On Saturday, November 9, at 8:00pm, Derrick Fast is opening his art show, Tears of Joy, at Antisocial Skate Shop. His work is about labour, constructing pieces from thousands of component parts. Sometimes he uses patterns of dots and shapes, painstakingly painted by hand, to create skulls and hypnotic geometries. Other times he paints on found objects, or builds installations from cumbersome materials, like brick. To Derrick, art is about hard work and patience, achieving beauty through tedium.

Sad Mag: So how did the show come about?

Derrick Fast: I bought a hoodie there [Antisocial Skate Shop], and it was too small. They didn’t have a bigger size so they had to order another one in. I went in every single day to see if another one had come in. Every time she said no and I felt really bad, because I bugged her everyday for this stupid hoodie. And it didn’t come in for months. So over that time she found out that I painted, and said I should have an art show here.

SM: So are these pieces being made specifically for the show, or projects you were working on anyway?

DF: After I found out I was going to have a show I thought it would be cool to have a theme. There are only three colours in it: red, white, and black. I got a lot of the simple colour scheme from old sign painting, I’m pretty interested in that, hand painted signs.

SM: The work comes in a lot of forms: there are traditional paintings, paint on found bottles, paint on bricks. How did you arrive at those materials, what drew you to them?

DF: I don’t really know how it started. With the brick thing, I wanted it to be a real pain in the ass. There are so many, I wanted it to be in a room and have a presence. Bricks are so heavy, they’re built to last and it’s a hassle to move them.

SM: The point of the bricks isn’t just the pile of them on its own, though, it’s about the word that you’ve painted on each one, building it into a pyramid of these jumbled, disassociated terms. How did you select the words? Is there any particular pattern or sequence, or are they just assembled randomly?

DF: The idea was to get words that trigger either negative or positive emotions. There’s one that says “morals,” and right beside it is one that says “slut,” and then “pure.” There’s “eager” and “adore,” but also “needles” and “secrets” and “need,” so I feel, depending on who you are, if you look at it, you automatically connect words.

SM: So the art is informed by what people bring to it.

DF: Yeah, and that’s also why it’s so big, it’s going to be overhead height. There are around a hundred bricks, I think.

SM: It seems like a lot of your style is assembling piece from a number smaller parts: the bricks with words painted on them, the skulls assembled from thousands of dots or shapes. Why that style?

DF: It’s real tedious. I think it’s about what I was saying earlier: I want it to look like somebody’s, oh wow, put so much work into that one thing. So much work went into something so small. All the bricks, all these little dots make up one thing. I like that you can see all the little mistakes, you can tell that it’s done by hand and that it took so long. That’s what I like about it. It’s not like a computer did it. It looks human. It looks like a pain in the ass. Wow, somebody would go through so much effort to make this thing.

SM: Why is that effort important to you?

DF: A lot of it had to do with me getting into sign painting. A lot of signage is vinyl, very heartless, but when you see a hand painted sign, you can see all the little mistakes and you can tell it was done with a human hand. If it’s done by hand it’ll never be perfect, but I feel like it brings something to the table.

SM: When you start on a piece, do you have an image in your mind of what it’ll look like when it’s done?

DF: Not really, I just kind of wing it. With those skull ones, I had no idea if it was going to work or not. With these, you can tell I get more precise over time. I like the imperfect one more than the perfect ones. Margaret Killgallen is really about that, you can tell they’re all wavery. That’s also why I like doing more tedious stuff. If you look at the triangles, you can see every single line waver. I always think by the end of it I’m going to have a shake, going to need eyeglasses.

Tears of Joy opens at Antisocial Skate Shop at 8PM on Saturday, November 9th and runs until December 2. Once he’s done moving his pile of bricks, Derrick sure would love to see you there. To see more of his work, visit him online.

Have you seen the new issue of Sad Mag? Featuring fantasies of all kinds, Rebecca Chaperon’s work fits perfectly with the theme. Adding to her already jam-packed fall schedule, which includes two gallery shows and a book launch, Chaperon has managed to squeeze in another gallery appearance.

