penchant for mixing precise choreography with sloppy raunch. Even before Christeene was paraded onstage draped over the shoulders of her masked back-up dancers, the stage set-up (consisting of 6 tiny water bottles and toilet paper rolls) was a fairly accurate indication that shit was gonna get filthy.

IMG_6522
Christeene at ‘Mo Wave 2014

And while photos of Christeene display a striking trans woman with long black locks matted together with sweat, smeared mascara, and a random application of lipstick across her lips and chin, it didn’t quite prepare us for our first sight of the artist: ass-first, with a cluster of helium balloons tied to a butt plug graciously wedged in her asshole.

Think Bambibot meets Bloody Betty plus more butt-holes than the House of Commons.

Sad Mag had a chance to sit down with Christeene before the show (and before—in what seemed to be a moment of sincere connection between performer and audience member—bitch spat in our face).

Where are you from, and how long have you been play­ing together?
WE FRUM AUSTIN TEXAS AN WE BEEN KICKIN DIZ NAY NAY ALL OVER DA WORLD FER 4 YEARZ NOW.

What draws you to ‘Mo-Wave?
MO WAVE IS UH MAJIIKAL FUGGIN LIVIN ROOM DAT CALLED TO US. JODI ECKLUND DUG US UP WHEN SHE WUZ IN AUSTIN FER SXSW AN WE BEEN TRYIN TOO GIT IT TOO IT EVER SINCE. DIZ WURLD NEEDS MO MO WAVE.

What do you think can be done to make more stages for queer artists?
IZ GUNNA TAKE DA QUEER ARTISTS AN COMMUNITIES CUMMIN TOGETHER TOO MAKE SOUNDING BOARDS OFF OF EACH OTHER SO DAT OUR SOUND GITS FUGGIN LOUDER AN LOUDER AN WE ALLLL KEEP EACH OTHER INFORMED UH DEEZ STAGES AN WHERE DEY ARE. WE NEED MESSENGER PIGEONS TOOO.

Christeene will be performing on April 26th in Austin,TX as part of the FUSEBOX FESTIVAL. You can read more about Christeene Vale here: http://christeenemusic.com/