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the editorialissue 6

featuringDarby gibbsrussell TylerEvan prosofskyrebecca stormalex heilbron and others

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THE EDITORIAL MAGAZINEISSUE 6SEPTEMBER 2012

The Editorial is pleased to announce its first ever print edition.! Thank you to all those who participated in this process and to those who will enjoy the product..Check out www.the-editorialmagazine.com for the online version as well as our previous issues.!

Editor-in-chief Claire Milbrath

EditorOlivia Whittick

Public RelationsSara Graorac

Design Claire Milbrath

CoverDarby Gibbs

Contacttheeditorialmag@@gmail..com

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TABLE OF CONTENTS

ART BY ALEX HEILBRON PAGE 4PATIENCE: PHOTOS BY MAYA FUHR PAGE 8I,, CHILDHOOD WEIRDO BY JESSICA CAMPBELL PAGE 12LOGOS THAT SAY MY NAME BY JASON HARVEY PAGE,S 14 25 60 62 PHOTOS BY OLIVIA WHITTICK PAGE 15PHOTOS BY GRACE DENIS PAGE 18MELT: AN EDITORIAL BY REBECCA STORM PAGE 20CALIFORNIA GIRLS BY KRISTIN LAPENSEE PAGE 26TEENAGE DIARIES BY CLAIRE MILBRATH PAGE 28FAVOURITE THINGS with MOZART'S SISTER BY REBECCA STORM PAGE 32COLLECTIONS BY STEVEN AUDIA PAGE 34AN EDITORIAL BY CLAIRE MILBRATH PAGE 38AFTER DARK: AN EDITORIAL BY EVAN PROSOFSKY PAGE 42PAINTINGS BY RUSSELL TYLER,, INTRO BY OLIVIA WHITTICK PAGE 46AN INTERVIEW WITH KIKA THORNE BY DARBY GIBBS PAGE 52COVER SPREAD BY DARBY GIBBS PAGE 54PEEPHOLES BY MARILIS CARDINAL PAGE 58MESSAGES FROM OUR SPONSORS PAGE 61

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ALEX HEILBRON

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PATIENCE PHOTOS BY Maya FuhrMODEL Nastassia

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PATIENCE PHOTOS BY Maya FuhrMODEL Nastassia

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I,, Child Weirdoby Jessica Campbell

I was a weird kid. "Wasn't everyone?" you might be inclined to ask. But I tell you that, no, some of us were definitely weirder than others. Of course we should keep in mind that one's memories of one's own childhood be-come cloudy over time, refracted through prisms of later experience. It can be easy in adult life to demonize the kids who stole one's thermos and played "piggy in the middle" with it until it broke, carefully omitting the im-portant fact that said thermos contained boiled hotdogs and that one would be justified in one's desire to break it. Likewise, one should remember that one's wearing of "March for Jesus" t shirts well into puberty could not have helped one's popularity, nor could pooping behind the couch with the express intent of making the dog take the blame and then later describing it as "the perfect crime."

Currently, when I look at the majority of my friends/colleagues/kindred spirits, there is, more often than not, a thread of childhood alienation and weird-ness that runs throughout all of us. Where I may have been insecure about my ugliness or my family's zeal-otous faith, others were concerned over having too many siblings or wearing homemade clothing or hav-ing a first name like Blue Mountain. These shared ex-periences, common not to everyone I know, but many among them, tend to convince me that being a child weirdo is somehow integral to living a rich and fulfill-ing adult life. Or, so I was convinced until recently.

My childhood enemy, Katie Cook, had always been very popular, from the first grade to the end of junior high school, at which point we switched schools and I lost interest or access. She was blonde, petite, very beautiful and rich. Beyond this, however, she sim-ply seemed very comfortable with herself. Boys liked her; she would sit on their laps and giggle at their jokes.

