I do belong here: A Conversation with Flo Fortune

View fullsize

Flo Fortune by Marie Marchandise

Editor’s note: The following interview and video essay mentions eating disorders and bullying. Reader discretion is advised.

Why do we take pictures of ourselves? Why do we share them? Why do we want to be published? Why do we desire to wear pieces that transform us–armors wrapped around us, there to reassure us–allowing us to become characters injecting freedom into our lives, and granting us the strength to become ourselves? Why do we give life to handmade creations, conceived by spirits whose thoughts only stop at the first clanking sounds of their sewing machines, or when their threads puncture fabric for the first time? Why do we create threads between all of us? Why do we forge ties? Why do we want to meet each other? Why do we create a human and colorful universe? Why do we inspire each other, and feed each other with beautiful visual stories–the ones that smoothly impact you–remaining embedded in your mind? The ones that give you hope, that beckon you, when leafing through glossy pages or watching a fashion show? 

All these questions suddenly find an answer when Flo Fortune opens the doors of this grand dance studio, enveloped between high trees, sun, and silence. Fortune, a professional model, arises quietly and elegantly, such as the echo of their steps on the floor. They are waiting for one thing only: the camera revolving around them; to catch and control it.

---

Marie Marchandise for Also Cool Mag: How would you present yourself? How do you think you are seen? How would you love to be remembered?

Flo Fortune: I’m Flo, a 28-year-old queer, midsize model, social media consultant, mental health advocate, writer, and anorexia survivor. 

I think I am seen as a brave person, as I never shy away from stating the mental health issues I’ve dealt with. Being openly vulnerable, on and offline, isn’t easy, but I know for a fact that it can help people feel less lonely in a society that values so-called perfection and success at all costs.

People might also perceive me as a woman because I’m very femme-presenting, which can be difficult to process sometimes.

I want to be remembered as someone who always did what they thought was right and tried their best to achieve what they wanted, even when it seemed impossible.

View fullsize

Flo Fortune by Marie Marchandise

Also Cool: What is it like to be a model in Paris?

Flo Fortune: No need to sugarcoat it, it’s really hard. Paris is the city of fashion, but in a very traditional way. There is, to this day, very little room for the misfits, fat people, midsize people, people of colour, and disabled people.

For the most part, we simply do not exist, and the ones who made it went through a lot to get there. Diversity isn’t a priority or a goal; it’s mostly a marketing tool. I couldn’t name more than five fat, midsize or nonbinary French models who managed to succeed in France. When it comes to disabled models, it’s like they don’t even exist in the French market. It’s a shame, and I think that the “Parisienne” myth has a lot to do with that.

View fullsize

Flo Fortune by Marie Marchandise

AC: What defines a “good” model, to you?

FF: Someone who isn’t afraid of not looking pretty, who is ready to play a role, to tell a story. Someone who can use their vulnerability, their story, and their strength to create “the shot.” You have to be okay with the fact that you will give a piece of who you are when on set. Not everything has to be about measurements. Agencies are now, more than ever, looking for personalities, people who have a voice, and things to bring to the table.

View fullsize

Flo Fortune by Marie Marchandise

AC: How can fashion be more political? What are the first “baby steps” to make the industry more in sync with our era and society?

FF: There are tons of topics that should be discussed and actions to be taken. Sustainability, access to fashion schools, diversity, and ethical work, to name a few. However, none of these issues will ever be truly discussed since most of the industry is still ruled by white, aging, cis male billionaires.

Brands, Maisons, magazines and agencies have to take responsibility and hire people of colour, disabled people, young people, queer people, and fat people, at every level.

View fullsize

Flo Fortune by Marie Marchandise

AC: Are there any true changes that you’ve spotted?

FF: There are lots of exciting projects that keep me from being pessimistic. For example, I really hope that brands like Marine Serre or Ester Manas, who are getting recognition in France, will inspire others to showcase the same amount of diversity on the runway. Similarly, concerning their sustainable fabric-sourcing, I believe they can influence small designers to consider eco-friendly alternatives and new production processes.

In 2022, I came across many podcasts and Instagram accounts whose goals are to desacralize the fashion industry and share resources. Be it by posting upcycling hacks or addressing issues, such as the colonial dynamics that are still at play within the fashion industry. 

Another thing that comes to my mind is the current debate about nepo babies. We’re finally collectively talking about the fact that most people in fashion don’t come from the working class and that it has to change! 

That being said, I think it’s fair to say that change is being pushed by “small” creators, brands, journalists and so on, and not by those who have the actual power and the means to make a huge positive impact. 

View fullsize

Flo Fortune by Marie Marchandise

AC: What are you hoping to change in the industry?

FF: Let’s face it, I might be queer and midsize, but I’m still a non-fat white person. I know that I have an easier path than others. That being said, I do think that working in this industry, being who I am, knowing where I come from and how narrow-minded the modeling industry is, is already a push in the right direction. Being "a face and a body" isn’t enough. I want to use my voice and work on projects that mean something as much as I can. Be it by working with sustainable, QTBIPOC-led brands, queer photographers, or truly inclusive agencies.

View fullsize

Flo Fortune by Marie Marchandise

---

I do belong here credits

Model: @manicpixiefuckk
MUA: @paulinemakeupro
Hair: @lapetitevictoulouse
Dress: @noemiedevime.paris
Lingerie: @eternel_ephemere_underwear
Nails: @nailedbyines
Jewels: @labricotbleu, @annashelley.fr, @jeannette.atelier, @cecile.dallaglio_jewellery, @maaadboutique
Location: @residencedesartstoulouse  

---

Marie Marchandise

Marie Marchandise is a 28-year-old photographer, art director, and PR specialist living in Toulouse, France. When she was a child, she wanted to be a poet. Growing up, she was obsessed with the fact that she actually wanted to be helpful: she wanted to be a vet, a psychologist, or a lawyer. With arts and PR, she combines the inherent desire of her first dream job as a child, and her inner need developed from her teenage years into adulthood.  When she tells visual and written stories with brands, designers, models, and creatives, she contributes to a bigger picture. If you feel something when looking at her photographs or reading her texts, it means that her job is done. If you are inspired, motivated, looking for something new thanks to them, this is more than she could ever dream of. 

Instagram

Flo Fortune 

Fashion is, for me, a tool to get my own emancipation. A way to explore. A means to reach self-definition on its own. Fabrics and textiles represent artistic expressions, helping me to exist. As a child, fashion allowed me to be alive when the rest of the world wanted me to disappear. Today, when I’m wearing clothes, I am always diving somewhere else, into a new universe. Every time. Every day. My individuality is asserted thanks to fashion. I want to be loud. I am clear: I belong here. I am doing this job as I am craving poetry and creativity. I am eagerly looking for different ways and options to communicate and create a sustainable and healthy bond with persons who are not only like me, but inspire me. I want to give back that inspiration, I want to breathe in and breathe out in studios, catwalks, and magazines. I am doing this for the past versions of myself that thought too many times that I needed to suffer and starve myself to create beautiful pictures. I am doing this job to prove that you can fall many times, yet always pick yourself up, stand up, and rise up.

Instagram

---

Related Articles

Proje(c)t; Les Bonnes - Language & power dynamics through an adaptation of Jean Genet's 'The Maids'

View fullsize

Image by Phanie Ethier

This weekend, we’re especially excited to catch the play Proje(c)t; Les Bonnes, running at Centaur Theatre’s Wildside Festival from January 26th-29th. 

Proje(c)t; Les Bonnes is an adaptation of Jean Genet’s The Maids, presented in a format crossing time and language and praised for its “diabolical weirdness”. The play is performed in French, English, and Spanish, with English subtitles provided.

Roxane Loumède, the play’s director and adaptor, describes the show as, “strange, sexy and excitingly terrifying. It can make you uncomfortable, but that’s the point.”

The play revolves around two women, Solange and Claire, who work for a wealthy Westmount woman referred to as Madame. While she is out, they spend their evenings enacting different plots to murder Madame, until this ritual backfires. Loumède jokingly notes, “you’ll have to come and see the show to find out what happens next.”

Last week, we had the lovely opportunity to meet Loumède and discuss how this play came to be, and what incited the different elements of her adaptation, like language politics, power dynamics, and wealth.

---

On bilingualism in theatre practice 

Roxane Loumède: It all started when I finished at Concordia in 2015. I graduated from an English school, but I was a Francophone. I was not really in the English or French communities, just in a weird in-between, so I wanted to start creating my own work.

I decided to start workshopping and thinking about bilingual theatre, where using French and English would serve the narrative and the dramaturgy of the piece. That way, I could bridge the gap and hire people that I wanted to work with from both the English and French communities. 

I worked on Jean Genet’s The Maids at Concordia as a performer. I thought about what it means to bring a piece from the 1940s to the stage, and how to do so, whether or not the play is outdated. It’s a story that talks about how these two maids are serving this really wealthy woman. When it was written in the 1940s, Montreal was in a place where the Anglophones had more money than Francophones. So I thought, if I put this in the original time period, then the Madame would be an Anglophone, and the two maids would be Francophones. 

View fullsize

Image by Phanie Ethier

On starting the process and adapting the text

RL: When I got some money and a team together in 2018, I started workshopping the piece and rewriting the text in French and English, and also rewriting from French from France to French from Quebec, which is different. I used more of an older “Canadian English” for the Madame.

I asked myself, “Today in Montreal, who is more wealthy, who still has maids working for them?” And it’s not the same as in the 1940s. Now, Francophone people in Montreal have as much wealth as Anglophones. If you go into affluent homes in Outremont, or Westmount, you will find Francophone homeowners with South American domestic workers. So, thinking about that—and talking about it with the crew—I added a third language, Spanish, to the piece. This allows the play to reflect the reality of today. 

One of the cast members, Camila, who has been with the project since the beginning, speaks Spanish fluently. So, it was with her that we started thinking about the idea that her character would switch from French to Spanish. We aimed to show a shift in history by indicating who is dominating, and who works for who and examining the power dynamics… While also shedding light on how the circumstances of the women working in these homes haven’t changed much since the 1940s.

In this way, the piece by Jean Genet is still really relevant today because the issues are still present—not just in Montreal. Boundaries are more or less broken most of the time because you develop a close relationship with the person you are working for, and vice versa.

View fullsize

Image by Phanie Ethier

On learning through Proje(c)t; les Bonnes development

RL: The Les Bonnes of 2018 and the one I’m presenting in now in 2023 is a big representation of the artist I have become. It’s really nice to work with artists who are willing to try your nonsense ideas and let you fail at them… When you say, “Sorry that was not the right choice!” they’re flexible. Being able to learn what works and doesn’t work with a team you trust makes you a better director, in my opinion.

View fullsize

Image by Phanie Ethier

On the viewing experience

RL: I’ve built this show so that you can understand what is going on without having to grasp all the multilingual dialog perfectly. We’ve worked a lot with movement, sound and lighting so all of your senses are very much activated. This helps bring the actors’ stage business and onstage dynamics to the forefront, highlighting the characters’ struggles. 

If you’re not fully immersed in the words, you will still have a pleasant experience and get something from it. If you don’t want to spend the whole show reading the English subtitles, you can let yourself go and be fully in the action and get swept away.

Loumède’s other piece Ensaf attend was presented as a reading last summer as part of Jamais lu Festival. She has more projects in the works and you can watch this space to stay tuned!

image by Phanie Ethier

Proje(c)t; Les Bonnes runs from tomorrow, January 26th, until Sunday, January 29th at Centaur Theatre.

---

Adaptation and Direction: Roxane Loumède

Performers: Marie-Ève Bérubé, Camila Forteza, Alexandra Petrachuck

Assistant Dramaturg: Geneviève Gagné

Costumes: Sophie El-Assaad

Set & Props: Bruno-Pierre Houle

Lights: Catherine Fournier-Poirier

Sound Design: Joseph Browne

Video & Technical Director: Vladimir Alexandru Cara

Assistant Director & Stage Manager: Trevor Barrette

---

Proje(c)t; Les Bonnes

3e Espace Théâtre

Tickets | Info | Troisième espace théâtre

Holly Hilts is a Core Member of Also Cool. She is a jeweller, coder & theatre worker currently based in Montreal.

---

Related Articles

HOY: Creating Space for Latin American Diasporas and Creative Communities in the Mile End (Montreal)

Vanessa Maya in front of HOY

Situated in the heart of the Mile End at 5171 St-Laurent, HOY provides a well-needed dose of familiarity and representation for Latin American diasporas and creative communities in Montreal. In their own words:

"HOY es un espacio multifuncional dedicado al arte, al diseño y a la comunidad. Somos un espacio en el que se puede crear, aprender, compartir, intercambiar ideas y proyectos, asistir a una conferencia o formar parte de una plática ― en inglés, francés o español." 

Launched in early April, HOY was created to be a design and contemporary art hybrid project focused on catering to local artists. It is run by Vanessa Maya (Mexican artist and community builder), Laurence Boire (designer and project manager), and Etienne Murphy (graphic designer and art coordinator), and has had a total of nine shows this year. 

Vanessa with her ceramic work

Vanessa grew up in Mexico and lived in Montreal briefly during her teen years, only returning to live here full-time years later. She has been practicing pottery for over seven years, working primarily with hand-built pieces. Her work is recognizably organic, taking on simple and twisting shapes that are made to be integrated into your everyday life. From wine coolers to sculptures, there is a placid beauty in every aspect of her work.