Opening this Sunday, Chaperon will have two paintings, Doppelganger I and Doppelganger II, shown in an exhibit called The Best of Everything. Following on the same theme of the work showcased in the current print issue (think arctic mixed with tropic plus confetti, you heard right!), you won’t want to miss seeing these striking works in person.

The opening will feature live music and, of course, art. Over 14 established and upcoming artists will be featured in this show guest coordinated by Korey Moran at the Baron Gallery.

Interested in Chaperon’s process? Here’s a little taste, more of which can be found in the newest Sad Mag issue—available now!

I feel that often I need to think about things when I’m at the studio because once I’m in this room, it’s go. I’m just really in this really fast-paced environment. On my walk here, I try to be really calm and meditate on the fact that I’m taking one step at a time because I know, once I open the door and walk in, it can be overwhelming recognizing the amount of things I might have to do in one day. When there’s a lot of different things going on, its hard to decided what to do first, and it can be hard to step away and realize what’s the most important thing.

With a full plate of producing work, showcasing work, and getting herself out there, we understand Chaperon’s need to take some time to be calm. Join her in celebrating all her hard work this Sunday.

Opening: Sunday, November 10, 2-5pm with piano & light refreshments
Gallery Hours: Monday-Saturday November 16th, 12-6pm
Location: Baron Gallery, 293 Columbia St @ Cordova, Gastown, Vancouver

Sad Mag’s favourite gaming correspondent, Lawrence Mathes, reflects on atmosphere and audience at the Vancouver Symphony Orchestra’s debut of The Legend of Zelda: Symphony of the Goddesses. From the masterful work of the musicians, to the penchant for audience members to appear dressed as characters, Lawrence finds himself at the heart of a juxtaposition between classical aesthetics and pop-culture fandom. 

The night has come and gone, but it certainly has not been forgotten. I arrived early to pick up my tickets and to meet with friends and, just being in the Orpheum Theatre, with its vaulted ceilings and ornate columns, I was reminded how important venue is. I’d like thank the entire staff at the Orpheum for all they do, because years as a stage manager has taught me to appreciate all the people who help to put on a performance, especially those who don’t appear on stage.

The show started off with much hubbub (and many, MANY people playing the new Pokemon games on their 3DSs). We were greeted by the producer and the immensely talented conductor, Susie Benchasil Seiter.  Wielding her pink baton, which I prefer to think of it as a tiny, breast cancer fighting Master Sword, Seiter led the VSO through a night of sweeping ballads and scintillating medleys.

The performance began with a medley and a quick visual history of the Zelda series from classic Nintendo Entertainment System to modern Wii. I don’t mind admitting that I got a little shiver down my spine watching my childhood play out on the screen in front of me. Over the next hour we were treated to half a dozen wonderful pieces that including the excellent the often-overrated Ballad of the Wind Fish from Link’s Awakening, one of the lesser known Zeldas.

After the first half, I found myself anxious for the second half of the performance to start, for the first time in as long as I can remember.  The second half of the symphony included one of my absolute favorites, the magnificently played Gerudo’s Valley, and I did indeed have my happy mask on when the main theme from Majora’s Mask started.  The performance finished with a not one, not two but three encores, ending one a high note, no pun intended, with the theme from Skyward Sword.

The entire performance was excellent and the only thing that matched the musician’s skill was the enthusiasm of the audience.  I’ve never seen a single audience member dress up for a Mozart concert but the VSO had a half dozen Links of both genders as well as a Sheik!

I’d see it again in a heartbeat and can only hope that next year we’ll have a Symphony of the Goddess Third Quest.

Baby, it’s cold outside and we’ve got something to keep you warm this winter! Hint: it’s more indulgent than a peppermint mocha with extra whip and sprinkles, naughtier than Santa’s list of Canadian politicians, and  hotter than your down-filled parka that makes you look like the Michelin man—and sexier too. As temperatures begin to plummet, photographer and musician Clint Lofkrantz is heating things up in our current Fantasy issue.  Sad Mag had the pleasure of teaming up with the artist and we thought you should meet the man behind the camera.

