MEET SEPTEMBER ARTIST OF THE MONTH: EMILIE BORODINE

PHOTO BY EMILIE BORODINE

Few people are brave enough to take the leaps that Vancouver-based ceramicist Emilie Borodine took to land her career.  

Since taking her first pottery class two years ago, the France-born founder of Sowhere Project has made a full time business out of selling her handmade ceramics. 

“It was crazy! Not something I would say to everyone, like ‘Just quit everything and do it,’” Borodine admits. “But I think it's what I needed at this stage in my life, I needed a break but wasn't immediately expecting anything from it.”

Years of travelling and living abroad have made Borodine somewhat of a minimalist. So when wanderlust brought her to Vancouver from Wellington, New Zealand, her interest in pottery stemmed from a home decor debacle. 

“How can I fill up my house without having any belongings?” Borodine recalls. “So I’m like ‘Let’s do plants.’ Well now plants are growing, so I need planters.” 

She describes feeling like time had stopped during classes, to the point where she had to be asked by her pottery instructor to leave at closing time. 

“I love this feeling of being completely disconnected,” says Borodine. 

So when she saw one local artist was subletting their work studio for the summer, she jumped at the opportunity to take it over. While it’s challenging to sleep next to a pottery wheel, today Borodine’s studio is also where she calls home—living in an east Vancouver building full of artists. 

“Vancouver is really welcoming,” says the self-taught success. “People just love seeing someone who’s really enthusiastic.”

Borodine attributes her zeal for ceramics to the learning curve that comes with taking on a new craft as an adult. 

BY EMILIE BORODINE

“When it’s not your trade, you’re just learning the technique, not exploring a style. It’s nice to experiment, but you need the technique,” she says. “When it’s like that, you’re just a blank canvas, you are raw.”

Her collection of goods, handmade with locally sourced materials, include earring holders, wall hangings, to-go mugs, and intricate vases. Breasts continue to inspire many of her projects. 

“We all have breasts! Sometimes men have big breasts, so having something we can all identify with ourselves,” Borodine explains of her muse. 

BY EMILIE BORODINE

BY EMILIE BORODINE

Several people have thanked her after seeing their own bodies represented through her work. 

“They're like: ‘Thank you for making me feel like my breasts are pretty!’ I'm like ‘Of course your breasts are pretty!’ So that message, for me, makes me want to keep working. For people who had maybe surgery because of cancer, or with breastfeeding, it's really important to them.”

Whether they love it or they hate it, Borodine says people are vocal about her work. 

BY EMILIE BORODINE

“Some people will really scream ‘Boobs!’” She says, adding that others have reacted with judgement over humour. “It brings a reaction, and I like that because it makes people speak about it—not to necessarily sexualize it, just being comfortable with it. It’s just a body, it’s normal.”

In a pandemic twist, her artist gig has held up despite safety measures cancelling several regular markets. The societal shift inspired her to put focus more on her Etsy shop. Previously, she had shied away from social media, but after picking up her presence, Borodine finds she’s able to connect with people who may be too shy to approach her in-person at markets. 

Amid the global uncertainty on what lies ahead, Bolodine hopes her future will involve collaborations with organizations she shares values with—donating partial proceeds from her sales to benefit causes like sex education, environmentalism and feeding the hungry. 

BY EMILIE BORODINE

BY EMILIE BORODINE

“It's a long journey, so I would say I don't know what's next. I just know I still have a lot of things to learn from it.” 

A MIXED PLAYLIST INSPIRED BY: JOY GYAMFI

PHOTOGRAPHY: QUEER INTIMACIES SERIES BY JOY GYAMFI

Featured Artist of the Month Joy Gyamfi shared in her interview with SAD's web editor Becca Clarkson that photography for Joy is to be able to show people what I'm seeing. A tangible way to highlight the beauty that might be overlooked by ourselves, like saying – "Do you see how great you look? This is how I see you, this is how others see you." - Joy Gyamfi

The inspiration for this month's playlist is Joy's photo series "Queer Intimacies" and Spotify playlist series "Consensual Makeout Party". This mix is filled with intimate beats that balance sensuality, and strength, to allow you to carry a perfect tongue locking rhythm. Let's get cozy because this will spark any makeout session!