Work by & photo provided by Vanessa Maya

Although pottery is her primary medium, she has recently branched out to create a community space (HOY) that hosts everything from gallery openings to workshops, trying to focusing on the Latin American diasporas and other communities that are often under- or mis-represented in Canada. She is also interested in profiling artists who’ve never had the chance to exhibit before, alongside artists who have had exhibits in other spaces. “The idea is to put ‘everybody under the same roof’—as we say in Mexico, ‘todos bajo el mismo techo’—because we all need to be able to have the opportunity to show our work,” she explains.

Work by Vanessa Maya

Vanessa is self-taught, and deeply inspired by her time spent with various artists in Guerrero, Oaxaca and Morelos, Mexico. After learning everything from how they collect the clay from the mountains to how traditional aesthetics are integrated or evolved by younger creatives, these experiences have solidified her deep appreciation for the craft. However, as she got older, she saw how tourists with "good intentions" have often exploited Mexican artists for profit in Canada and the Mile End.

More often than not, a tourist with "good intentions" will sell "artisanal" Mexican goods in a high-end boutique in Canada or the United States after paying the artist very little for their work. There will be some sort of "feel-good" story about "helping" the Mexican community or artist who created the work, but ultimately all of the praise and clout goes to the tourist who imported the work and the boutique that sold it. 

At a time when more and more foreigners continue to colonize Mexico by hiking up rent prices with their "work from home situations," HOY aims to put Latin American voices first, with no white middleman and no fetishization of culture. It's a safe space for underrepresented communities to come together to tell their stories—to be artists in their own right—and also for any other artists. 

HOY via Vanessa Maya

One of the shows that Vanessa curated, "TIANGUIS DE CERÁMICA", showcased various ceramic artists in a format similar to artist markets in Mexico. The "tianguis" is a pop-up, a public and informal gathering of local vendors selling everything from groceries, electronics, and clothing, to crafts and prepared foods. It originated in Mexico, but can now be found all over South America. In this spirit, the team behind HOY presented its take on the market with a collection of unique pieces crafted by local ceramic artists.

HOY via Vanessa Maya

Vanessa also co-curated “YA LLEGAMOS” along with Diane García. “YA LLEGAMOS” continues the celebration of identity, heritage, and connection that unites Latin American peoples as interpreted by a select few artists, designers, and craftspeople. It explores the effects of generational migration and experiences that have shaped communities — ultimately forging stories that inform contemporary Latin American artistic practices. 

This exhibition seeks to chronicle the works being produced by artists working in diverse mediums, underlining the historical purpose of communicating shared experiences, and the mindful continuation of cultural representation.

HOY via Vanessa Maya

HOY is "open sometimes," Vanessa notes, which is a cheeky nod to the wonderful Mexican culture that the space so beautifully embodies. Visit when you can, as the space is only open until December of 2022, and you'll be sure to find some new friends and good art.

Vanessa plans on continuing HOY in the future, and in the meantime will be sharing pieces from Mexican artists with her Pichancha project, as well as sharing them via her casapichancha account.

---

HOY

Instagram

Vanessa Maya

Instagram (@vanessamayagutter) | Website (mayagu.work) | Instagram (@casapichancha)

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Artist Spotlight: Nora Kelly

Nora Kelly Band press photo via Nora Kelly

If anything, Nora Kelly is multi-faceted. She's done everything from painting murals in Mexico City to creating editorial work for the NY Times, not to mention playing rock shows in Montreal as Nora Kelly Band and Dish Pit.

We spoke to Nora about her creative practice, advice for other artists, and more.

via Nora Kelly

Malaika Astorga for Also Cool: How did you first get into visual arts? 

Nora Kelly: I was a reclusive teenager, and drawing was something I had control over, could pick up and put down whenever I wanted. I think my continued dedication to art is for similar reasons. I need a lot of alone time, and paintings and drawing are great ways to spend one's time.

Also Cool: Have you always practiced with the same mediums, or has that changed over the years?

Nora: First, I was into drawing. I didn't start painting until I was in university. I was probably the worst painter in my class when I started at Concordia. Now I can't get enough of it. 

via Nora Kelly

AC: When did you first start doing murals? What was your experience with the creative scene in Mexico City?

NK: I had always dreamed of being a muralist, but it's kind of a catch-22 getting your foot in the door. No one wants you to paint their wall if you have never done it before, but without any murals to show on your resume, you aren't going to get that first wall. 

When I moved to Mexico City in 2017 and a mural company called Street Art Chilango hired me, I was so excited. At first, I was handing spray paint cans to more experienced artists, but eventually, they gave me my first wall. They are a very prestigious company, working with clients like Vans and Ray-Ban, but after 6 months, I quit because I had always been into the democratic quality of street art. I like that it's accessible to anyone walking by, and I didn't want to be involved in painting glorified ads for large corporations. I went door to door, asking smaller businesses in Mexico City if they wanted a mural and have gotten all my work that way since, even in Canada. 

AC: Do you have any advice for anyone looking to do more professional / commissioned work as a visual artist but doesn't know where to start?

NK: I'm kind of type-A, but my advice would be to get into spreadsheets. Email 20 people or businesses a day and keep a log of who you're spamming. Eventually, you'll get a hit, I guarantee, and it then it only gets easier from there.  

via Nora Kelly

AC: Do you find there's a difference between your commissioned work and the work you make purely for yourself? How do you balance the two?

NK: Definitely. My commissioned work is usually based on pictures and comes out more realistic. When I'm doing something for myself, I tend to work from my imagination and take risks, which keeps the whole process exciting. 

AC: What's your creative process like? 

NK: I like to walk my dog and come up with ideas. Usually, I paint at night because I stay up late, and it gives me something to do while my roommates are asleep. 

via Nora Kelly

AC: Who are some other creatives who inspire you?

NK: The most inspirational people are usually the people closest to me. I have a kind of friendly competition with myself, and seeing the people around me giving it their all makes me want to work harder. In terms of favourite acclaimed painters, I've always been fond of Rousseau, Peter Doig, Hilma af Klint and, of course, Francis Bacon. 

Watch Nora Kelly Band's latest music video for their song "Hymn for Agnostics" below.

Nora Kelly

Website I Instagram

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Artist Spotlight: James Collier

Art by James Collier

Enter the world of James Collier, one filled with birds in suits on their ways to work, night time walks and industrial environments slowly becoming overtaken by nature.

We chatted with James over email to learn more about his creative practice and inspirations. If you find yourself wanting some work of his for your own, you can DM him on Instagram.

Art by James Collier

Also Cool Mag: How did you get into making visual art? What mediums do you use most often?

James Collier: Drawing and cartooning have almost always been part of my life. I learned how to read from Carl Barks' Donald Duck comics and grew up drawing all the time. My dad is a great cartoonist, and there were always comic books around which I would consume voraciously. I never really questioned art-making as a kid and thought making comics and drawing was just an intrinsic part of life, a way of making sense of the world. I stopped drawing altogether for a while though, and it wasn't until age 18 or 19, after a particularly bad mental health episode, that I picked it up again.

Mediums are pencil, ink, paper. Most of it is done in various notebooks with cheap pens or graphite on Stonehenge paper when at home. Though drawing is the most accessible, both cost and space-wise right now, I'd like to explore printmaking more in the near future.

Art by James Collier

Also Cool: What kind of work and aesthetics were you interested in early in your creative practice? What inspires you now?

JC: Again, Carl Barks was a big one. There are a lot of people like Milt Gross and E.C. Segar who were/are big influences. Julie Doucet is continually inspiring – I can't wait for her new book, coming out in the spring.

I'm looking at the printmaking work of people like K the Kollwitz and James Ensor a lot these days. Herge, Joost Swarte, E.S. Glenn. The comics and drawings of Walker Tate as well. The comics and zines of U.K.-based artist Michael Kennedy are very inspiring. I've started looking at Walt Kelly again. I really like Charles Burchfield's paintings. I've also been looking at photographers such as André Kertész and Alfred Stieglitz.

Art by James Collier

AC: Where did you grow up? How did your upbringing shape your ideas about art and design?

JC: I grew up in Hamilton, Ontario. Hamilton is a city known for steel manufacturing. It's pretty grey, generally. Plenty of abandoned vacant lots, which I've gone back and drawn. There were also hidden bits of nature that you could get away to. There was an overgrown area known to my family as the "secret spot" that you could get to by canoe, as it was across the Hamilton Bay. I spent a lot of time reading and drawing there. There were also people around that you could collaborate with. My first printed work was with a local kid on my block, where we created a small photocopied zine entitled "The Guy who Never Returned" at age six. I don't remember what was in it, but we went around selling it on the street.

Art by James Collier

AC: How has your personal style developed over time? Can you tell us a bit about your bird characters?

JC: It's just the result of continually drawing in sketchbooks. It's a subconscious development, so it just changes incrementally over time. It's hard to track development. 

As for the bird characters, while working as a window washer, I would be very tired at the end of the day and barely have time to make a few doodles and scribbles before bed. The birds emerged in my sketchbook one night while fatigued, and I've kept drawing them since. Related to this, I'm working on a comic right now about a duck with insomnia.

AC: Tell us a bit about the creative communities you've connected with and any artists/projects within them who inspire you.

JC: I'm lucky that I currently live around many talented artists. Being able to show things to people around you helps with not becoming disillusioned. I've found creative communities even in the world of minimum-wage work. When I was working at Metro Food Inc., as a greeter during the height of the pandemic, I had many discussions with the security guard about old animation and art history. Right now, I work at an art supply store with nice people who are very encouraging when I show them drawings.

---

James Collier is a cartoonist and visual artist originally from Hamilton, Ontario and currently living in Montréal, Quebec.

Instagram I Tumblr

---

Related Articles

Artist Spotlight: Sophie El Assaad

Hello, and welcome to a small walk-through of the world of Sophie El Assaad.

Sophie is an award-winning designer, director, and theatre-maker, and she cannot help but ooze her lovely sweet creative aura. I would describe her energy as a light fluffy mist that may crack with a low rumble or quick flash of lightning. 

With her company, Theatre Nuaj, she has developed the project Black Balloon in many iterations: live outdoors in Centaur Theatre’s Portico Project late 2020, as Leila, a short film presented at Centaur Theatre’s 2021 Wildside Festival, and through multiple residencies.

This interview was held over two sessions with the intent to give a non-linear progression and experience of Sophie’s thoughts and world through visuals, direct quotes, as well as some snippets of her work or inspiration.

Sophie has curated a playlist here, that I would encourage you to listen to as you read through.

---

Segment from experimental video ( Sophie El Assaad, circa 2014)

I thought about this word yesterday.
[ Underbelly ]

Maybe I should have used it when describing themes I like to work with artistically; the hidden violent side that exists in people.

“For my birthday, my dad got me a cake, my mum got me a cake, and my sister got me a cake. It was perfect.”

On working in residency on Black Balloon:

In the past, I approached work via building a very solid core and working my way out of it, but what my last creation residency has done (working with dancers and movement actors) was it allowed me to be use impulse and intuition, working from the outside in, and discovering what that means afterward — the whole process of trusting the work and the process has been super interesting — very scary and always kept me on my toes, but, in the end, amounted to something reliant on body and emotions rather than intellectuality.

I really like involving artists that don’t necessarily specialize in the medium, who can contribute to the piece in unexpected ways and teach me. I just love surprises. The actor who played Leila (Maria Marsli) was not an actor before we worked together, for example.

Segment from Sophie El Assaad’s video Leila, shown at the Centaur Theatre’s Wildside Festival in 2021 ( This process is made possible by the support from the Government of Québec and the City of Montréal as part of l’Entente sur le développement culturel de Montréal, and from the Canada Council for the Arts)

Sometimes in film, I think that theatricality is lost because you have the liberty to take many takes to get it exactly how you want and perfect it. Filming a mistake rather than having to start again could be a form of theatricality in video that I am interested in exploring. Those moments really drive me - those moments of live, unpredictable human behaviour, mistakes.

I really love paying attention to the little details that happen in the in between space — the micro moments before going into action. Observing that – it’s so beautiful when you can see it and take the time to watch the brain processing and how it translates through the body.

It’s been amazing to shift my process upside down and give more control to other artists involved in my process- it’s liberating and collaborative! It leaves a lot of room for surprise and the unpredictable.

The photo was taken by Sophie El Assaad of Chadia Kikondjo for the project Black Balloon: Portico Project. 2020

An important image for Black Balloon was the moon. There’s a theory that the moon was created by a collision that happened between the earth and another planet and all the debris that was created from the collision that was floating around the orbit of the earth came together through gravity to form the moon. So it was through destruction that this essential part of our world was created.

“I’ve always wanted to be the kind of person to memorize poetry and say it to someone in the right moment.”

On decolonizing work and family history:

I am trying to decolonize my work by doing a lot more research into my own culture and bringing that into the process. I’m Lebanese, and I grew up in Bahrain, but I find I am very Western in how I was brought up; my mum is British, and I went to Western schools. So everything I learned in terms of history and art is from a Western perspective. So I’m going through this process right now — it’s kind of like an identity crisis or rebirth — of rediscovering my father, his culture and baggage, through my art. In a way, it feels like the longer I am physically away from my Middle Eastern roots, the more I try to get closer to it through my work. There is an invisible thread tying me to the sea, the sounds of street cats and the call to prayers, the salt in the air, the sand and the rocky desert. It’s like a past life that I constantly mourn. Even though I love my current life and probably wouldn’t move back, there is a certain void.

