Day three at Eco Fashion Week with Farah and Jess! We have to say that this sit-down with Trisha Rampersad took us by surprise; we didn’t think we’d be so moved by a designer after chatting for only a little bit! Her outlook on life and positive energy were so contagious that we couldn’t help feeling like Aphrodite and Athena, about to take on the modern world.

BHANA designer Trisha Rampersad explained that we all have an inner god or goddess inside of us and that the journey through life is about evolution—not only one evolution, but numerous ongoing evolutions that propel us through the stages of our lives.

Beginning with the purity of the earth, we all find our bearings. We build foundations and once we’re comfortable we begin to grow. We spread our wings upwards, towards a purer expression of ourselves and get closer to our inner god or goddess. Gaining confidence, we begin to realize the person we are meant to be. This process of evolution is what Trisha is learning throughout her own life and what she tries to convey through her designs.

Trisha’s dream became a reality when BHANA Designs was born in 2008. After graduating from the Art Institute of Vancouver in 2007, she decided to embrace sustainable fabrics by creating a clothing line that celebrates eco-friendly fashion. Her biggest inspiration was her grandfather who always looked prim and proper, no matter the occasion. She pays respect to his legacy by maintaining high quality fashion while being eco-friendly and using recycled fabrics.

Bringing her philosophy of evolution onto the runway, Trisha took us through a journey at this seasons’ show. What began as gray, green and blue earthy tones transformed into a pastel wonderland showcasing her evolution of colour. She began with simple, loose fitting dresses that were tied at the waist with a neutral belt. As the show continued she featured her signature blazers with satin-detailed skirts. Concluding the show with pure grace and elegance, her models looked like goddesses in flowing dresses. White, gold, and rich blues dominated these final styles and showed a completed change from the first pieces. With some garments flowing, and others fitted, Trisha blew us away with her diverse designs.

So what does the future hold for this talented designer? Well, Trisha admitted to us that she’s thinking about designing wedding gowns. She also confessed to wanting to go back to designing mens clothing, paying tribute to her grandfather.

Helping pioneer the world of sustainable fashion, Trisha Rampersad hopes to one day put a dent in high-end fashion. Staying true to her sophisticated look, we anticipate only greatness from Trisha in her future endeavors.

Find out more about Trisha Rampersad through her website, Facebook, and Twitter.

 

 

Who hasn’t been moved to tears by Sarah McLachlan’s iconic songs? Even if you were one of the three people who didn’t own a CD of hers in the 90s, you probably wept to Full of Grace after Buffy ran a sword through Angel at the end of Season 2 (spoiler alert!), or forever associate Angel with those heart-wrenching SPCA campaigns. If you can’t believe that Sarah McLachlan’s music could be even more emotionally stirring, then you haven’t seen Alberta Ballet’s Fumbling Towards Ecstasy yet.

Choreographed by Alberta Ballet’s Jean Grand-Maître, who previously created ballets based on the work of fellow Canadian chanteuses Joni Mitchell and k.d. lang, Fumbling Towards Ecstasy tells the one woman’s story from first love to last heartbreak, told through the movements of five separate dancers and featuring music from the lengthy span of McLachlan’s musical repertoire– from 1988’s Touch to 2010’s Laws of Illusions.

With only three performances scheduled for next week, ballet and heartbreak-ballad fans alike should make a grant jeté in the direction of tickets before they’re gone. Ballet BC is offering a $5-off promotion here until November 15th– and those lucky enough to grab tickets for opening night (November 14th) can look forward to seeing Sarah McLachlan herself in the audience.

Alberta Ballet’s Fumbling Towards Ecstasy
Queen Elizabeth Theatre (649 Cambie)
November 14-16, 8:00PM
Details and tickets available online. 

Follow Ballet BC on Facebook & Twitter for updates about performances.

Have you seen the new Sad Mag yet? For issue no. 14, FANTASY, we launched our first ever fic­tion con­test, invit­ing new writ­ers to sub­mit their weird­est and wildest sto­ries for the chance to win a $250 cash prize and to get their story in print!