Sad Mag: Tell us a bit about yourself. Who are you?

Clink Lofkrantz: I am 31 years old: photographer and musician. I am from Vancouver, but will soon be moving to Los Angeles next spring. I made the decision to move to LA at the end of this past summer to push my photography and hopefully sustain myself by doing what I love.

SM: What will you be doing in LA?

CL: Vancouver is great. I have lived here since I was 18, but I have gotten all I can get out of this city. I believe I have done very well for myself in my endeavors, but I am still not satisfied. I know I can do better, but I need to live somewhere that better facilitates what I want to do.

SM: What was your experience like taking photos for Sad Mag?

CL: It’s my first physical publication, so I am very happy to be a part of the mag! I am also stoked on the magazine’s choice for a two page spread! The photo I shot for Sad Mag was an idea I always wanted to do! Since I never had shot anything like it before, I was really skeptical [about] how it would turn out. When we were setting up I wanted to make the water a cloudy blue, but that went a little sour. As I tried to pour milk in the water, it turned out the milk was very expired; so I had to scoop out all the chunks of sour milk! Also, when the model Mikaela got into the water, it was really hot and she kind of freaked—no injuries were sustained though!

SM: How did you become involved with the magazine?

CL: I originally wanted to work with Sad Mag because you guys did an interview/tour bio of my band Mode Moderne‘s last European tour. When the mag came out, I was really hyped on it and made me want to contribute my art work, which the mag and I both mutually agreed fit.

SM: How did you discover a love of photography?

CL: My grandfather was always shooting photos and would always buy me point and shoots, but I never took it really seriously up until two years ago. Also I am a southpaw [left-handed]—the artistic type.

What is your favourite subject to photograph?

Well I suppose currently looking at my work would be women . . . naked women [Laughs]. I love shooting women as a subject matter because really they are bodies of art; their form is very pleasing to the eye to most men and women. Female models, professional or amateur, also exude a strong, natural sexuality, and confidence that turns a basic photo into an amazing one.

Why erotic photography?

I wouldn’t label my whole style as erotic. I love landscapes and portraiture too, but I guess that I choose to shoot eroticism because it can be so powerful and beautiful. Shoots don’t have to be a big production. They can be really simple and you get some amazing photos with just your model and a camera.

Selfies: yes or no?

Instagram: Lofkrantz

Any tips for taking an erotic photo?

Shooting a beautiful, naked model can make you nervous, but don’t be. Be confident! Have fun with your model. Make them laugh—keep the atmosphere comfortable. Don’t ever say stupid shit. You want your reputation to be good and professional.

What inspires you?

Neil Krug

Reuben Wu

Ellen Rogers

Krist Mort

Friends

Family

Life

Love

Clint is currently in the process of setting up an online store where his prints and artwork will be for sale. In the meantime, you can view Clint’s work or drop him a line at www.lofkrantz.tumblr.com and www.modelmayhem.com/2997094

The newest issue of Sad Mag (available now!) features the work of two fantastically talented photographers, Martina + Reem, who joined forces to create the cover featuring Jessica Kruger. Shooting for MAC Cosmetics, Elite Model Agencies, and Flare magazine events, this duo has many reputable collaborations under their belt. With a passion for fine arts and fashion, Martina + Reem create an unimaginably whimsical fantasy in each of their photos. For them, every piece contains its own story and leaves an everlasting emotion that resonates with the viewer. Going back to their roots shooting film for this project, a choice that initially caused anxiety, ultimately rewarded them with a stunning result.

We had the pleasure of getting a coffee with Martina + Reem to discuss their photography, Sad Mag, and all things mystical.

Sad Mag: Tell us a bit about yourselves. How did you two decide to collaborate?

Martina + Reem: I think it was when we were attending Van Arts. We would be shooting in the studio, and we would overlap our timeslots… a lot. We would work together; one would assist the other when they’re shooting and vice versa. We noticed that there were a lot of shoots that we worked really well together. We kind of like a similar style. We did have our own styles before, but now its combined into one style. We have a lot of similarities. We love to work with layers and textures, and even feelings you get in the photos. We enjoy working together. And we’re best friends, so it works out.