Image of my paternal ancestors. My grandmother is the young girl between the man and woman.

My dad shows his love through cooking. Every Sunday, my dad cooks and my sister and I go and spend time with the family (as much as we can). He actively plans his weekend around what he is going to cook for us. It’s a great way to bring me back to my past living in Bahrain, or summers spent in Beirut with family, because he mostly cooks Lebanese food (even though my mum’s British palette doesn’t always leap for joy at it). He’s a very silent man and there's a lot about him that I find very mysterious. Sometimes it’s hard to connect. That’s kind of why I feel driven to researching and creating through my ancestral culture. It’s also a way for me to connect with and rediscover my dad.

Image of a broken mirror (photo by Sophie El Assaad)

Something that has been inspiring me lately are the traces of life that you can find in dead material. I am obsessed! An example would be a shattered mirror – it holds the traces of the action in its appearance. It has so much energy locked into its absolute stillness.

Flayed Man Holding a Dagger and His Skin, From Juan Valverde de Amusco, Anatomia del corpo humano, 1560

Some of my favourite ways of working costumes are when I can put a lot of energy or emotion into a fabric – new fabric (especially when it is machine made) is “dead”, but the more you manipulate it, the more it absorbs your energy and holds traces of that love or hate – like human skin. You can often tell the kind of life a person has had from their skin and it’s the same with material. If you give love to material, you can see it. And I try to put that into consideration as much as possible when I’m thinking of design and how I treat my materials. They’ll share their life story with anyone who’ll pay attention, using their own unique language.

I love the body. That’s why I love theatre, performance and dance. There is something I am really drawn to in certain art – it’s this primal connection that, as humans, we tend to neglect or actively conceal in our daily lives. I love to see the body do things that I don’t get to see in my daily life because it’s a part of my being that I don’t really get to explore. Witnessing our primal side, or the animal within us, is cathartic for me. There is a violence inside all of us that I think is dormant but easily awoken. We see it in times of war, or political hysteria.

---

“There is a secret part of me that I would really love to have more opportunity to explore – my clown.”

When I say clown, I mean a weird creepy out of control thing. I have this clown that I only present to some people. I don’t know what their name is yet, but she’s a troll. She comes out sometimes when I am in a special mood.

Self-portrait of one of my inner trolls. 2022

When I get into my clown, it just happens naturally and not very often – it’s funny, talking about it makes it sound as though it’s a real thing that is developed, but I have only recently discovered her. She comes out when I say something mean or that I consider unreasonable (or when I get exaggeratedly emotional/passionate) – “ah there she is! The troll is out”. It’s my way of coping with my inner animal.

I don’t know if stories belong to anybody – it’s not necessarily about where a person is from or what they have personally experienced, but how a story is told. I definitely think that if someone wants to talk about an experience or an identity that isn’t theirs, they need to make sure they work with people who have that experience or identity, to make sure the story is developed in an informed way. It is important to have that authentic perspective.

I think artists need to be accountable for how they represent people, especially if those people are marginalised in society and already have that weight to carry. There is an ethical question to ask about whether you are profiting from a situation that misrepresents others. I think there is great responsibility that comes with the privilege of being an artist who is given a public platform.

Unfinished painting of a horse by Sophie El Assaad

Image from a workshop of a creation piece by Sophie El Assaad ,2022. Lighting designed by Zoe Roux and modeled by Nasim Lootij.

Image from Sophie El Assaad’s video Leila, shown at the Centaur Theatre’s Wildside Festival in 2021 (Chadia Kikondjo as Mother Moon; This process is made possible by the support from the Government of Québec and the City of Montréal as part of l’Entente sur le développement culturel de Montréal, and from the Canada Council for the Arts)

On process:

I saw a lot of my early work as internships – there wouldn’t be a lot of budget or pay, but what I did get was experience and a platform, so I saw those as my opportunities to go all out and take risks (I also chose projects that really inspired me, so it fueled me in other ways than just financial). For me, the extra time put into the work was worth it. I don’t know if it’s what I would recommend to others, but it’s what I did to get my career started.

Costumes designed by Sophie El Assaad for the show Jonathan Livingston: A Seagull Parable, (Surreal SoReal/ Geordie Theatre, photo by Marie Andrée Lemire)

“If I have an idea I think, ‘Can I do it? Maybe not, but why not try and see what happens?’”

Mask created by Sophie El Assaad for the band Fleece for album Stunning and Atrocious in 2021. Photograph by Cameron Mitchell, Styling by Kayleigh Choiniere, Clothes by Lucas Stowe and modeled by Owen.

“I would also love to make a play about pigeons. Write a play, or ask someone to write a play and just have giant pigeons having a conversation.”

My pigeon friends Pin Pin and Smithy (the ones that live on my building, that I feed) – they’ve started this repetitive occurrence. Every morning they have a choir session. I don’t know if you’ve ever heard pigeons but they gather so close to my windows and it’s a cacophony of chirps and bubbles. It is so beautiful.

I have a fascination with birds. I love seeing little sparrows in the winter when they’re in the bushes — because they look like leaves but then they move around — so it becomes a sort of like, magical and alive bush.

I think recording rehearsals can be useful in my future projects – seeing how accidents can become pieces in themselves. But I also see it as a way of approaching the process. For example, what would happen if you filmed something, like a small gesture, edited it on video to slow down or twitch it, then brought it back into rehearsal. Being influenced by the technology and what that offers and finding how it can bring meaning is something I want to experiment with. I think it could bring unexpected approaches to movement and performance. Video is like a second pair of eyes, noticing the little details you can’t capture during a rehearsal. 

“There is something about the early rehearsal process, the magic that comes during improv. Because it’s live and in the moment — it’s so raw and unrehearsed, completely reliant on intuition — it’s truly magic.”

---

Sophie El Assaad

Holly Hilts is a core member of Also Cool. She is a maker of things: theatre sets, jewelry and websites, currently based in Montreal.

---

Related Articles

Em&May: Montreal's Women-Run, Sustainable Brand Making a Difference with Inclusive Fashion

Em & May Into Orbit collection

It's rare these days to see a brand say that they're sustainable and size-inclusive actually mean it. Em&May is a small but mighty women-run brand based out of the Mile End in Montreal that focuses on swimwear, lounge, lingerie, and more.  

It's easy to assume that a brand is a massive production because they have a curated Instagram and a sleek website. In reality, Em&May is a small team of young women figuring it out as they go along, taking on every aspect of the business. They do everything themselves, from creating their garments to customer service and even arguing with Canada Post over the phone to keep shipping prices low.

I wanted to showcase the immense amount of hard work that goes into this project and spotlight the women behind it all. Em&May operates on a made-to-order business model. That allows them to produce the least amount of waste possible while also providing a huge sizing range where you can input your measurements to ensure that your clothes fit you perfectly. They're working hard to make their creative dreams come to life while staying true to their values.

I first found the brand a year and a half ago on Instagram and have been following them ever since. It feels good to know the money I spent at Em&May goes right back into sustaining the lives of a group of creative women instead of a huge faceless corporation. 

I've gotten to know Emilie and her amazing team of girls over the last few months and wanted to share a sneak peek of what it's like behind the scenes, so we sat down for an interview. 

Em & May swim

Malaika Astorga for Also Cool: When did creativity enter your life? Did it start with fashion, or did you have other hobbies?

Emilie for Em&May: I used to draw a lot when I was younger. I would come home from school and draw in my notebook, which is where I first became interested in art and creativity. Fashion was something that I always really enjoyed.

My grandma used to take me shopping when I was a kid. She would give me some money to run around the mall to buy whatever I wanted. It was the first time I got to pick things out for myself, and when I started to figure out how I wanted to express myself by developing my sense of style. 

Despite being interested in fashion at a young age, I never really knew I would study design. When I had just graduated high school in Newfoundland, I went to a school called Textiles, Crafts Apparel and Design, which gave me my first experience with sewing. I was so excited to stay late at school to sew my projects. 

Whenever my teachers would give us something to do, I would do three or four. We had the opportunity to have a fashion show and then sell the pieces afterwards, and everyone made maybe five or six garments, and I must've made 30 or 40 pieces. I had an entire collection and extras on top of that. After the show, people could come and shop the pieces, and it was crazy to see people from my high school take an interest in my work.

I had started a Facebook page in school that I would post on all the time, which is how I got my name out there. People began to become a little more aware of what I was doing, which carried over to Em&May, which started when I was in school in Montreal.

I used that Facebook page as the base of the business because I had already accumulated a bit of a following. 

Em & May swim

Also Cool: What's the creative scene like in NL? What was your experience like there creatively?

Em: My school was in downtown Newfoundland, but downtown is not like downtown here. It's not super commercial, it's more where artsy people hang out, and there's a lot of cafes, galleries, and local businesses. There's a creative community down there; it's just less fashion and more painting, pottery, etc. but not necessarily clothing. 

AC: Why did you decide to move to Montreal? What was your first impression of the city?

Em: The main reason was that my mom is from Montreal, and I always loved her side of the family. We would visit once or twice a year, and I really wanted to know them better, so I started looking into the different schools here.

In terms of first impressions, I came to Montreal when I was a kid or with my friends for concerts or shopping. But when you live in Montreal versus when you come to visit, it is completely different. When you visit, you're mostly downtown on St. Catherine, going to all the big box stores, and everything else is just entirely off your radar. 

When I moved here, I started school right away, which was a big adjustment. I got my first job walking down St. Catherine and applied to all those box stores. I got a job at American Apparel, which was my foot in the door to the whole life I've created now. I was only there for a month, and then I got a call for a job from Urban Outfitters, which was my first choice, so I switched over to there. I'm really glad I made that call because that's where I met all my friends, who are even now still a part of the same scene, and two months later, American Apparel shut down.

Em & May sweat set

AC: How did you first get involved with the fashion scene in Montreal?

Em: I met a lot of people through school, and I honestly just said yes to every opportunity given to me. I also engaged with a lot of people and brands that I liked online as well.

When I was in school, the scene was comparable to now. Now it's just so different, especially the side of fashion that I'm a part of now (handmade, sustainable fashion). These are things that I've always been passionate about, but I couldn't have imagined myself going into.

These days people are way more conscious about their money and think a lot about where and who they're buying from. I think the pandemic brought a lot of that into focus. 

Em & May sweat set

AC: What was your collab like with Citizen Vintage? What was a valuable lesson you learned from them?

Em: I love them. A girl I went to school with had a studio assistant position that I took over. I would do adjustments for their vintage clothing, cropping and hemming things. I would repair broken things, help out with the tote bags and other things. 

They were also so good to me when I started Em&May and gave me 24-hour access to their studio to work. School closed at 11, and if I still had projects to do, I would go to their studio and work there instead. They were so helpful and so supportive.

I was still working for them when I did my first-ever collaboration with them. They wanted to make some swim, and I offered to take over that for them. My brand continued to evolve and grow, turning into a bigger collaboration. They've also purchased wholesale from me before, and we did a bunch of different collections together.

They taught me a lot about planning collections, sizing breakdowns, wholesale and consignment. They guided me through that process, so I had a better idea of what was expected when I got deals with other stores and companies. 

Em & May Into Orbit collection

AC: How do you incorporate sustainability into your practice?

Em: When people ask about sustainability, they usually ask about fabric, sourcing, and fibre content, which we pay a lot of attention to. Most of our fabrics are made from either deadstock or natural organic fibres. Our swim is made from Econyl, which is made from ocean waste and plastic bottles. We had also made an activewear collection made of plastic bottles last year. We're always trying to find different OEKO-TEX certified innovation fabrics.

In terms of packaging and shipping, all our materials, paper, boxes, water-activated tapes, etc., are made from 100% recycled paper. We function on a made-to-order business model, which means that we only make what has been ordered to have the least amount of waste possible. 

Also, I can pay my employees more than a living wage. There's not a huge amount of production in Montreal anymore, and not many people who graduate end up working as a seamstress. So what's fun about Em&May is that we're able to build off each other and sustain each other's lives because of our business. Our process is also super collaborative, and everyone has creative freedom.

AC: What are some of your favourite spots in Montreal? Any favourite memories to share?

Em: I am a coffee addict, so I love Olimpico and Gamba. I also really enjoy martinis, especially after a long week, so I go to Henrietta, Majestique, and other cute, low-key places.

Em & May Into Orbit collection

AC: What's been the most rewarding thing about running Em&May? How do you feel like you've grown as a person & artist because of the brand?

Em: I think it's awesome that we can be such a small team and are constantly creating pieces that we want to do without a timeline, but also that we're creating pieces with such a huge size range. We have no restrictions for sizing at all so that anyone can buy from us. 

It's rewarding to have an idea, I tell the girls, and then we sit down and talk about it – and two days later, it's done and on the website. We don't have to wait six months to a year for these ideas to come to life. 

AC: Do you have any small businesses / other artists you'd like to shout out?

Em: Definitely @va1sseau and @rachelsudbury! 