Fantasy Fiction winner for her story, “The Stars/Les Étoiles,” Ashleigh Kay Rajala is basking in the warm glow of coming out on top and moving forward.  Ready to focus on a new chapter in her life, Ashleigh sits back to talk about recent events and “The Stars/Les Étoiles,” and how the two have brought her here.

 

Sad Mag: Tell me about yourself.
Ashleigh Rajala:  My name is Ashleigh, I’m 30 years old, from Vancouver, born and raised. I have one younger sister who I had a very typical childhood with, one where we both loved and hated each other. I…just got married in March…and [my husband and I] both thought about moving away or traveling so we…[recently went] to the UK to check some things out.  We’ve just returned and are now staying with my parents until we find a place we want to live here in Vancouver.  I’m really looking forward to taking a breather and relaxing!

SM: Sounds like you’ve had a busy couple of years!  What about the writing?
AR: I studied at SFU where I did a double major in English and Archeology and…did a film program for a couple of semesters at Langara….We did a few short films that were screened at film festivals around the world and one of the shorts I did was selected to close out ‘Stepping Stone’, a film festival in India….As far as writing goes, I’ve been writing ever since I was little.  I remember when I was 5 years old I had pneumonia and I was in the hospital for three weeks and so I wrote a story about a dinosaur (laughs) and so really, writing has been the only constant in my life….I never really took a decision to start writing, it just sort of happened and it was something I have just always done.

SM: How did you get involved with this contest and SAD MAG?
AR: I heard about the magazine and this contest through my friend Taryn…[She] works for the Vancouver Co-Op Radio and she hosts a storytelling show on Sunday nights. She had read the short story I submitted for SAD MAG and really liked it and was encouraging me to do something with it…She was the one who told me about the Fantasy Fiction Contest with SAD MAG so I decided to enter my story.

SM: So tell me about your story. When did you write it and how did you come up with the idea?
AR: Well, I wrote the story about a year and a half ago…Usually when I begin to write something I have ideas about the premise but I remember with this story I had more of an idea of the characters, the little girl especially…I don’t remember specifically but it really was more about the voice and wanting to write a children’s story but not for children. I remember I really wanted that style, that voice and I think I just started writing about that character and I had this vague idea of what I wanted to do and it just came….I’m really bad at making outlines of stories or notes with things and I will but I end up changing things around…[and so] I remember this story feeling it coming to me organically, not so much something I planned out…I guess I know when something is working because it feels effortless and it just flows out.

SM:  What about the character(s) in “The Stars/Les Étoiles”? Did they, the little girl in particular, embody some of you or were the characters completely fictional?
AR: For this story…I don’t think the little girl was me or that there was necessarily an exact moment in time where I may have felt this way….[but] I think everyone goes through a point in their life where they want to somehow break out and be noticed.  I don’t think my story and this character is about me in the way that I didn’t feel how the little girl felt – she wanted to be noticed by her father – and I didn’t have those kinds of issues with my Dad.  I think rather than being that father/child dynamic this story was more about growing up and adjusting to the changes in life….I think the idea was aimed at dreams and goals shifting from thinking “oh, I’m going to grow up and be something”…to having a realization that you wouldn`t have wanted that at a later age.  I think that was kind of what happened to the girl in the end of the story, where she found herself alone even after she got everything she asked for.

SM: It sounds to me that a ‘coming of age’ is an overarching theme for this story.  Would you say that’s true?
AR: Yes, definitely I would say that’s true!

SM: It also sounds like this story has helped you to do a lot of soul searching of your own!  So what now?  Where do you go from here?
AR: Well, I really feel that I’m ready to settle down and focus more on my writing…[After being away] in the UK for a couple of months and coming home now I feel ready to set things up and move forward…I feel like I’ve been squeezing time in the between everything else and now I feel ready to pursue more and take on things that I feel would fit…At the end of the day, I am just really happy to be sitting down and writing [smiles].

***

What else will sub­scribers find in the newest issue?

Sad Mag no.14, the Fan­tasy issue, goes beyond the bed­room to explore the deep­est fan­tasies of Vancouver’s writ­ers, come­di­ans, artists and pho­tog­ra­phers…. Oh, and there’s plenty of bed­room too.

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.