SM: What’s your favourite subject to photograph?

MR: That’s a hard question! There are so many beautiful things to photograph. We love everything! We would say we specialize in fashion and fine arts. But honestly, we were just talking about doing a product shoot the other day.

SM: Why did you choose to use film for the cover and not digital photography?

MR: Well, it was a long time ago that we shot in film. We were actually so nervous about the shoot! It was a hard decision, but it kind of reminded us of how amazing film is. Now, we’re talking about how we should shoot more in film.

SM: Tell us about your experience photographing for Sad Mag?

MR: Shooting the cover was great. There was so much responsibility! We shot the cover, and the majority of the story inside. We also had a super early start, at 6 am because we had to get into the conservatory. Overall, the shoot took eight hours for the full day. We try to minimize when using digital, but with film, there’s no need to shoot a million pictures of the same thing. It’s scary! I think every shoot we get nervous. It just shows we love what we do, and we want it to look really, really good!

SM: If you could choose the ultimate subject, be it a person, nature, or a feeling, to photograph, what would it be?

MR: Wow that’s a big question. Maybe something in outer space. Since we have no budget. Somehow bring the water element into it. How about Audrey Hepburn, underwater, in outer space. With a unicorn.

The demon has survived. Victor Frankenstein believes that his quest for intellectual knowledge will lead him to the pinnacle of human discovery. But his self-interested pursuit results in the creation of a destructive monster that is unleashed upon mankind. Frankenstein. In their sixth production, the Ninja Pirates Theatre Society presents Frankenstein, a play by Victor Gialanella adapted from the novel by Mary Shelley.

Science and moral philosophy are at the forefront of Frankenstein, and Director Anthony Shim’s rendition is haunting. In time for Halloween, October 30^th’s preview presentation provided an opportunity for the cast and crew to perfect their performance with the benefit of a live audience and went off without nearly a hitch.

The set design was restrained. The actors’ all-white costuming and choreographed movement made them appear frighteningly self-possessed, and the foreboding sense of constriction was heightened by the music and sound of designers Dan Blackburn and Bryce Hodgson. Strong performances from the actors brought this play to life. The comedic talents of Martin Hallet and Piercey Dalton as Lionel and Frau Mueller were delightful. Adrian Petriw is superb as Henry Clerval, and Victor Ayala gave a heart-wrenching performance as De Lacey. Frankenstein makes us ponder what it means to be human. Who or what is the real monster?

Frankenstein haunts audiences from October 31^st – November 3^rd at The Waterfront Theatre on Granville Island.  Check out Ninja Pirates Theatre Society’s online for their next thrilling performance.

Have you ever wanted to create a loving home for urban bees? Us neither. Sad Mag does love the local honeys, though, especially in sweet tea, and we’re not averse to getting a little sticky now and again in pursuit of authentic consumables. So when Sad Mag learned about Homesteader’s Emporium, in East east Van, we had to get the dirt on what Rick Havlak’s urban homesteading supply shop is all about. From  classes that will teach you how to make your own Kombucha, to that pivotal item (rennet) you’ll need to create your own cheese, Homesteader’s is a friendly, practical and adventurous store, run by a guy who is more of the same.

Sad Mag: Who are you?
Rick Havlak: My name is Rick Havlak, I’m the owner of Homesteader’s Emporium. And also the founder of Homesteader’s Emporium!

SM: Splendid. And when did you start your business?
RH: I started working on this full time almost exactly two years ago, which is kind of crazy to think about, but the store’s actually been open for about fifteen months now.

SM: Can you explain to someone off the street what Homesteader’s Emporium is all about?
RH: Homesteader’s Emporium is a resource for people who are learning to become more self-sufficient. We use the catch-all phrase “urban homesteading” to refer to a suite of activities like beekeeping, chicken keeping, canning vegetables, making your own soap, baking bread, making sausage, curing meats, and growing vegetables. It’s a broad spectrum of activities that all kind of appeal to the same group of people.