AC: What's next for Em&May?

Em: This year I want to be more creative in a way that goes outside of traditional fashion. A lot is coming that's not necessarily ready-to-wear and is more like wearable art. We're going to be incorporating more statement pieces, avant-garde, wearable art with non-traditional elements.

You can meet Emilie and the Em&May team this weekend at our Holiday Pop Up this Saturday, December 11th, from 12-6. See our Instagram post for details. 

Em & May Valley bralette

Em&May

Website I Instagram I Facebook I TikTok

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Montreal Designer Kate Turner Talks Launching a Brand, Montreal's Fashion Scene & Sustainability

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

When I moved to Montreal, one of the first things I noticed was how uniquely well-dressed everyone is, nonchalantly making the city their runway. It seemed like no one cared to judge each other too harshly for wearing something other than big box stores and name brands, with many people wearing their friend's clothing lines or merch. 

As the world opens up again and I've started going out more, I can't help but feel the same way I did all those years ago: Totally enamoured with the creativity I see in the way people dress. The combination of having so much time to ourselves, without having to dress for others, and now the celebratory ability to go out again has made for an explosion of personal expression and unique style. 

What's even better is seeing friends' brands or creative projects being worn out in the world. It feels special to bond with a stranger because you're both wearing a garment that your friend made or to recognize the coolest pants you've ever seen on Instagram worn by someone casually doing groceries.

Kate Turner is one of those brands that makes you stop and say, "Wait, I think I've seen those before!" I've been a long-time admirer of her designs, and it's been exciting to see the brand grow and collaborate with mutual friends, fostering the fashion scene in Montreal. Her iconic green and black checkered pieces have been worn by the likes of Lil Miquela and just about every cool Montrealer out there.

I caught up with Kate over email about her latest collection, how she got started, sustainability, and a lot more.

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Malaika Astorga for Also Cool Mag: Let's start with a bit about who you are and what you do.

Kate Turner: I'm Kate - I make clothes under the name Kate Turner.

Also Cool: How did you first get into fashion? Has this creative practice always been in your life, or is it something that came later?

KT: I liked to sew in high school, and I thought I was a cool dresser back then. My family is full of creative people, specifically my mom and aunts; they heavily influence me. 

After high school, I pursued other things but came back to sewing in my mid 20's. I started making really basic baggy dresses, and shirts and people loved them. Then a store sent me a message saying they would like to sell my clothes and I was so excited I didn't sleep. I was up all night thinking about how it was even possible to make clothes for a living. I wanted to study some more before starting my own brand, so I did a textile design studio program in a mountain town in BC. I consider myself self-taught as far as fashion design with a background in textile art. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Also Cool: How has your brand evolved over time, and what have you learned about yourself and your creative practice in the process?

KT: My brand evolves with my personal growth, the skills I learn and the connections I make. It is all on display. 

I had a studio in Chabanel for a year and made a lot of connections with small factories there. I found somewhere that makes ribbons out of whatever fabric you choose, so everything I made (like the Maya suits) had ribbons all over them. I am now into elastic shirring and making everything stretchy and texturized. I bought a specialized twelve-needle machine that took me more than a month to get working, so expect a lot more shirred items in the future! 

My creative process is all about making samples. That can be the scariest and hardest part, but it's really great to get ideas out of your head and see them in the physical world. 

AC: How do you incorporate sustainable practices into your brand? 

KT: That's a tricky question; I'm very wary of greenwashing and using "eco-friendly" as a way to sell clothes. I think the only way to be truly sustainable is to not make any new clothes at all. I think brands are misguided by marketing their things as such. 

All that being said, the things I do as a small brand are source secondhand first, deadstock next and high-end virgin fabrics like silk and linen. I save all of my scraps and either reuse them or give them away to hobby sewers. I've recently introduced hemp into my studio this year; it takes the least amount of water to grow each fibre and lasts for hundreds of years. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

AC: It seems like often people don't understand the amount of time, energy, and resources it takes to run a small brand. Could you break down this process for us and explain a bit about what goes on behind the scenes?

KT: I think a lot of people don't realize that behind the scenes, there are so many samples made before a garment is released. Even if it is a simple piece, there are usually a few prototypes/samples made and tested. And then you have to make one of each size and get those fitted. I always make my first prototypes out of secondhand bedsheets and then go from there. I make everything myself along with one seamstress, but I do get things like buttonholes, grommets, trims and spaghetti straps made in Chabanel. 

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

AC: What has your experience with Montreal's fashion scene/community been like?

KT:  I love making clothes in Montreal. I'm like a sponge; I get so inspired by what my friends and people on the street are wearing. It's quite impressive how creative people are at dressing in this city. It feels like you can wear the wildest outfits, and no one will even notice, which is not the case for most of Canada. It's a beautiful thing to witness Montrealers showing up and accepting expressions of our true selves through fashion, art and music.

AC: Last but not least, how can we best support you and your brand?

KT: The best way to support my brand is to show up to events that I have and engage in any way you can. You don't have to buy anything, but just showing up to support goes a long way. I'm grateful for the support I receive from my community.

Kate Turner modelled by Emily Lê, photographed by Bea Scharf-Pierzchala

Kate Turner

Website I Instagram

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Artist Spotlight: Henry Hu

whitesink by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (10/10)

How do you decide to go from civil engineering to making a career for yourself as a visual artist? How do you know when it’s the right time to trust your intuition, and make that major life change that you need? For Henry Hu, these kinds of decisions have shaped his journey to becoming a full-time visual artist.

Exercising through various mediums, Henry Hu's (born 1995 Hong Kong) emerging practice commits to an infusion. An exchange. An immediacy. A link between the interior and the exterior — of a self, a being, an identity, a consciousness. 

Each individual series offers an overarching narrative, steps away from the present for a spell: tasked with casting new perspectives, fresh air to breathe, a spiritual relief. Often juxtaposing the past with the future, differing forms of surrealistic fantasies unfold across his works; along with a recurring structure, the heart of all series rests in harmony.

To be presented in dialogue with one another, all proposing works speak to the different natures of human existence, the quiet, the chaotic, those hushed periods, and at times the buzzing bangs.

Earlier this summer, we spoke to Henry about his work, travels, and how he decided to switch from civil engineering to visual art.

airydust by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (4/10)

Malaika Astorga for Also Cool: Let's start at the beginning. Has your creative practice always been a part of your life? How has it changed over time?

Henry Hu: No, not at all -- growing up, on no occasion was I engaged in anything creative, I suppose I just didn't particularly care for it. Looking back, I was nonchalant. My younger self was rather indifferent; nothing at school piqued my interest, and I never really paid much attention or even had the ambition to achieve anything. Quite honestly, I was just sort of present, unoccupied, existing really, that's all. Not once did it cross my mind, the desire to devote myself. But I did enjoy movies; that was the one childhood obsession that persisted over the years. 

It wasn't until at university, shortly after I started a degree in civil engineering that it didn't seem worthwhile. Still, I didn't dare to picture a future in a creative line of work. Then, it all came about ... a realization. I acted on an impulse, and from there, my inclination to pursue arts and film quickly hardened into determination. 

I began doing small series of digital arts, both static and motion works. It made sense for me spatially, didn't cost a lot, only a computer was needed. Meanwhile, I buried myself in films, day in, day out, revisiting different eras of past cinema. Eventually, the works from directors like Antonioni, Éric Rohmer, Víctor Erice, Edward Yang, Kieślowski, Woody Allen stood out and entirely broadened, reshaped my perception of films. It was then when I started to write. Straightway I recognized the familiarity; it was comfortable. I was at ease and was confident that films would be my primary outlet. I also registered that it would be a long road ahead before I could actualize my screenplays. 

Anyhow, I kept on with the visual works, trying out various mediums. Graphics, art books, photographs, and a little later, mixed media initiated the urge to coexist physical and digital arts. Until then, I had been utilizing solely digital tools, so it was essentially the desire to do something concrete, dynamic, and perhaps on a larger scale. With that in mind, I made new sets of digital artworks, specifically for print, onto numerous fabrics, surfaces -- eager to see how they would interact with raw materials: acrylics, spray paints, threads, modelling doughs. Trials and errors charted the progress, noting the little details. The end result was a plunge into maximalism, a playful flux of colour. But still, traces of everything pre-existed. 

It is merely fortuitous that this new direction, quite the polar opposite, from the films I have envisioned, which are all very hushed and quiet, muted tones. Nonetheless, it is a nice balance, separating the two mediums.

Selected work from night dot surrender by Henry Hu (2020)

Also Cool: You've lived in so many incredible cultural hubs. Can you tell us a bit about each one and what your experience was like there?

Henry: I was raised in Hong Kong, up north. I had a pleasant childhood and had many uneventful years of growth. I wouldn't have appreciated it then, but it is a time now I feel very fond of. My parents took us hiking quite often, surprisingly. For such a small city, Hong Kong has a wide-ranging of walking trails and mountains. Nature, I think, the fields, the woods, spring, winter, the clouds overhead, the streams beneath, they are gifts for a child. 

At fourteen, I started attending a boarding school in Queensland, Australia. There was a drastic shift in environment, to say the least, but frankly, there wasn't much to take away; they were good years. And the changes were all surface level, however significant they might seem first. 

Following high school, I moved to Sydney for university, and, well, that's that. To be fair, I never did feel deeply rooted in any particular place, culture -- but I am awfully glad for the experiences. It is what it is.

Selected work from night dot surrender by Henry Hu (2020)

AC: You switched out of a degree in civil engineering and instead developed your passion for art and film. What was that process like? How did you learn to trust your intuition in that way?

H: It was months of dissonance and dread. A turbulent time for me, so to speak. The loss of a dear friend. Riddled with unrest, unsettled. I turned inward. It wasn't very dramatic, and it didn't happen overnight. But once I went forward with the visual works and writings, I realized that I belonged. That was it. 

Strangely enough, it was then that I saw myself coming into being for the first time. I suppose you have to narrow yourself to a point, for better or worse. Staying truthful, being mindful, what to do, what not to do, within reason. The ring of authenticity. It is difficult to hold the line, and it is difficult to stay true, but it is very fulfilling to the spirit. Having reached an understanding, of sorts, to yourself. 

Now I tend to believe there wasn't actually any underlying cause -- obviously, the events that occurred factored in. Everything factored in. And yet, sometimes, it's just meant to be. When I discontinued the degree, it was liberating. I never gave it a thought other than to be sort of pleased. I wasn't at all seeking validation; I just got on with it. So it was, more or less, the willingness to accept, to really heed your own thoughts and feelings. They can be very telling. All things considered, I am grateful, at that very moment, the external circumstances allowed me to proceed, to an extent. I was granted the privilege to move forward, so it was fortunate for me, I guess. 

In the end, it also just boils down, instead of letting the decisions be governed by fear -- simply, a leap of faith. Not necessarily any grand expectations. More so, a belief, the self-assurance that it was the right path -- I, myself, made the conscious decision to commit, with that, whatever happens, happens … and, that's okay.

motor by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (5/10)

AC: What's the creative scene like where you are right now? What do you like about it, and what do you wish there was more of?

H: Earlier in the year, I had the opportunity to assist with indie films around Sydney. It was educative to spend time on set, to be observant. All around, it was delightful. As far as visual arts, well, in truth, I don't really know … Everybody does it differently. There are no rules. I had always intended to make some things on my own before branching out, connecting, and sharing. And so I did; I stayed underground, gave myself the time and space to work. But I am sure it's a very interesting scene out there, and now I look forward to getting more involved.

it hangs by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (8/10)

AC: I'm interested in how you incorporate sequencing into your work. Can you expand on this?

H: From the beginning, my approach was to develop full bodies of work, no matter the medium. For the most part, especially with the photographs and digital stuff, once I feel I have enough materials. I take a few days, occasionally a few weeks off, a clearing. Afterwards, I come back, work on the sequencing, and finish off. This was a process that emerged incidentally. Now I do it on purpose. 

With the mixed media works, it was somewhat different. I had all the pieces visualized, sketched out before getting hands-on with the paints. I was attentive, more meticulous, and deliberate with the materials and structures -- how this particular piece should close out the series or how this colour won't work unless applied to that specific texture. I did put in extra precision and clarity -- constructing, rearranging, bits here, pieces there. It was a new thing for me; I had no prior knowledge of paints. I thought if I were to do this, I might as well do it the way that felt most organic. I listen to music when I work. My mind would have been filled with second-hand rhythms and tempos, ingrained with a given flow, pacing of things. After all, it is instinctive. Now and then, things naturally align. They seem genuine and sincere. I will just leave it at that. It would be very unwise to fight against it.

let in by Henry Hu (inkjet print on cotton rag 24 x 16 cm) from passing parade, 2019 (6/10)

AC: Who are some artists/creatives that are really inspiring you right now? (feel free to shout out friends)

H: I have been reading, re-reading a bunch lately. Sylvia Plath, her journals are something I return to regularly. Anne Truitt, who was known for her sculptures, but her writings are very stimulating to me. They are well worth the read. 

With films, this young Chinese writer-director Bi Gan, his works are precious, I highly await whatever he does next. 