MEET JULY ARTIST OF THE MONTH: JOY GYAMFI

At 24 years old, Ghana-born Joy Gyamfi describes herself as a “Jack of all trades, mediocre at some.” During her two decades calling the Lower Mainland home, Gyamfi says she’s stuck to one belief: Anything she wants to do is something she can do. While she’s still working through her imposter syndrome, the queer black artist explained to SAD how community keeps bringing her back to her camera. 

PHOTOGRAPHY: QUEER INTIMACIES SERIES BY JOY GYAMFI

SAD: How does being called an artist sit with you? 

Joy Gyamfi: It does feel weird to claim the title of an artist. Only recently have I really felt like I can call myself a photographer versus someone that takes photos. I have to remind myself that it's okay to claim that. 

SAD: What do you think the turning point was for you? 

JG: It's something I still struggle with to be honest. When I had some of my pieces exhibited, it started to feel real and tangible. Most of my work before then had been mainly on instagram and my website. It was such a surreal feeling to have the photos I had taken printed in a physical form and to see that on a wall.  To see that, I was like "Oh okay, this is real." 

SAD: When did photography come into your life?

JG: I've been taking photos casually since I was 12 years old. I just started taking photos of my best friend in our neighbourhood. I had stopped and started over the years, it kind of tied into that imposter syndrome because not feeling like I could actually be a photographer, artist, or whatever language.

SAD: What's your elevator pitch for the kind of photography you do?

JG: Community is something that's really important to me. It grounds me and everything that I do, and so a lot of my photography is community based. I prefer portrait style photography, and now, what I like to focus on is highlighting more marginalized communities. For example, my queer intimacies series looks at queer relationships and the multiple forms they can exist—between friends, lovers, individuals. 

PHOTOGRAPHY: QUEER INTIMACIES SERIES BY JOY GYAMFI

SAD: What's it like being an artist right now — amid a global uprising against racism, during a pandemic, around pride month — there must be a lot of feelings you want to express!

JG: I think art plays an extremely important role, especially when we're thinking about current events. In relation to COVID-19, with more free time, people were able to consume more media—watching movies, TV shows, listening to podcasts and reading books. These are all things and content that are created and provided by artists. So I think it's important to note that in this time, art is what we're seeking either to give ourselves joy, or pleasure, or comfort in an otherwise really uncertain fraught and distraught time. 

PHOTOGRAPHY: QUEER INTIMACIES SERIES BY JOY GYAMFI

The relationship between art and activism is important to highlight as well, because art can be used to start a conversation. Through public art for example, I've seen a lot of large displays of Black Lives Matter painted on streets. In terms of activism, I think we should go beyond conversation, we should be acting and try to make tangible change. But I think art can be used as a way to disseminate information. If you're looking at social media there's been so many graphic posts about what's going on. There's so many ways for art to be involved and tie into activism and I try to do my best in my role. I have some upcoming projects that I want to explore, like a black hair series, a series on tattooing on dark skin. I'm a black person and I have tattoos and all of them are currently black ink only, which is a conscious choice I've made because I'm aware of the lack of education around colour tattooing on dark skin. 

SAD: What stages are you at in terms of these projects?

JG: I'm definitely the kind of person that has a bunch of ideas all the time. I struggle to make them all become realities. Part of that is through funding. I find it difficult as a black queer person to find funding that is specific to marginalized communities and specific to digital art. So right now I'm in the process of applying for grants and funding, because I don't want to keep talking about my projects—I want to make them happen, and upgrade some of my equipment. 

SAD: What about photography captures your artistic message? 

JG: For me photography is really about highlighting and representing communities that are often marginalized and put to the side and are not celebrated. A really key part of my work is that I want people to see themselves the way that I see them. I'm often described as a cheerleader or a hype person to my friends. I'm really encouraging and I want my photography to be able to show people what I'm seeing. I've really struggled with self esteem and I find it's really easy to brush compliments off. But I feel like through photos, it's another tangible way to show someone "Do you see how great you look? This is how I see you, this is how others see you."