We’re a resource: we sell hard-to-find supplies for all of those things and more. We’ve also gotten more and more into providing educational programs because in many cases you’re trying to learn something, but maybe you don’t know anybody in your circle of friends that does it, so we found a real need for classes.

SM: Right, I guess it only goes so far to sell the tool for something if someone doesn’t know how to use it.
RH: We initially thought that we would get by providing all of these base raw materials and we would cater to people who had done the legwork and knew that—[like] for cheesemaking, if you know you need rennet and you know exactly what supplies you need, you just walk down to the store and you pick them all up—but we’re finding more and more that there’s a demand for something that’s packaged together.

SM: In the year that you’ve been open, do you have an “average” Homesteader’s Emporium customer?
RH: That’s an excellent question. And it is extremely diverse. There are a lot of different people that come into the store for a lot of different reasons. We get people who are just in the neighbourhood who treat us as their neighbourhood store for things like gardening tools, but what we imagined when we opened the store was that we would be more of a destination, so that’s still a broad group of people. People who are interested in specifically the stuff that we have that are coming from all over Vancouver to find it.

But to get back to your question: we have a lot of young parents who are interested in teaching their kids some more back-to-basics information; a lot of people who maybe had chickens when they were young or they used to can with their grandparents or with their mother and they’ve forgotten how to do it because they hadn’t valued it enough to learn it until recently. We get a smattering of people who do live out in the country and are what you might consider more traditional homesteaders, where they live on a piece of land and they actually produce a significant amount of their own food. They are much more self-sufficient than most so-called urban homesteaders would even aspire to be. And then we get “preppers”: people who are motivated primarily by the concern that the next big earthquake is going to catch us all with our pants down—which it probably is. And then a lot of weekend warriors, people who are maybe professionals who are just interested in learning something different, and foodies who are really passionate about food and are accustomed to going out to nice restaurants and coming at it from that point of view.

SM: Going back to a bit more about yourself: what brought you to the concept of Homesteader’s Emporium?
RH: Basically it’s the store that I wanted to shop at. Immediately what got me into doing this kind of thing was a really serious homebrewing habit. My buddy and I got super into homebrewing and we would spend a huge amount of time watching the brew kettle and talking about improving it in different ways. It’s sort of a slippery slope where you hold this beer in your hand and you realize that it’s better than most of the stuff that you buy and you made that yourself, and maybe two years ago you never would have imagined that you could do that. As you’re holding this beer in your hand and you’re watching this kettle boil for 90 minutes you get to thinking—what else can I make?

We just started trying a lot of different things. We tried coffee roasting, we started making cheese and we built a beehive—all just by skulking around the internet trying to find somebody’s blog or obscure website that had some information about what we should do—what kind of things did we need to use. With cheese, there’s this mysterious compound called rennet and we knew we needed to buy it and we searched all over time and finally found it in the back aisle of Famous Foods.

What we continually found was that we would bring it up in social situations and so many people were interested in hearing about it. It’s such a compelling thing to discuss. I felt that there was a lot of interest and there needed to be just one place where you could walk in say “tell me all I need to know and set me up with what I need.” There has never been a place like that in Vancouver to my knowledge.

SM: Do you have any ideas about why there’s such a renewed interest in homesteading?
RH: In the 1950’s—and I wasn’t alive then—it became sort of a status symbol to not have to do all this drudgery in your kitchen. I was looking through this book on coffee roasting and it had some funny ads from around that era advertising pre-roasted coffee with a picture of a woman burning coffee in her kitchen. And mocking her for having the poor judgement to do it herself instead of just going out and buying it in a can. It was part of the cookie cutter American dream—your food came from a grocery store and you had a middle-class job and you didn’t have to break your back toiling in the garden. But now we’ve come to a point where we’ve lost the idea that being involved with your food is something you have to do because you can’t afford not to—and now we’re far enough away from it that it’s become a curiosity and also a point of nostalgia.