Current music excites me a great deal. Mount Eerie, Julia Holter, Beach House, Weyes Blood, Florist, Perfume Genius, Car Seat Headrest, Let's Eat Grandma, James Blake, Tomberlin, Jockstrap, Laura Marling, Snail Mail. This year only, new records from Dry Cleaning, Vince Staples, Wolf Alice, Black Country New Road, Julien Baker. It's just joyful to have so much I could anticipate all the time. It's a good feeling. And also, Helena Deland, I came across her debut last year, been playing it ever since. (A nice surprise to see there's an interview piece with her on Also Cool!)

AC: What are you hoping to do more of in 2021, both creatively and career-wise?

H: Sydney is in lockdown at the moment. A chance to entertain new ideas. It's been productive. Did some digital art stuff. Continuing with the screenplays, visual references and research, all that. Just getting on, really -- I don't know how it's all going to pan out, but I am satisfied, the journey so far, I guess we will see.

Henry Hu

Website I Instagram I Twitter

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Louise Campion Challenges Corporate Power Dynamics With Her Colourful Paintings

Painting by Louise Campion

We’re all for artists who challenge the patriarchal structures of the corporate world, and Louise Campion is doing just that. She’s a Montreal-based French painter, who’s series "Wondering if men in suits turn me on or piss me off" really struck a chord.

If you’re frustrated with your 9-5, and love bright, bold, colours, you’ll love Louise’s work. We got to chat over email about the series, allyship, and more.

Painting by Louise Campion

Malaika Astorga for Also Cool: When did you get into painting? Has your creative practice always been centred in painting, or has it evolved over time?

Louise Campion: I started painting classes at six years old. Around 15, I got more and more into art history and contemporary art. Eventually, I started learning about conceptual art and would choose my mediums depending on the idea I wanted to focus on. But as stimulating as this journey was, I came to realize that I am, first and foremost, a painter. Centring my practice around painting is the most natural way for me to research and create. I am still open to other mediums, but I just know that painting makes the most sense when it comes to my own sensibility.

Also Cool: I love any art form that plays with the absurdity of office culture. What do you think you've learned about yourself by existing in relation to these men in suits and also through making paintings about them?

Louise: To clarify, I am not currently working in an office environment. My dad has worked in an office all of his life and growing up, I was surrounded by a lot of people who did or were aspiring to. I found ways to avoid office jobs, except for that one summer, which was very alienating for me. My observations of the corporate world are made through personal experience, discussions, readings, and research. I keep learning and adjusting my views every day.

I am trying to create an environment for myself that is as free as possible from the corporate mindset, which is, consciously or not, based on an oppressive system. However, I do think we always exist in relation to these "men in suits," whether we admit it or not. In a capitalist society, anything you do or buy would have been in some way regulated by someone behind a desk taking decisions based on a profit. The very mere fact that this is the social structure we've been raised in makes it very difficult to completely detached oneself from it. My sense of safety, comfort, pleasure were programmed to find themselves in the idea that money is central. 

Thus, my answer is that I am on a journey to deconstruct these presets, but it takes time and as important as it is, it is not very comfortable.

Painting by Louise Campion

AC: You often speak of how success and hard work only matter if they are free of oppression and yet are fascinated with white male office culture. Can you break down some of the ways that someone in an office environment can fight against the barriers of oppression that often exist in these spaces?

LC: This is the million-dollar question, right?!

When I talk about contemporary western oppression, I refer to the different systemic issues standing in the way of climate and social justice. It includes white supremacy, patriarchy, classism, heteronormativity, ecocide & pollution, among others… Obviously, most of those issues are deeply engraved in our system. They're tough to counter since they are extremely beneficial to the 1% who are economically governing us right now. How do you stand in the way of the wealthiest people on the planet when said planet functions under capitalism? All the more when you happen to work for these people?

Realize that it is a lot of work: Current systems are profiting from current oppression and won't show you how to fight it. They actually make it very easy to ignore it, even as an oppressed person. You have to go out of your way to teach yourself and make changes happen. I know you and your colleagues are comfortable right now, but others aren't, and you can help with that. This will be a never-ending journey. We're in it for the long run.

Educate yourself to educate others: Through the infinity of resources available out there for free! Books, videos, podcasts, articles, illustrations, graphics, Instagram accounts, TV shows, blogs… Whatever speaks best to your learning mechanisms: it is already there; just look for it and share the knowledge!

Get trained: Attend anti-oppression training. Organize one in your workplace. Professionals will give you and your coworkers concrete tools to implement in your work environment. Ideas to discuss. Changes to make. In Montreal, I know that CoCO (the Centre for Community Organization) offers various workshops on anti-oppression and conflict resolution, and they're very good. I am sure you can find other similar resources.

Implement anti-oppression policies: Make it mandatory to be inclusive. Make it punishable to be oppressive. On the professional level. (CoCO can help to write the policies).

Pay attention to who you give your money, time and energy to (which are all the same things under capitalism): Who do you work for? What do you buy? Where do you spend your weekends? What do you watch on YouTube and Netflix? Where do you get your nails done? Who do you play basketball with? Where do you volunteer?

The corporations that are oppressing people and killing the planet gain their power from money. Money that you can decide not to automatically give them, as a first step towards not condoning oppression. In many instances, your money could go to people and things that are undermined by the current system, hence encouraging a more ethical, kinder economy. Slowly but surely, start paying attention to things like who you buy from, what it's made of, who the money is going to, and more.

Although there is no such thing as ethical consumption under capitalism, there are multiple ways to get closer. Do some research. Make it exciting. Love spending the money you gave your time and energy for in the right places.

Learn to differentiate performative allyship from genuine effort: Whatever you do, make sure you're actually helping and not just making yourself feel better. Check yourself. Google things instead of taking an underprivileged person's time to answer your questions. See if you can help an initiative that is already there, instead of creating your own. Question your reflexes because they're based on entitlements and privileges, and it takes time to deconstruct them.

Vote for someone who cares: This one seems a bit obvious, but voting for people (at any scale) who will work towards fighting for those issues might be an idea to consider, haha.

It doesn't have to be perfect, and it doesn't have to be all at once: I once read that it takes around three months for a new habit to become automatic to the human brain. I have started tackling my "bad" habits half a decade ago. I didn't change everything in one day. I implemented a small change, and when it became normal to me, I started tackling another. Five years later, my lifestyle has drastically changed, and I'm excited about improving more and seeing where I'm at in another five years. Improving gradually is better than changing everything and then giving up. One small change is better than none.

Last but not least, you're gonna fuck up: As established earlier, this is a long learning process, and we're all making mistakes. There is so much material to integrate into the journey of inclusivity: Don't give up. When you fuck up, don't beat yourself up forever. Don't apologize endlessly. Just learn your lesson, research a bit more, and move on.

Painting by Louise Campion

AC: How do you balance your practice IRL with your online presence? Does social media affect your creative practice at all?

LC: I am still figuring it out, evolving, adjusting the way I present myself online, as well as the way I use the platform to learn about my peers and field.

On one side, social media (especially Instagram) shows me a lot of art, news from galleries, museums, collectives, artists I follow, critics etc. It keeps me on track with what's happening in the art world and gives me clues on where to look for more. It also allows me to display my practice easily, to reach an audience from my own bed! So it's a very useful tool. Sometimes this idea that I need to stay active online to show that I am productive and professional to my "following" forces me to go to the studio and paint on days that I had trouble finding the motivation.

On the other hand, it can be overwhelming and anxiety-provoking. Seeing what everyone is doing (/only seeing their success) can be very tough because I tend to compare myself a lot. But when I mainly produce from home and rarely have IRL contact with my art community, it's easy to fall into a vicious circle of insecurity towards my own practice.

Ultimately, I am getting better at finding the balance. I have started to see Instagram only as an optional tool that I can use, or not, depending on my energy level and needs. My mindset is now to see others' successes as inspiration instead of paralyzing competition. I've stopped following accounts that bring me down. If it makes me nervous instead of motivated, I'll unfollow or hide their content. It's nothing personal. Art memes pages also help a lot in keeping things real, bring a lot of fun and comfort to the artistic Instagram experience.

Painting by Louise Campion

AC: This is the mandatory quarantine question, but I am actually really interested in how your creative practice has been affected throughout the pandemic.

LC: The beginning of quarantine last year was very beneficial to me. Fall 2019 was right after my graduation. When you've spent the first 20 years of your life in school, it is quite an adjustment to find purpose without academic demands. March to June 2020 gave me space, lowered the pressure. Everyone was stuck at home, so suddenly, it was okay if I was too. I was so lucky I had a studio at home, a close friend as a roommate and an adorable cat. I rested, cleaned, thought about a lot of things, and started producing and applying to things again.

After last summer, my mental and physical health started deteriorating. Lots of projects got cancelled or postponed again. Lockdown got stricter. All of this free time stuck at home became somehow exhausting. Yes, I was still lucky, but expectations were back. I am expected to produce because I am an artist and have nothing else to do, right? But my bubble is so small. I don't see anyone, I don't talk to anyone, galleries were closed again, curfew happened. I miss human contact, miss the energy of a crowd, miss my family, my friends from home, and miss Montreal even though I haven't left it in a year.

It all comes in waves; I see this whole situation as an ocean. Sometimes I feel like I am drowning, but other times I keep myself afloat. Museums reopening was truly the highlight of my winter. I am not as productive as I'd like to be, but still, we are in a global pandemic, so I try to be kind to myself. I always have projects ongoing. Nowadays, I am trying to achieve at least three "productive" things a day so I don't get stuck in a depressive episode but don't overwhelm myself with pressure.

What I'm saying is that it varies a lot, and I'm just trying to keep swimming, haha.

AC: Switching gears, who are some people or artists who have inspired you this year?

LC: My art partner, ex-quarantine mate, and very close friend Tatianna has been huge support this year in various ways. She is a great artist who inspires me daily. My friends Joyce, Akira, and Francois are also strong sources of growth, purpose or just by being themselves. They constantly challenge my views and keep me in check. Chloë and Nina have been important parts of my Montreal support system through COVID. I'm thinking about my friends Chris and Devon, who have been going through challenging situations this past year and are still fighting to become the best version of themselves.

Otherwise, Inès Longevial and Chloe Wise are two women figurative painters I look up to a lot and am inspired by.

Louise in her studio

AC: What are you looking forward to developing with your art this year?

LC: I am excited to change the scale in my paintings. I'll make a bunch of smaller ones and lower the figures' scale simultaneously, which is a challenge to me. I would like to start using more white and skin tones colours in my compositions, but we'll see how I feel when it's actually time to choose the pigments!

I also want to draw more. I am excited about this series finally growing because I started it knowing it would gain its power through numbers. 

AC: Finally, do you have any upcoming projects we can look forward to? If not, is there anything/anyone you want to shout out?

LC: I've been selected for a solo show at the CCGV for the 2021/2022 programming, so I'm looking forward to that. We still don't know about the exact dates since it depends a lot on how the government measures will evolve but keep your eyes on my socials, and I'll let you know as soon as possible!

---

Louise Campion

Website I Instagram

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media specialist, currently based in Montreal.

---

Related Articles

I’m For No One’s Consumption But My Own: Meet NYC Treasure Kitty

View fullsize

Kitty, edited by peachy_kai

In our era of “the everyday celebrity,” where creators’ means of gaining a reputation and fanbases are (sometimes) dictated by social media savviness and a viral appeal, one roadblock remains: authenticity. Across all forms of creative expression, the timeless questions of “Why do artists do what they do?” and by extension “Who are they, really?” are always on the table, especially now that creators willingly let us peer into their everyday lives online. A few odd years ago seeing artists “just being themselves” could majorly stain their image. Now, the advent of “get ready with me” and “day in the life” style social media segments humanize, and even glamourize, the day-in and day-out of lived experiences. In other words, the exposé has retired and vulnerability has been readily embraced. Relatability is in, and can even be your ticket to widely received recognition via innovative corners of the Internet. At the same time, the idea of online availability trickling down into how success is born and raised also threatens how people are treated by their audiences.

With little barriers between creators and consumers, the pressing question becomes “How do creatives preserve and care for their sense of self when so much of it has to be on display in order to stand out?” This theme was at the core of my conversation with Kitty, a multidisciplinary visual and makeup artist, fashion designer and model, who uses social media to showcase their creative portfolio and network within the fashion industry and beauty community. 

On the surface, Kitty and I actually have a lot in common. We’re both 23 years old, earth signs, and are living with our parents after graduating post-secondary during the pandemic. Though we share a “just figuring it out” mentality, there is, of course, one key difference between us: their 35.9K following on Instagram. Through chatting with Kitty, I learned that the upkeep of their artistic passions, in tandem with their social media presence, is made entirely possible by staying true to their biggest source of inspiration, themselves. 

“When it comes to my creativity, a lot of people ask, and are surprised, when I say that I’m mainly my own source of inspiration,” they say with a small smirk across their face. “I’m like, what do you mean who inspires me? Why does it have to be somebody else? To me, being a real artist and a real creative doesn’t mean you can’t find inspiration in others, but basing my drive off someone other than myself is something I’ve never experienced or felt,” they add. 

For Kitty, self-reliance is a must and comes naturally when conceptualizing new projects. From a young age, they’ve always been encouraged to pursue creative freedom, and continue to reject being boxed-in when it comes to self-expression. Their looks combine ethereal whimsy with the underground edge of their hometown of NYC, adorning them with a presence that exudes originality. Much of their determination is evidenced by the origin of their name and artistic outlook. 