Conversely, my relationship with boys consisted mostly of "face washes" (snow being forcibly and painfully rubbed in the face), multiple inductions to the "PEN 15" club, and, on one memorable occa-sion, a face wash featuring an errant sock that had been lying on the playground for six months. "They probably have crushes on you" my mother would tell me. But, riddle me this, mother–if I was the ob-ject of their crushes, what, then, did they think of Katie Cook, carefully perched on their knees, whis-pering the secrets of coolness in to their ears?

I wish I could have consoled myself with some feelings of superiority, but lord knows that I was no child intellectual, my grades falling solidly in the B–C range. Was I at least kind? I was not. Nor was I even funny. My vague attempts at humour can be summa-rized in an incident from a summer I spent at camp. I was bunking with two cousins whose friendly inti-macy I was envious but didn't understand, and, dur-ing one particularly exciting joshing session that I'd been jealously watching from the sidelines, I blurted out "WHY DON'T YOU TWO JUST KISS!" as though this were an appropriate interjection. Needless to say, it was not, and I spent the remainder of the summer alone or with the camp's wheelchair-bound girl who was also ostracized, or, at least, unable to escape me.

Katie did not appear to have these prob-lems. Whatever she said, even if cruel, just always seemed right. For instance, at one point she cho-reographed a "Jessica Campbell Dance," mimick-ing the way that I gesticulated when I spoke, and though I should have been offended, even I had to admit that it was a charming and amusing bit of satire.

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So continued all of elementary school, with Katie cooly bored by everything surrounding her, the rest of the class obsessed by the hopes of potentially garnering her fa-vours, and me receiving intermittent socks to the face. Thus, when it came time to enter grade eight at a new school, I decided I would become a new man. Out were the "March for Jesus" t shirts and overalls of my youth and in were enor-mous platform heels and Le Chateau ensembles that I was mysteriously able to acquire despite my mother claiming the store was for sluts. "Now that we're all mature," I thought to myself, "Everyone will see through Katie Cook and I will be appreciated." However, as someone who has (presumably) been thirteen years old in your life, you might already realize that this is not an age of acceptance and blossoming, but, rather, one that you might be inclined to forget in later life.

No, thirteen was not my blossoming time. Nor was fourteen. Nor fifteen. Nor, in fact, was any time in particular. Post junior high, I had grown so exhausted by my miserable failure to be normal that I just gave up. High school became a time of unabashedly befriending the weapons enthusiast, the weird religious girl, the trans kid, the guy with the mohawk who refused to use the school's washrooms... A slough of outcasts all unified by a mutual exhaustion or inability to rid one's per-son of the smell of years of playground socks. Only, it seemed increasingly that it was almost everyone who had sock face. Katie Cook had been an anomaly. She was the outlier.

The rest of us–wearing our Lord of the Rings capes and sweatpants, reading sci-fi novels and Nietzsche, and boldly telling cousins to kiss when no one else would–we were the majority if not the status quo. This feeling of be-longing through otherness kind of sustained me, gave me an undue amount of confidence that has made my adult life more livable and me happier with my accomplishments.

While I still occasionally think back to Katie Cook, I do so with a similar mindset to the one I had before the first day of grade eight. "Now's my time to shine," I reassure myself, "Surely Katie is now paying for her years of ease." Or, so I hoped until I recently decided to do some internet espionage.

It turns out that, not only is Katie still extremely beau-tiful, now she is a high-powered realtor living in Hollywood and selling five million dollar homes, while I spend my days hunched over a computer, quietly chuckling to myself about web forums devoted to comics. Yes, I am happy in my way, and certainly I cannot speak to the quality of her life, but, objec-tively? Yes, she is still doing much better than I am. And, yes, I remain a total weirdo. But I have high hopes for middle age.

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IMAGES BY OLIVIA WHITTICK, ` MODEL TALVI

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Photos by GRACE DENIS

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MELTAn editorial Shot by Rebecca StormStyled by Sara GraoracModels Veronique and Gill

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CALIFORNIA GIRLSCollage with acrylic paintby Kristin LaPensee

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TEENAGE DIARIESBY CLAIRE MILBRATH

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10. Functionless thing in your apartment?My favourite functionless thing in my apartment is probably my cat. He is so useless and cute!