It’s a mix of familiar and unfamiliar—cheese and coffee—but if you ask someone on the street, “how is it made and where does it come from?” it can be a total mystery. For me and for a lot of people it’s very exciting to peel that back and look into something that we’re not exposed to often.

SM: In terms of customers’ interests, what do you think is the next “big thing”?
RH: There seems to be a huge awakening of interest in fermented foods and cultured foods and the idea that it’s okay to eat things that aren’t sterile because there’s microbes all around us and we might as well be putting ones into our bodies that are beneficial to us. So we’ve really noticed that there are a lot of people who are interested in making fermented vegetables, and in particular, sauerkraut. I grew up thinking it was this sort of soggy, skunky-smelling pale shreddy stuff, but it’s true that once you start making it, you just start finding ways to eat it and put it in your diet. It’s very healthy.

SM: What have you got going at your house right now?
RH: I started out trying this heritage Swedish yogurt cultured called filmjölk, which I make from raw milk that I obtain on the grey market. And that’s really nice. I’ve got a bunch of sauerkraut on the go, and I’ve got a bunch of meat on the go because we got a bunch of honey out of our beehives this year.

SM: And you’ve been curing your own meats too?
RH: I’ve been making bacon now fairly regularly. That’s sort of the entry point for many people. Because it’s incredibly delicious – with a minimum amount of time and equipment you can produce something that’s noticeably better than what you would purchase in the store, which is quite seductive.

Seductive. And perfect place to end. Thanks, Rick! 

What’s one thing can make basically any event better? Food. Slideluck Vancouver, which held its first even in February of this year has combined photography and mingling with sharing a meal to create an experience that is both beautiful and filling. Coming up this Sunday, November 3, Slideluck will be hosting an event at Performance Works on Granville Island.

Featuring work  from amateurs to pros, Slideluck is open to all and is definitely worth a visit. Make sure to say “hello” to Sad Mag-gers Katie, one of the esteemed judges, and Jackie, a featured photographer. Curtis Michael Davey, the director of Slideluck Vancouver tells us a little bit more about what makes up this unique evening of entertainment.

Sad Mag: Who are you?
Curtis Davey: Curtis Michael Davey (@curtismdavey), director of Playground.Is (@playgroundis), Slideluck Vancouver (@slideluckvan), member of the Engaged City Task Force (@engagedcity). Cultural producer, global citizen, wide-eyed wanderer and light-footed flâneur.

SM: What is Slideluck?
CD: Slideluck is a global community and series of events for appreciators of food, photography and gatherings. It was founded in the backyard of Casey Kelbaugh in Seattle over a decade ago and has spread to over sixty five cities worldwide. Slideshow+Potluck=Slideluck.

SM: When did Slideluck come to Vancouver?
CD: Unofficially, we’ve been planning Slideluck Vancouver since 2010. Officially, February 2013 was the inaugural Slideluck Vancouver event.

SM: What’s the goal of the Slideluck format?
CD: To showcase the work of photographers of all levels—from amateurs to the most notable pros—in an inclusive and communal atmosphere around a good meal. It’s all about coming together to celebrate the art of photography and of food.

SM: What does a Slideluck add to the community?
CD: It adds a non-judgmental platform for photographers to share their work. It provides the opportunity for the community to come together and eat together. It introduces people to new foods, new recipes, new perspectives on the world and to like-minded people in their community.

SM: Breaking bread together is said to bring people together. Do you see this at your events?
CD: Absolutely. Social dining seems to break down people’s barriers and inhibitions. If the art doesn’t get people talking to each other, the food surely will.

SM: What are your other favourite Vancouver cultural events?
CD:I’m a big fan of the Vancouver Opera but tickets are prohibitively expensive. I also enjoy KitsFest, Sam Sullivan Public Salons, Pecha Kucha, and also Playground.Is. Events that combine opportunities to learn something while enjoying a beverage and some good tunes as a part of the events overall platform. Looking forward to the day when Vancouver has its own Nuit Blanche.