View fullsize

Self-portrait conceptualized, created, styled, shot and edited by the artist

“I’ve been in love with cats since I was a little kid. I remember I used to go to art school and they would get so upset with me because all I wanted to do was draw cats,” they laugh. “My instructors couldn’t understand why, but cats always represented much more to me than just my favourite animal,” they explain. “I’ve done a lot of research on their symbolism, and cats represent the concept of one’s inner-child and a sense of playfulness, and how to embrace that. My connection to cats brought my work to life… [It’s] just very magical, and also very safe. I feel like that’s my energy, and how I want people to feel when they see my work.” 

This story was made a little sweeter by the fact that they had a kitschy kitten poster behind them during our Zoom call. 

Kitty also expressed that their relationship with their inner, imaginative world has only come to life in a tangible way after learning to cultivate their distinctive sense of style.

“Since I graduated high school I’ve gone through so much shit. Back then, I didn’t really know who I was. Though I still added my own personal touch when it came to how I expressed myself, I still felt like I had to be a ‘certain type of girl.’ Back then, I didn’t even know I was non-binary, and I wasn’t surrounded with the right people who allowed me to feel more fluid in myself,” they articulate. “In terms of my evolution, I’ve really learned to free myself from norms that were pushed onto me, and there’s no going back.” 

View fullsize

Self-portrait conceptualized, created, styled, shot and edited by the artist

Though much of Kitty’s growth was made possible by nurturing self-acceptance, sharing it with the world via social media unexpectedly lead to online admiration; much to their surprise considering their humble intentions. 

“As I always like to say, I don’t think people realized that I started from my fucking basement,” they giggle. “I didn’t have a tripod and I didn’t have a ring light. I just had some backdrops, and you know, I would do a fun makeup look here and there. That’s when people started reaching out to me, and I realized diving into the industries I was interested in was possible.” 

Kitty tells me that while the start of their online buzz brought professional opportunities in the world of beauty and fashion, the downside of broadcasting their personal brand on a public platform has made for a lot of challenges. Like a lot of online creators, Kitty struggles with maintaining boundaries and managing their followers’ expectations. 

“Personally, it feels like I’m never enough for some people, you know?” they begin. “I’m very grateful for all the love and support I get, but at the same time, I get overwhelmed because people feel very entitled to my time and personal life.”  

Just as they were about to make another point, Kitty noticed an Instagram DM notification pop up on their phone, and read it out-loud to me. 

“Hi, if you don’t mind me asking, how did you pay your bills when you were just starting to model, what were you doing?” 

They roll their eyes, sigh and smile. The timing is a little much for both of us. 

“Yeah, like you see?!” they exclaim. “I can only give you so much of me and my experience. I do joke a lot, saying that I’m not real… But, I am a real person. I have feelings and things I need to process… I don’t always want to be perceived. At the end of the day, I’m for no one’s consumption but my own.” 

Laughing off this note of frustration, Kitty and I got on the subject of how they’re learning to self-advocate on social media, and how much of it draws from protecting their art, as so much of it comes from a sentimental and intimate place. 

“People are so used to me being sweet and nice, but one thing I refuse to be silent about lately is the makeup community not understanding the difference between recreation and inspiration. Another part of people wanting too much from me is when they say they’re ‘inspired’ by me and use that as justification to recreate my look without properly crediting me, especially with my rhinestone looks,” they share. “People might label me as being a bully or being mean, but I’m tired of being accused of gatekeeping when I’m defending something that fully represents me.” 

View fullsize

Self-portrait conceptualized, created, styled, shot and edited by the artist

I then asked Kitty how they keep up their momentum and stay grounded within these circumstances, realizing how exhausting they must be. 

“I feel like everything really comes full circle. Everything I have has really just started from myself, and I can’t lose sight of that because I want others to get there. For example, I’ve been working my way into the modelling industry since I was 19, and it’s very toxic. I realize now, after walking fashion week at 5’5, that I can break the mold and inspire people who have features like mine; models who are short and have weird noses, or like a nose bump… any kind of nose, and any body type. Even though I still deal with people who try to manipulate and undermine me, and who expect me to work for free… I want to always give back to others because I feel like when you give back, the universe will return it to you eventually, you know?” My friends remind me that not everyone is going to want to come with me on my journey, but that leaves room for new people and new energy.” 

In closing our conversation, Kitty tells me what they’re looking forward to in 2021 after undergoing so much self-discovery in the past year. 

“I feel like what I was missing before was the self-love that I started finding in 2020. I think a lot of that translates into my work now, and I hope people recognize that I am much happier. I’ve got some exciting collabs coming up in the future and my website is growing. Even though things are uncertain in the world right now, one thing I learned in the past year was to do all the things [I was] afraid to do. I want to carry that energy forward and continue to evolve.” 

Kitty shot by estherfromnewyork for uzumakigallery

Kitty (They/Them)

Website | Instagram | TikTok | Youtube

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

This interview has been condensed and edited for clarity.

Related Articles

Dutch Fashion Label Elzinga Talks Growing Up in the DIY Music Scene & Feminist Fashion Inspiration & More

Via Elzinga

Elzinga is an up-and-coming Dutch fashion label that recently took over Paradiso during Amsterdam Fashion Week. They debuted their latest collection on the all-girl punk band The Klittens, catching the attention of Forbes and many others. The collection speaks to and honours the nightlife scene while simultaneously reflecting the "silence" with this collection's simpler shapes.

We spoke to Lieselot Elzinga, Co-Founder & Creative Director of Elzinga, to get to know more about the brand.

Via Elzinga

Malaika for Also Cool: Tells us a bit about Elzinga. How did it start and how has it evolved over time?

Lieselot Elzinga: We started the brand Elzinga together back in 2018. Miro and I had just graduated from the Rietveld Academie in Amsterdam. Following the great response to our graduation collection, we decided to start a brand together. We got in touch with Parrot Agency, a design sales agency based in Amsterdam. They coached us through translating our grad collection to a more sellable product with the same rock-’n-roll energy and spark.

Now after releasing a few collections on MatchesFashion I feel like we have learned to work and reach our clientele. Our designs are definitely influenced by our experiences with our buyers and our clients.

Via Elzinga

 Also Cool: What's the fashion and music scene like where Elzinga is based? How has that affected the label creatively?

Elzinga: Elzinga is based in Amsterdam. I was brought up in the middle of the music scene in Amsterdam. It's basically the core of the brand. The music scene in Amsterdam is small, but there is a lot of variety. Many bands are always sprouting from this tiny scene, and that is very inspiring to me as a designer. 

I used to play a lot around the Netherlands from a very early age with my teenage girl band Fuz . As a girl group, we really figured out how to use fashion as a tool to gain more confidence and power on stage. If you are on stage, you want to convey a very direct and clear message. You want the moment you walk on stage to be powerful and you want the audience to react. This is basically our brand ethos; we want our designs to be simple and direct in shape, but still extravagant and a little rough around the edges. 

Via Elzinga

 AC: How did Elzinga decide to pair up with The Klittens for this show?

Elzinga: With our last show, we wanted to highlight the importance of live music and individual expression in today's society. We did our presentation in the legendary music venue Paradiso in Amsterdam, a place where big bands and performers took the stage (pre corona). It is also a place that nurtures the local music scene, a scene that has been hit hard by the coronavirus. 

We choose The Klittens to play during our presentation first because we love their music, but second because they are a young all girl group that really needs to be supported in a man's world like the music industry. I have experienced first hand what it is like to be an outsider in the music industry and I really feel like we need to push for diversity as a brand. 

Via Elzinga

AC: What are some of the label's inspirations? Musically and visually?

Elzinga: As a brand we are extremely inspired by different influences. Early garage music like Suicide and bands like the Cramps and the Breeders are a huge inspiration to us. We really find the DIY element in our aesthetic extremely important in our visual identity. 

Visually I feel extremely inspired by artists such as Cleas Oldenburg, especially his early performance work he did in NYC called 'The Store' I also find inspiration in artists such as Keith Haring and Penck. 

I like simplicity and direct expression when it comes to visual art, which also shows in our use of simplistic prints and shapes.

Via Elzinga

 AC: What's something unexpected about the world of fashion that Elzinga had to learn along the way in order to succeed?

Elzinga: Something you definitely don't learn in art school is to think about your clients and the people who will buy your brand and will support you as a designer. We find it so interesting to listen to our clients feedback and in that way pin point what the Elzinga woman is about and how her life is and what she want to look like and radiate to the outside world. 

Via Elzinga

 AC: How can we best support Elzinga right now?

 Elzinga: It's so important to support small brand and labels at this time. Like any other small brand, follow what we are up to, check out our new collections and projects and maybe consider buying one of our products in the future :)

Elzinga

Instagram I Shop

Stop Asking for Permission: An Interview with Multi-Media Artist sunnie

sunnie by Alexis Zygan

Sanaz, also known as sunnie, considers herself a performance artist above all else. We sit on the rooftop of her modern minimalist apartment building. She prefers a more in-depth dwelling, although this is home for now. The sun scorches as we settle into the only semi-shady outdoor seats. sunnie fans me with her portfolio, tucked into a duotang, and casually lights a smoke. I pull out my cell phone, which doubles as a recording device. As I press record on a voice memo, I ask sunnie what inspires her as a handpoke artist working out of  a private studio in Vancouver. 

- - -

After rambling on about how “tattooing is the only thing [she is] good at,” we stop recording, pausing the voice memo. With the permanence of documentation no longer looming over, we talk about her course of life and self-perception. She divulges into how “even in this moment, i respond, am being responded to. i learned it - have a checklist of diverse ways of responding to surroundings. Some of it is how society wants us to respond. [Others are] how we want to respond to things. We are acting.” She assures me that “acting does not mean that it is fake.” sunnie refers to herself with a lowercase i - an indication of her humble nature. 

sunnie by Alexis Zygan

sunnie’s story begins in Montreal: the city Vancouver residents move-to to fill the void. She pursued the Cell and Molecular Biology program at Concordia University. Her parents expected her to become a surgeon and purchase stability in the form of a single-family dwelling in Coquitlam. However, she felt a magnetic pull towards inducing paradigm shifts through the freedom and flexibility of analysis and creativity. “i am still a scientist!” she corrects.

sunnie graduated with a joint major in Art History and Studio Arts. In the same month of she graduated, she unexpectedly lost her studio apartment. After couch-surfing for weeks, a room was offered to her in a time of desperation, to temporarily sublet. This space would end up changing her life forever. “i fell asleep more on the living room couch than my temp bed /on that couch i got my first handpoked tattoo--on that red couch/ i did my first tattoo.” After sneaking a glance at a top-secret sketchbook, her roommate Lawrence identified her artistic potential in insignificant scribbles. While most aspiring tattooists begin by practicing on oranges and potatoes: he believed in her ability to such an extent that he offered his skin as a canvas. Although Lawrence was not the first person to encourage her to tattoo them; he was the first to succeed in convincing sunnie to experiment on human skin.

sunnie by Alexis Zygan

After graduation, sunnie continued to work in Montreal until being dismissed. The unexpected news instigated her to express a declaration of rage by meticulously smearing black-tar charcoal on pearl-grey paper. Stumped on how to pay bills amid unemployment, she put a portfolio together, priced her pieces, and decided to make handpoking her main hustle: “i could not go back to the red couch, i tattoo on a red bed now.” At that time, she had just moved out of her roommate's into a work-live studio. This space served as a liminal zone to strengthen her skills, while preparing for her eventual move to Vancouver. 

As an Iranian immigrant, sunnie grew up isolated from the culture of tattooing. She didn't even know you could make a career in handpoking, and had internalized her parents’ disapproval of tattoos. That being said, the support and love she received from the handpoking community prevented parental perception from sabotaging her practice. sunnie emphasizes, “[these people] embrace, teach, and correct instead of criticizing me. [They] validate me, [and] check up on me. It is honestly other people that keep me going; people believe in me. i am blessed.”

sunnie by Alexis Zygan

sunnie started tattooing with a machine gifted to her by her roommate. However, the machine was too quick; a distraction that prevented her immersion into the present moment. sunnie explains that she simply “softly erases the skin,” to reveal art that has always been hiding underneath the surface through handpoking. Although she had no idea at that time, tattooing would not only give her financial stability, but also end up nudging her to take up other artistic practices, such as painting and poetry. She could easily stay in her room for days, allowing her abstractions to surface. As a tattooer - connecting with people was a necessity because it pushed her beyond her introverted inclinations. sunnie shares: “i connect with people, their secrets and essence — physical and philosophical — ink is accepting of me and others, of our space and taste. Tattooing is perhaps saving me from extreme self-isolation.”

