SAD Mag is an independent Vancouver publication featuring stories, art, and design. Founded in 2009, we publish the best of contemporary and emerging artists with a focus on inclusivity of voices and views, exceptional design, and film photography.
“Watching This is Our Youth is at times deeply frustrating. Privilege runs rampant and unchecked, leaving you wanting to interrupt and offer the characters the advice they so desperately need... And though the way they channel this fear and insecurity is aggravating at times, it would not be so if the audience weren’t invested, as the quality of this production allows them to be. It is perhaps the strongest indication of why Han Bridge describes the play as a 'horrifically accurate depiction of the millennial mentalities that defines our ‘politically-correct’ 2017 world.'”
“Beauty? For the longest time, I’ve always loved it. I used to paint very “beautiful” paintings and then I sort of started turning away from that... I realized it doesn’t need to be dark or grotesque intentionally; of course it can have elements of it, but I also enjoy the delicacy of beauty. I like the idea of beautifying creepy things. Beauty is very relative.”
What a treasure it is, to learn from creative women! Amber Dawn and Anoushka Ratnarajah, Artistic Directors of this year's Vancouver Queer Film Festival, speak to their creative collaboration and its fruitful results. “Amber and Anoushka beam support for one another and seemed to be incredibly in-sync on just about everything... The power duo embody this year’s festival theme of Love and Resistance—loving through art, activism, conversation and community while resisting troubling and problematic patterns that have historically suppressed marginalized voices.” Film fans rejoice!
“I’m interested in what happens when these objects are in a room together. Most of the objects are unremarkable things that have deep meaning and rich stories—things like books, cups, teapots, pendants, rocks, etcetera. I’ve used my own style when re-creating these things—which includes elements of simplicity, delicacy, and whimsy—so the objects will be seen from a new perspective.”
“Suzette Amaya contains multitudes. She is at once urban and rural, traditional and contemporary, her indigenous identity—as it is with all other Indigenous people in Canada—an amalgamation of the pain of the past, the present uphill battle of passive racism, and a future focused around healing from the past and creating a better, more equitable society.”
So much of my youth was shrouded in silence: the silence of my parents’ experiences in World War II; the silence of sexual abuse; the silence of family dysfunction; the silence of growing up gay at a time when homosexuality had only recently been decriminalized and declassified as a mental illness; the silence of spending six years in a therapy that sought to change me into something that I wasn’t.
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