SM: What is your hope for Slideluck in the future?
CD: That it becomes a popular annual event in Vancouver for people inside and outside of the foodie and photography communities. That it becomes a meeting place for people of both the high and low end of the social spectrum. That it attracts people from outside Vancouver to come and join us.

SM: Where are you as you answer these questions?
CD: At my home office, chained to my computer, writing emails and documents until my hands cramp up and my eyesight goes blurry.

SM: Describe Slideluck in 3 words.
CD: Labour of love.

Come celebrate the hard work of all of those involved with Slideluck Vancouver this Sunday, November 3. Get your tickets and enjoy an evening of food, photography, and fine company.

Day two at Eco-Fashion Week with Farah and Jess! On today’s agenda, we have Thrift Chic Challenge participant Claire Bouvier. For those who don’t know, the Thrift Chic Challenge asks three designers every season to showcase a collection of thrifted finds from Value Village.

What do you get when you mix four girls in retro chic glasses, a giant plate of nachos and boots filled with Gin Mountain cocktails at The Pint Public House? You get an entertaining and silly night out with eco-designer Claire Bouvier.

Rolling down the streets of Vancouver with three massive suitcases full of chic vintage clothing, we were quite the sight to see! To anyone that asked, Claire casually said that we were a rock band filming a music video; this was just another day in the life.

We hit the town with her dressed in 50s style glasses, a fluffy white toque, your grandmother’s gloves, and vibrant yellow leg warmers to keep warm while staying chic—the ultimate mix of form and function. Claire is fearless when styling both her own outfits and her Thrift Chic Challenge Collection. She brings fun and flare onto the runway, pushing the boundaries of fashion while paying attention to every detail. She used the hanger from her logo as a hairpiece for the models and styled them in 1920s vintage style. Can you say throwback to your granny’s sexy not stuffy style?

Sitting down with Claire, we were eager to learn where such a confident and outgoing personality came from.

Growing up in a big family Claire always received hand-me-down clothing from her sisters. She soon discovered that she could restyle these used pieces and make them into something original. It was clothing that made her feel unique and allowed her to harness her individuality.

Every thrifter has one piece that stands out from the rest.  For Claire this favorite find is a plaid jacket. She told us about a time when she was out with friends and had her photo taken by a random blogger. Little did she know that two years later the photograph would resurface on a ‘What Not To Wear” forum. Looking back at that photo, Claire laughs and says, “I still love that jacket!”

Always being asked, “what are you wearing Claire?” she learnt to not give a shit and wore what made her feel empowered. What started as another one of her mother’s crafty Saturday projects, unexpectedly turned into an eco-friendly lifestyle and the birth of “The Claire Closet” (CC).

As the founder of “The Claire Closet,” Claire keeps busy in Kingston, Ontario. This project creates a safe space for young women to express themselves through fashion and teaches them about eco-art and sustainability. It all began with a business competition during Claire’s undergraduate degree in art at Acadia University. Claire thought it was a long shot for her to win going up against business students but, surprisingly enough, she won!

With a big smile on her face, she was able to fund her project and help girls gain confidence in a fun-filled, creative environment. After graduation, she was unsure of how to make her project a reality. She decided to pursue teaching while never losing her passion for “The Claire Closet.” Combing two passions, she began creating runway shows at the high school she was teaching at. The students showcased their own thrifted creations and discovered their inner fashionista. These CC girls that emerged out of this project were fierce, fearless and fabulous!

Today, “The Claire Closet” has become something greater than Claire could have ever dreamt. She was extremely humbled to receive an invitation to be showcased at Vancouver’s Eco-Fashion Week Season Seven and we couldn’t be more excited to have met her! She is making a huge impact on her community and hopes to inspire CC girls on the West Coast. We had a blast getting to know the real woman behind the Claire Closet. Next round’s on us Claire!

Find out more about “The Claire Closet” on Instagram, Twitter, and Facebook.