When her time in Montreal adjourned, she moved to Vancouver due to her love for sushi and proximity to family and friends. When she first landed in Vancouver, she lacked the connections and funds to secure a tattoo space. Handpoking had become more than a career at this point; a way to stay sane while settling into a new environment. sunnie is grateful for the trust people had and have in her. Sharing how “[they] started inviting me to their space, for me to tattoo them/ i operated mostly by word of mouth/ same strangers would invite me to social things to talk tattooing/ now i am very shy.” To ensure hygienic protocols, she would thoroughly inspect the cleanliness of the space before beginning the procedure; packing her tattoo equipment into a grey and gold suitcase. She speaks fondly of an experience tattooing a client called Sean, in a van by the Spanish Banks. A year ago, she was invited by Vasia, an established handpoke artist, to join her studio space: an invitation she gracefully accepted. Stepping outside of her observant zone to socialize was worth the stress that came along with the interactions. From time to time, she still tattoos out of her client’s chosen space.

sunnie by Alexis Zygan

sunnie has been tattooing for three years now. Although she found her path in the arts, she considers herself “still doing surgery — although a little less bloody, i still heal — truly i work systematically/ i research — i’m thorough.”  As a tattooer, sunnie approaches every project with pristine precision by first taking time before responding to every email, ensuring the subject aligns with her values and vision. Then, above all, she makes sure she feels intuitive inviting them into the ethereal space they will potentially co-create.

sunnie has learned a lot over the past three years. More than anything that she no longer needs anyone’s permission to pursue her passions - especially not her superiors. She considers her cultural background, “creating dissociation of identity/-- simultaneously cast aside and celebrated.” In the future, she hopes to tattoo more Farsi scripts on people - specifically قر, pronounced ghuur - “when your body subconsciously moves to the music/ we call that ghuuur! it’s  magic!.” sunnie declares, “i am iranian/ i am a woman -my entire existence is political/ my art is an act of resistance towards/within the patriarchal system we live in- everything i do/call it art or not- this interview is an act of resistance -i am claiming my space, physical and philosophical, as an Iranian immigrant - a woman.” 

sunnie

Instagram I Website

Alexis Zygan

Instagram I Website

Premiere: Ariana Molly's Short Film "MISS LIBRA" is a Romantic Fever Dream

Still from MISS LIBRA by Ariana Molly

Through a haze of smoke, horoscopes, and red wine, emerges Ariana Molly’s MISS LIBRA. You may know Ariana from Mutually Feeling, or from her ethereal photography, but this short film marks her directorial debut. As an artist, Ariana transitions effortlessly between mediums, and MISS LIBRA is an invites us to take a deep dive into the her creative world.

MISS LIBRA chronicles our heroine, Lees, as she recounts the sagas of her failed pursuits for love. Written as indulgently obscure as a daily horoscope, Lees reels in feminine divinity and smashes it at its core, expelling gender presentation as laughable, playful, chaotic, evil. She muses over the queer, the trans and the astrological experiences muddling make believe with reality. She is pouting and painting her lips in a blue-hued bathroom. She is wearing a wedding dress in a smokey bath. She is drinking endless red wine. She is laughing maniacally, tying ropes and cracking whips and she is smoking-smoking-smoking. The cryptic yet seductive monologue, when coupled with the film's distinct visual, transports viewers to a mystifying space of gender frenzy and chaos, beauty and celestial delight. This highly aestheticized, ethereal slice of desire, dazzles in all of its glam-queer glory.

Still from MISS LIBRA by Ariana Molly

The film was realized by an almost entirely female/non-binary cast and crew. It was shot in October 2018 and has it's premier in October 2019. It's now being released on IGTV October 1st 2020. We spoke to Ariana about her creative process for the film, and her transition into this new medium.

Still from MISS LIBRA by Ariana Molly

Malaika Astorga for Also Cool: What made you take the leap from photography to producing a film?

Ariana Molly: Making the move from photography to film was something I always fantasized about but felt intimidated by. The reverberating "you should do film!" would bounce at me from friends, colleagues and professors who felt that my aesthetic language would translate well. It was honestly a matter of fighting off that pesky inner monologue telling me I wasn't ready. If there's one thing I've learned it's that we NEVER feel ready for any new challenge. At a certain point, you just need to swan dive and believe that you're going to stick the landing, and also be okay with knowing that you might not, and that's okay too.

I originally started developing this project because I applied and was accepted to write/direct the film for a series out of Australia called "Calendar Girls" that is now defunct. Unfortunately, due to lack of funding, they had to cease productions for their second year (for which I was supposed to participate) but in my mind I was already making the film, I could see it and feel it and I really, really wanted to make it. So I went ahead with it anyways and self-funded it. I didn't want arbitrary circumstances to prevent me from realizing this project.

Still from MISS LIBRA by Ariana Molly

Also Cool: What are some of your favourite films and why?

Ariana Molly: I have always loved films that cultivate a particular mood and create their own universe. I am a huge sucker for opulent aesthetic, overboard production design, costuming, DIY special effects, faux gore, queer themes!!! Anything related to halloween will usually charm the shit out of me. One of my favourite films of all time is The Love Witch. I think it might be the most perfect film ever made. Escapism through cinema is bliss, give me give me more. 

Still from MISS LIBRA by Ariana Molly

AC: Reflecting on MISS LIBRA two years later, how do you think you’ve grown as a director and artist? Do you have any advice for your past self, or for anyone aspiring to make a short film now?

Ariana Molly: It feels crazy to me that two years have passed since I realized this film. In some ways it feels like centuries ago, probably in part due to the way the world has radically shifted since that time #ronaaaa But in all honesty, the advice I would have given myself then, is the same advice I give myself now: just. fucking. go. for. it. There are literally one hundred thousand million reasons not to do something, don't let your own self confidence be the thing that prevents you from giving it a go. I have always been a person paralyzed by fear of failure, major A-type personality complex. I always joke that I never do anything I'm bad at. But, at the same time, discovering that I was capable of something new was one of the most invigorating feelings, and I'm going to keep chasing that high.

For a long time, when I would look at work I made in the past, I would be horrified (yikes @ undergrad). But MISS LIBRA has never turned on me. I am as proud of this film now as I was two years ago and infinitely grateful that this one film gave me the confidence to do so many other film based projects. I hope I can continue to cultivate that sensibility for the rest of my career because self doubt will rot the soul. 

I will always advocate for the fake it till you make it lifestyle because imposteur syndrome has followed me, no matter where I've been in my career, and I've accepted it as a part of life. I've basically learned to slap on a smile, say "yes I can" and then figure out how to make it work. Thank god for YouTube tutorials, my partner and every person who's ever given me a helping hand or a shot. They're the real MVPs. 

Still from MISS LIBRA by Ariana Molly

MISS LIBRA will be available via Ariana’s IGTV on October 1st 2020. The release is also tied to a fundraiser for Taking What We Need. Ariana encourages anyone who enjoys the film to donate to their crowdfunding.

Still from MISS LIBRA by Ariana Molly

CREDITS

Written + directed by Ariana Molly I Starring Lees Brenson (Dregqueen) I "The Hands" Sophie Marisol + Eugenie Tutin I Produced by Nicole Richardson I Director of Photography Marie Chemin I Beauty by Jessica Cohen I Beauty Asst. Dahlia Bercovitch I Production Design by Ariana Molly I Wardrobe + Production Asst. Kaitlyn Woodhouse I MISS LIBRA Title Animation by Jason Voltaire I Original Score by Mutually Feeling I Sound recordist Monika Rekas I Audio mix + master by Autin Tufts

---

Related Articles

Artist Spotlight: Amanda Leigh Ponce

By Amanda Leigh Ponce

Amanda Leigh Ponce really does it all. As an actor, graphic designer, and illustrator, she’s a force to be reckoned with. Get to know Amanda and all of her creative endeavours below.

Malaika for Also Cool: How did you get into creative work? 

Amanda: I honestly can’t remember a time in my life where I wasn’t participating in something creative. I’ve been dancing since I was a kid and spent most of my childhood inside dance studios. After a back break right before college auditions, followed by illness, I switched gears. I focused on acting while I was recovering, and eventually ended up going to New York City for college to train to be a film actor. 

Throughout that entire time, I had been drawing and teaching myself how to use design programs just as a hobby. It wasn’t until I got to New York that I realized that art and design were things I could pursue as a career. A friend of mine had seen some of my work and mentioned that I should set up an online shop.

So I began reaching out to the network I had established as a performer. Many of the theatre companies I’d worked at gave me my very first opportunities as a graphic designer, and really gave me the confidence to begin freelancing. 

Amanda Leigh Ponce

Also Cool: Do you have a primary medium?

Amanda: Yeah, it’s definitely changed over the years. I started out trying to act full-time, but being in a smaller market wasn’t sustainable. So now, art and design are my primary mediums, and how I spend most of my day today! Pre-pandemic I was auditioning a lot and going to New York for shoots, but everything came to a halt. I had to pivot and sort of re-assess how I was going to be able to pay my rent, ya know?  

AC: I really enjoyed your blog post about the pressure to be productive as a creative during quarantine, and for your work to reflect the current times. Do you still feel that way now, and if so, how do you manage these expectations?

Amanda: Thank you. It was kind of cathartic to write, to be honest. I definitely still feel that pressure a little bit. I’m trying to learn how to give myself some grace and to not force myself to create out of an expectation. As a generally anxious person, I think I do that to myself a lot.

Since May, when I initially wrote that post, I’ve really been working on not stretching myself too thin. Setting actual work hours, allowing myself to pursue the projects and hobbies that bring me joy, scheduling out my social media weeks in advance so that it’s not even something I have to think about. Doing what I can to support and lift the voices of other Black and BIPOC artists who have the energy to create in that way has also been important to me. 

I’m very slowly beginning to realize that my productivity and output do not define my human worth. The more I lean into that, the better I feel all around. 

By Amanda Leigh Ponce

AC: Who are your creative inspirations?

Amanda: Oh gosh, there are so many different people, but some I can think of off of the top of my head are Hsiao-Ron Cheng, Corinna Dodenhoff, Frida Kahlo, Andy Warhol, in particular, have had a significant impact on how I see colour and composition. 

AC: I love your fake film posters! What are some of your favourite films, and why?

Amanda: Thank you! I love working on alternate posters, it’s always a fun way to pay homage to movies that I love. Right now, I’m kind of obsessed with Bong Joon-ho’s Parasite. I thought it was really thrilling and beautifully shot and I’ve watched it multiple times now and have noticed something new with each viewing, which I love. Another film that I think is just so visually stunning that I know a lot of people hated, lol, but that I will always have a soft spot for is Sofia Coppola’s Marie Antoinette. The soundtrack, the cinematography, the costume and makeup design, it’s really just a visual treat and I really love highly stylized pieces like that. 

By Amanda Leigh Ponce

AC: In your opinion, what makes a good poster? 

Amanda: Whether or not it grabs my attention. It’s a weirdly simple answer but that’s kind of the point, right? Movie key art exists to get audiences excited/intrigued about what’s to come. So if it makes me really stop to take it in, it’s done it’s job. I think a lot of posters sort of fall into the same basic composition/fonts/etc. and I definitely feel like those are less likely to catch my eye. 

AC: What’s the biggest lesson you’ve learned as a freelance artist? What would your advice be to others who are trying to figure out how the freelance world works?

Amanda: Honestly, that there’s enough work to go around for everyone. I’m so lucky to have a circle of incredibly creative friends and colleagues, and I find the more that you’re willing to support other artists (even if they’re your ‘competitors’) the more support that comes back your way, and then you’re really able to begin creating a community that you can lean on, which I think for me as a freelancer has been absolutely vital. 

The other major lesson that I think every freelancer has to learn in their own time, is to know what your art is worth, and not budge on it. Figuring out my rates (and not being bullied into changing them once they were established) was a huge game changer for me. 

As far as advice goes, I would just say don’t be afraid to shoot your shot. I’ve sent out countless numbers of ‘cold emails’ with my work to brands/companies that I would love to work with. And while most of the time it doesn’t work out, sometimes it does, and they wouldn’t have known me from any other artists out there if I hadn’t taken the time to do that. Of course with that being said, you need to make sure that you’re prepared and have a solid portfolio of work to show people, but ultimately I’ve found that most people are pretty open to this because artist and designers are problem solvers. 

Also - and this shouldn’t be that surprising but - be kind! Firm, but kind. It will help you to navigate all of the different types of personalities that you’ll come in contact with doing freelance work. 

By Amanda Leigh Ponce

AC: Finally, is there anything you want to promote or shout out right now? How can we can best support you?

Amanda: I would love if you checked out my website (amcoart.com) and gave me a follow on Instagram (instgram.com/leigh.corbett). For whatever reason, the amount of followers you have seems to “legitimize” artists in the eyes of some brands, so that’s super helpful for me as I continue trying to branch into the crazy world of brand partnerships. I also post cute cat pics! I’ve been selling prints of my work on Society6 for a long time and recently launched a store where I’m selling prints directly through my website, plus I have some tee-shirts available through Hot Topic! A visit through my website (to the ‘shop’ link) will direct you to all of those places! 

---

RELATED ARTICLES

Rico Montaño on Colombian Graphic Design, Freelancing During Quarantine & Chimbites

Rico is a Colombian multidisciplinary artist currently based in Barcelona. Known for their colourful and creative style, they are a graphic designer, art director and photographer. We caught up with them about their work and their latest project, Chimbites.

Design by Rico Rica for Cuarenteca

Rico: My name is Rico, and I'm never in one place for too long. I’m currently based in Barcelona, but grew up in Colombia, and lived in Canada for 13 years. I love my culture, I love colours, and I love people. 