FAVOURITE THINGSWITH MOZART’S SISTERInterview and photos by Rebecca Storm

2. Smell?Boyfriend...doesn't matter who he is, I like them all, just so much association with it.

3. Age to be?I like my age now. I think I will continue to like whatever age I am at any given time. I like getting older.

1. Astrological sign?I love my own astrological sign, Aquarius. I feel comfortable in it.

5. Hard drink?TEQUILA TEQUILA TEQUILA! There are so many varieties. I had this one called centenario once and still think of it. I like the reposado tequilas cause the anejos are too strong tasting.

6. Herbal remedy?Herbal remedy is ginger all the way.. I used to have constant heartburn when I was young. I ate ginger all the time for 3 months solid and it went away.

7. Hat?Fav hat is my soccer ball cap from PITT on Jean Talon.It makes strangers talk to me, which I love.

8. Fruit?I love the yellow mango, can't get enough.

4. Soft Drink? I like tamarind soft drinks. I recently had tamarind "juice" which seems impossible considering the only image of tama-rind depicts it as a shriveled up brown bean thing. How does that juice so well?

9. Shoe colour?Shoe colour?? God I couldn't choose!

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COLLECTIONSPHOTOS BY STEVEN AUDIA

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Pink lace pull-over mask by Olivia WhittickMesh tank from Citizen Vintage

AN EDITORIAL BY CLAIRE MILBRATHMODELS CHRIS AND BRITTANYSTYLISTS OLIVIA WHITTICK AND SARA GRAORAC

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Black velvet maskwith front zipper by Olivia WhittickBlack mesh mini dressfrom Citizen VintageNeon plastic purse Olivia’s own

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Peach bow maskby Olivia WhittickMetallic tank fromCitizen Vintage

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Lace bun mask bySara GraoracBriefs and shirt Sara’s own

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AFTER DARKAN EDITORIAL BY EVAN PROSOFSKYMODEL MADELINE GLOWICKISTYLIST CLAIRE MILBRATHCLOTHING BY CITIZEN VINTAGE

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RUSSELL TYLER

Russell Tyler is a New York--based artist who I first met when I was in highschool.. I can''t remember what he was doing in Canada or on Vancouver Island, but he was a nice guy and a good painter. At the time he was known for painting chaotic and wildly colourful images of monsters and gremlins.. The paintings he makes nowadays retain the vibrancy and playfulness of his prior works,, yet are focused more squarely on abstract forms.. Russell explains this move as stemming from ""a pure desire to describe 2-dimensional shapes in paint."."

smiley face, 24’’x24’’,Oil, Acrylic and spraypaint on canvas, 2011

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smiley face, 24’’x24’’,Oil, Acrylic and spraypaint on canvas, 2011

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Grey Painting, 20’’x20’’, Oil, Acrylic and spraypaint on canvas, 2011

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Data, 36''x36'', Oil and spraypaint on canvas, 2012

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Glitched, 54''x60'', Oil and spray-paint on canvas, 2012

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Geo Sound, 30''x30'', Oil and spraypaint on canvas, 2012

Fortune Teller,, 30’’x30’’, Oil, Acrylic and spraypaint on canvas, 2011

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AN INTERVIEW WITH KIKA THORNEBY DARBY GIBBS

Kika Thorne has been making elastic forms suspended in tension since living on the West Coast in 2006. Parasitic to the architecture, they dominate the gallery, but disappear when they enter the woods. The Wildcraft, curated by Srimoyee Mitra at the Art Gallery of Windsor this fall, is Kika’s first solo museum exhibition, giving those in the Windsor / Detroit region the opportunity to see a few of her large formal experiments. One of them, medicine, was located by The Editorial, this summer in Toronto, in an alley west of Ossington, in a secret place called G Gallery.