I encounted Jillian Christmas at the Play Chthonics poetry reading series, at UBC’s Green College, a bit of a while ago. She was performing, along with fellow slam poet Chris Gilpin, the kind of poetry that creates audience– pulls you in, makes you close your eyes, makes you part of her sound. &, though her audience was small, we were captivated. I needed to hear more. It would be best for you, probably, to listen to the audio of the performance, we’d be on the same wavelength, that way.

Sad Mag: Who are you?
Jillian Christmas: My name is Jillian Frances Yanika Christmas. I am a poet. I am a workshop facilitator for Wordplay Poetry in Schools. I am the Artistic Director of Verses Festival of Words. I am Aunty to several small adults. I like to think that I am an adventurer. As far as I know, I am the undisputed double thumb-war champion of the world, but that is a long story.

SM: When/how did you decide that poetizing was your vocation?
JC: I knew that I was a poet at about 12. I was lucky to have allot of wonderful people who encouraged me to write throughout my life. But it wasn’t until I was about 24 that I ever considered that I would be a performer. The stage was not a natural choice for me, but it was so exciting that I had to be a part of the action. Once I fell in love with it, I wanted to share that feeling with younger poets.

SM: Why Vancouver? How would you describe the literary scene here (so far)?
JC: I love the scene here, it is one of the major reasons I chose to move to Vancouver. From my house in Ontario, I would watch poets like RC Weslowski, and C.R. Avery, Lucia Misch, and The Fugitives on youtube. I couldn’t help but have an immense amount of respect for the work they were and continue to be doing. It is out of the box, thoughtful, quirky real and inspiring. It made me want to write, it makes me want to keep writing. Also, mountains. I think every poet should have their own set of mountains.

SM: What is your proudest moment as a poet?
JC: Having my mother tell me that she trusts me enough to let me tell her story on stage. That was big.

SM: We hear you’ve got a penchant for dirty haikus. Care to explain?

JC:

The filth in my-Ku
Lies not in the words, But the
mind of the reader

SM: Best thing you’ve heard/read lately?
JC: Leah Noble Davidson’s Poetic Scientifica.  It aptly fleshes out the remarkable and necessary intersection between the logical and emotional mind of the artist. It’s like holding a prism up to the light and watching all the notes of Clair de lune tumble out. Illuminating.

SM: Wordsworth, in the 1802 Preface, says that he chose for his poems “incidents and situations from common life, and..[would] describe them, throughout, as far as was possible, in a selection of language really used by men; and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual way.” I feel like there’s a similarity here to slam poetry, in spirit if not in form. Do you see yourself mixing these elements in your poetry?
JC: I do try to mix these elements in my poetry, as well as I can.  It is important to me that the language that I use in my performance be accessible to people of many walks of life. I want to reach a wide audience, so I often try to explore universal topics, while inviting the reader into the hopefully interesting workings of my own mind and placing the poetry in the context of my own experience. I think there are stunning connections all around us, in the abstract, as well as in the tangible things we sense every day.  I believe it is my job to find those connections, and hold them up to the light.

SM: Where are you as you answer these questions?
JC: Sitting in my apartment looking out at the fog that is swallowing the city. Nestled pretty cozily beside three of my favourite men, two of whom are cats.

SM: Favourite Vancouver person place or thing?
JC: This is the part of the interview where I should probably come clean about my Commercial Drive waffle addiction. But since I am in recovery, I will offer something else instead. Lately, I’ve been loving the song of the fog horns, they make for a delightful lullaby. It is even better than counting sheep… or waffles. Do not count the waffles.

SM: What are you excited about right now?
JC: The thing I am most excited about is the upcoming Verses Festival of Words. Managing Director, Chris Gilpin, and I are in the thick of programming for this year’s Verses festival and I cannot give away too many details yet, but we are very excited about the caliber of show that will be happening in Vancouver this coming April 5th-12th. One thing I will say is that we will be having the incredibly talented Ivan Coyote back for a second year, and this time Ivan will be performing with the incomparable Rae Spoon. It takes a lot of restraint for me to not turn into a fan girl while I type that. It is going to be spectacular! Look for more show updates as they turn up on the Verses website.