I go back to Colombia as much as I can, and I take many of my photos there. A lot of my work is documentary or editorial. I mostly photograph people I love and the people I collaborate with, and I always shoot with film. I love analog. Even in my design practice, I love starting with a painting or a drawing and then it becomes something else.

Design by Rico Rica

Malaika Astorga for Also Cool Mag: Who inspires you for graphic design, and why?

Rico: I take a lot of inspiration from things that aren't graphic design. Growing up in such colourful streets in Barranquilla made me become almost obsessive about colours. Luis Barragan is a big inspiration (he was in his turn inspired by North African architecture). His book on emotional architecture "Obra Construida" really resonated with me, so I dedicated a semester to studying his work and did a three-part book about it. 

My dad was my first exposure to graphic design, without realizing it. He's obsessed with stamps. He has a lot from Colombia from the 1940-50s and 1800s as well. I didn't understand why he liked them so much when I was younger. Now that I'm trying to find more Colombian graphic design, I go to them for inspiration and plan on making zines to document them.

I truly admire the work of Ramon Tejada and Jerome Harris on decolonizing design and documenting African-American/Latinx work in our field. I’m also really inspired by Leah Maldonado’s take on typography and education. These days I’m really into 3D typography, early 2000’s internet art and anything that shines.

“Ver, Leer, Sentir” on Luis Barragan by Rico Rica

AC: How have you been able to find your style? 

Rico: My style has always been really colourful. Quarantine has helped me get out of all the practices that have been in my head from school. I think I just had to go the complete opposite way. I'm still exploring, I'm experimenting with, for example, how many textures and gradients I can add to something. 

Design by Rico Rica for Nox Lounge

Design by Rico Rica for Nox Lounge

AC: How are you managing your freelance work? How have you been able to figure out balancing it with your routine? 

Rico: Balance is a big word. (laughs) I think the most challenging part has been balancing mental health and freelancing.

AC: Well, you seem very like on top of things. 

Rico: I'm trying. I think something that's helped to get the ball rolling over the years has been building up a network of other artists and collaborators. That way, we're working together, and I don't take all the responsibility on myself. 

I enjoy coordinating in general, getting people together, or building a team for a project. It's something I'm slowly starting to do more, and spending less time on the details of the project.

Social Distancing campaign by Rico Rica x Florient Aniorte

AC: What are you working on right now? 

Rico: I'm working on a collaborative project called Chimbites with my friend Julicore from Bogota and a community of Latinx artists in Montreal. It's an intersectional Latinx Artist Network, focused on encouraging collaboration, community building and solidarity within the Queer Latinx Immigrant community and Latinx artists in Latin America. 

The initial idea came up in April and is finally coming to fruition with our digital event on September 11th. It will be a fundraiser and a collective performance in solidarity of two organizations: Taking What We Need and Dos Latinas. 

The event will showcase artists from the Latinx community and allies performing to raise funds for various organizations, aiming to support Femme, Trans, Two-Spirit and Marginalized communities in Canada and Colombia. 

Chimbites will happen in two parts: a Mixcloud Livestream, showcasing short films, music sets and performances, and a Zoom afterparty with Club Quarantine. 

Taking What We Need is an informal volunteer-run community group dedicated to helping trans women, trans-feminine (AMAB), and Two-Spirit people get what they need through discretionary funding, primarily in Tio'Tia:ke-Montreal.

Dos Latinas is an organization that provides food, basic hygiene products, contraceptive care and sexual education workshops that seek to protect women in marginalized territories in Colombia. Their work is crucial throughout the COVID-19 pandemic as the number of unwanted pregnancies augmented, and the poverty situation is worse than ever before. 

Menstrual cups and contraceptives will be sent to the womxn in Baru, Colombia, and their neighbouring islands. Food baskets will be sent to the Afro-Colombian community in the urban Palenque in the city of Barranquilla.

AC: It's really cool to see how you integrate community into your creative practices. Do you think that this is something that you want to continue, like past this event and into the future as well? 

Rico: Definitely. It's attracted people from all around the world, who are a part of the Latinx community. There's a lot of interest in participating in the next one. 

We want to keep using this platform to collaborate, creatively, or even find and allocate funds. We're also not exclusive to Latinx people only. Anyone can help, and we encourage non-Black people to help by opening up their wallets and donating.

Design by Rico Rica

AC: Is there anything else you'd like to put out into the world right now? Advice or otherwise?

Rico: I feel like this article is a bit of a goodbye letter to Montreal. My last advice is to follow your gut feeling and to listen a lot. 

Ensure that your intentions are in the right place and that you're listening to the community around you. Listening to the people, you're trying to help. If you're in a position of power, delegate it. As hard as that can seem for some people, it's an important thing to do. 

Set boundaries for your time and take care of your mental health. Take care of yourself and your friends more than anything. 

Rico

RICO RICA I Instagram

---

Chimbites

GoFundMe I PayPal I Instagram I Nequi: 3212476229⁣

---

🥂𝐸𝓍𝓅𝑜/𝒫𝑒𝓇𝒻𝑜𝓇𝓂𝒶𝓃𝒸𝑒🥂⁣via MixCloud⁣

SHORT FILMS

Eléctrica Rogil @edsoniebla⁣ Tupamara Alta @La_crymoso⁣

⁣

FASHION PERFORMANCES

Rastros de Amor @posadas.apparatus⁣ CoctelCancer @analcancer2009⁣ Neus Lakraviadus @neagonorrea @_lakras_ @otrusextraviadus⁣ Chimbites Collab: @viasus_ x @culonahigh⁣

⁣

WARM-UP with @Yoggaton⁣

⁣MUSIC SETS

@jas_h_im x @accept__cookies⁣, @deidre.opal9 x @teozamudio⁣, @lomaasbello (live)⁣, @isabellalovestory (live)⁣, @climatecollapse x @us3rname2⁣, @__jerico_____ x @custoblanch⁣,

Chimbites Collab: @teykirisi x @metacyber.s.a

⁣

🥂𝒜𝒻𝓉𝑒𝓇𝓅𝒶𝓇𝓉𝓎: @clubquarantine🥂⁣via Zoom⁣

LINEUP⁣

@tayhana_⁣ @k.hole_kardashian⁣ @laguapiss⁣ @phaedramu⁣ @akadjmilf⁣ @anpob⁣⁣

The winners of the Raffles we have with @earthnotescents, @lmbainofficial and @arielledepinto will be announced during the event! ⁣

---

Related Articles

Gabor Bata: Memories of Clown Exhibits, Wim Wenders, & Getting Over Art Blocks

Art by Gabor Bata

Known for his wavy characters and psychedelic range of texture and colour Gabor Bata is a Montreal-based illustrator, whose work will transport you to a whole other world. He does everything from comics to book design, and article illustrations as well.

We caught up with him about creative influences, strange art exhibits, and how to get over art block.

Art by Gabor Bata

Also Cool Mag: How did art first enter your life? Was it something that was always there, or did you find it later on? 

Gabor Bata: I was sort of in a special situation where my parents actually encouraged me to go into the arts, even at a young age, and continue to do so today. Art was always a big part of my life, and it was usually a very giving dynamic. 

My parents always had art books lying around the house or would take my brother and I to galleries. I remember one, in particular, was this show in Ottawa when I was about 9, called Portrait of the Artist as Clown. It was all these kitschy paintings, drawings, sculptures, photos, and videos of clowns. I feel like I must’ve made such a huff about not wanting to go because the last thing I think a 9-year-old wants is to be trapped in a museum full of clowns on a Saturday. Great idea for a horror movie, but ya know. My folks insisted. One installation in particular that has always stayed with me was this strange, very sensual video of this half-nude queer clown doing a trapeze act. 

While I’m sure it was all aggressively incomprehensible to me at the time, stuff like that opened me up pretty early on to how diverse and limitless art could be. I never would’ve thought of that as art until then. My scope had changed, and I think it’s important for any kid getting into art to have an experience like that. Preferably without the clowns, though. 

Art by Gabor Bata

AC: Your personal style is so unique and has a great variety of textures and colour. How did you find your style, and how has it evolved over the years? 

Gabor Bata: Comics and cartoons were as always the backbones of my work. I never really got over them or felt like once I was going into art school that I had to “grow up” and move on. I’ve become less interested in creating straightforward cartoons and comics in the last two years and more interested in exploring their abstraction: the shapes and the colours, the visual language. So much of those elements alone can tell a story. 

Those were what had always appealed to me, and made me feel so at home in those worlds. Removing a piece of dialogue, the linework from a drawing, letting forms breathe and bubble, and stretching across those familiar panel grids and geometric lines creates something more involved and emotional. It actually gives you a lot more through suggestion, instead of creating a full scene with fully formed characters and speech bubbles with dialogue that tells you these blobs are mad or depressed or haunted or heartbroken or whatever. The work would all be done then, and there’d be nothing left for the viewer to interpret for themselves. 

Art by Gabor Bata

AC: Where do you go for inspiration? Either online, or IRL? 

Gabor Bata: Movies are a big inspiration. Seeing all of these separate elements coming together, the images, the pacing, the music, combined to elevate and flesh out a singular statement is really magical. I’ve recently been on this Wim Wenders kick, and his films are like my new obsession. He finds a way of creating worlds you just sink into. I just rewatched Paris, Texas and am planning on catching Until The End Of The World, and wow, now does that film have a killer soundtrack. 

Julee Cruise, Nick Cave, Talking Heads, good grief! I haven’t watched it yet, maybe it’ll be terrible, and I’ll regret bringing it up here, but the music has already made me soar and brought me to another place. It just isn’t the same thing for me when I’m drawing or painting. 

When I’m creating, I have a pretty particular idea of the voices, the sounds and the music I associate with the image. Still, no one else will ever really know those things or have access to it the way you would with a movie. Some galleries and installations try doing that, with audio playing in the gallery, or the lights flickering or something to elevate the pieces, but it always just feels like you’re in a sad version of Disney Land. Some works really have the ability to transport you, though, and that’s something I always aspire to. 

Art by Gabor Bata

AC: What do you do when you hit an art block? What helps you get over it? 

Gabor Bata: If I need a boost, I’ll do things that I’m uncomfortable with or shitty at, or try something I can’t rely on my laurels to accomplish. 

Screenprinting was a big one, and actually ended up greatly influencing my interest in abstraction. Breaking my images down layer by layer made me see all the incidental work going on literally beneath the surface. I’m still a little lousy with printing, but that experience was so informative and helpful in regards to the work I create now. 

It’s really easy for me to start feeling trapped in my drawings or to get overwhelmed by the detail. It’s constantly a game for me to surprise myself or trick myself into doing something I wouldn’t have thought of before. It centres me a bit and reels me back into why I’m doing what I’m doing. 

Art by Gabor Bata

AC: Where did you grow up? How did your upbringing shape your ideas about art and design? 

Gabor Bata: I was born in Montreal but was raised an hour out in a couple different suburban towns until I was 15 (at which point I moved back here). I feel that was the right age to come back, and while I think I did most of my maturing and creative discovering in the city, I can’t say suburbia didn’t have some effect. 

Nature had always been a backdrop in my home life, trees especially. My interest in the shape of trees has translated into some of the organic shapes I toy around with in my art. And the strange things you find living in those trees! My brother would get these bugs biting him all the time, and he’d just balloon completely out of control. The way the body reacts, how little control we have over it, and how little understanding, especially as a kid, definitely must’ve played into me drawing these erratic, bulbous organic characters who can barely contain themselves. 

Art by Gabor Bata

AC: How do you feel about social media as a platform for what you make? 

Gabor Bata: Social media has its perks. It can be a beautiful way of connecting and discovering others, especially in the art world. However, as a means of consuming art and information, that’s a bit tricky. On Instagram, you’re swiping through image after image after image, and at a point, they don’t really have the impact or the ability to be enjoyed on their own. Is it the ideal way to consume a piece of art? 

In my case, there’s a lot that feels lost in the translation of my 3x5 foot drawings to my 5.5x2.5 inch iPhone. I dunno, I sound like dinosaur bones now. I follow plenty of artists who have mutated their output to fit within the square confines of an Instagram post, to the point where I can’t imagine it being presented anywhere else. To me, I use it more out of practicality, and I’m definitely intent on eventually creating my own website where it’s less about taking in as many different images as possible in 30 seconds and more about giving the work a proper platform to breathe. 

Art by Gabor Bata

AC: What does community mean to you, and how do you connect with it?

Gabor Bata: Look, I know I just wrote that grand anti-Instagram manifesto, but yeah, I’ll stand by the fact that I’ve connected with so many cool artists and friends through it. 

It’s important to surround yourself with other nut jobs who share the same wants and struggles as you. Working around like-minded folks can be inspiring and challenging. If they’re really good at what they do, I think getting a bit pissed at how good they are and trying to outdo them every once in a while is healthy. 

Here are just a few of the artists who piss me off on the regular: @jupescoops (Aaron Elvis Jupin), @alexahawksworth (Alexa Hawksworth), @mlarono (Mathieu Larone), @catherine_desroches (Catherine Desroches), @erynlou (Eryn Lougheed) @jasonmurphyart (Jason Murphy) @foreshortening (Graeme Shorten-Adams), @francismarcel_ (Francis Marcel Williams) @peiangelina (Angie Pei)

Gabor Bata

Instagram I Tumblr

Related Articles