Darby Gibbs: I'm looking at a 60-foot tunnel made out of 72 black, elastic strings stretched from either end of a fluorescent white room. It starts from a 2-inch diameter circle and moves horizontally through the room into a rectangle (1:31), forming a cone. I am walking through an optical illusion.

Kika Thorne: It's a metaphor machine.

DG: Did you intend for it to be such a playground?

KT: I came up with the concept in Vancouver, Fall 2009, in response to a particular room called CSA Space, six months before the city claimed bankruptcy. It started as a maquette in a shoebox, so no, my expectations were really low by the time I finally put it up.

DG: What does medicine mean?KT: It's such a physical piece that every time I try to describe what it means to me, the physics take over. The work is open, it means nothing, it is what it is: elastic, hardware, room, tension, geometry. One of the things that attracts me to this piece is the visible frequency of the elastics. They're never inert. Underlining cine in medicine draws a hyperlink; cine from the Greek kine, for movement, kinetics. But since you asked, medicine does have a personal precedent. In 2008, a friend informed me that his lover had to undergo a painful six-month drug treatment. Later that day I was sitting at my desk when a sudden release of empathy pro-duced a vision. In four seconds I had a diagram for Accord, a sculpture made of twenty six lines of elastic in every shade of com-mercially available blue, a chromatic scale – it was the same formal gesture, a convergence of lines to make a three dimensional drawing of light. When I look back at this piece today, I see the same intuition at work.

Kika Thornemedicine (2009/12)elastic, hardware60' x 13' x 11'G Gallery, Torontophoto: courtesy of the artist

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DG: This sculpture is the subtlest art. It’s so simple. KT: It is simple. It’s a form that belongs to all of us. When it comes down from the sky, when it shines from the headlights, projects onto a screen. In 1973, Anthony McCall made a very beautiful thing called Line Describ-ing a Cone, a sculpture that is only projection, with no illusion. When asked about how he had come to make it, he states in an interview (Frieze May 2006) that he had read descriptions of Andy Warhol’s Empire (1964) and Michael Snow’s Wavelength (1967). Never having seen them, he digested these as formal concepts. In 1973, people smoked at happenings and this particulate would

illuminate the form of the projection. Sight unseen I knew this work was a formal challenge that had not been met. Anthony McCall created a sculpture out of light. He fused cinema and sculpture.

DG: Do you want to talk about the Internet?KT: One of my fantasies is that medicine is a diagram of the convergence state of contemporary healing. The internet is bridging materia medica and it has begun to catalogue the oral traditions as well. We can see the overlap now, how the logics of Chinese Traditional, Western Holistic and Ayurvedic practices align. The importance of internal heat and moisture, for instance. They share the treatment of the body as a whole. I think the relationship to this sculpture centres around the questions of risk. These elastics are in high tension. When we take medicine into our own hands, we are aware of danger.

DG: 3000 years ago, Asclepius, the Greek god of medicine, said that the sequence for the therapy should be first the word, then the herb and lastly the knife. I really like that, the base of healing is the will of the mind to heal oneself.

KT: 8 Hz. How did you come to work with medicine?

DG: Through family.

KT: What do you remember?

DG: The oatmeal baths Mom gave us when we had chicken pox. Dad always taught us to identify plants in the wild. He also introduced me to using magic for healing by getting rid of warts with a ritual involving a potato and the full moon. This sculpture is like a big ending. It’s like the tunnel of light you hear of people moving through in near death experiences.

Kika ThorneAccord (2008)Dimensions variableThe Apartment, Vancouver

Anthony McCallLine Describing a Cone (1973)16mm 31minsCanyon Cinema Distribution

Darby Gibbs in Kika Thorne's sculpture

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COVER SPREADSTYLED AND PHOTOGRAPHED BYDARBY GIBBSAssistant Evan Prosofsky

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PEEP HOLES BY MARILIS CARDINALPHOTOS BY MARILIS CARDINAL

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www.hempandcompany.com

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www.the-editorialmagazine.com

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