PHOTOGRAPHY: QUEER INTIMACIES SERIES BY JOY GYAMFI

SAD: Do you have a project you're most proud of?

JG: My queer intimacies series, and it's ongoing. So I have a couple different installations of them. I work with a lot of different people within my community. It's the project that I started getting...I don't know if publicity is the right word, but it's when I started getting more out there. It was my first exhibit, which was a group exhibit, but still really exciting. I was so amazed that people came to see my art. I felt very seen and loved. 

SAD: What's your least favourite part of photography? 

JG: Indoor event photography. I really struggle with feeling like I'm showcasing an event instead of people themselves. I've decided I'm no longer going to do that. Photography is a really pleasurable experience for me, and I don't want to do projects just because of the money. So I'm putting my creative goals first.

SAD: How important is it to set boundaries as an artist? 

JG: Really important. So many people will ask things of artists or photographers or other creatives, assuming that it's easy, and I wish that there was more compassion and respect for what we do as people. It can be hard to set boundaries, especially for someone who feels like they're just starting out, even though I'm not, but you want to say yes to everything because it feels like exposure is a way to pay. I think that's problematic. I have a cheeky note on my website that says "If you mention exposure as a form of payment I will privately laugh at you and publicly drag you." That's just because we can't pay bills with exposure. You wouldn't offer a plumber exposure to fix your pipes, right? 

SAD: Do you feel like this moment in time is a pivotal point for you as an artist? 

JG: Absolutely, I really feel the need and desire to be putting out work that aligns with activism, and a way to combat anti-blackness and racism. Now is a time when these conversations are starting to become more global and more frequent. These are the times they're starting to gain traction, so I feel extremely motivated to put out work. 

SAD: Anything or anyone else you’d like to plug?

JG: The future is you and me is a program designed to support young women of colour to take on leadership positions in arts, cultural, and creative industries.

Some local black photographers and artists I love: Kriss Munsya, Michel Kamanzi, Nya Lewis, Joy Ngenda and Joshua Ngenda.

Find out more at www.roughclub.ca or via Instagram @roughclub

A MIXED PLAYLIST INSPIRED BY: KRISS MUNSYA

RED CURTAINS FROM THE SERIES “THE ERASER” BY KRISS MUNSYA

Featured Artist of the Month Kriss Munsya shared in his interview with SAD's web editor Becca Clarkson that his version of an artist is changing through time. “I would say it would be someone who has something to say or something to show. Someone who's willing to show their weaknesses and has something to tell. I would say that because obviously, you think you would need some technical skills. But at the end, the art is just you sending the message and people receiving that message you know? … You say something and people receive it.“ -Kriss Munsya

Kriss’ photo Red Curtains inspired this month’s playlist filled with Black artists and singer-songwriters. This mix will not solve social injustices, but it shows that music can be a powerful vessel for expression, and change while providing a sense of hope and beauty.

MEET MAY ARTIST OF THE MONTH: James LAUDER

James Lauder stood out while attending his first concert, a Marilyn Manson show, at age 16.

“It wasn’t typical to see a little punk gay boy in Vancouver at that time,” the artist recalls two and a half decades later. 

The graphic designer turned tattoo artist continues to push against stereotypes today, particularly those surrounding masculinity. If Disney is ever interested in entering the world of illustrated LGBTQ2IA+  soft porn, Lauder should be their first call. His portfolio spotlights bubble-butt men in bubble-gum vignettes, and female characters who are rough around the edges. While COVID-19 may have temporarily shuttered the queer-focused private studio he’s based at, SAD sat down to talk with James about his transition to permanent ink, and how this pandemic is impacting his art.  

SAD: When would you say art entered your life?
JL: Like most people who make art, I started pretty young. As soon as I could pick up a pencil I was drawing. My mom has lots of photos of me drawing people. 

SAD: What’s been your journey with art since?
JL: The mediums have changed over the course of time, but I’ve been making stuff my whole life. Originally, throughout highschool it was drawing. Art was the one course I was ever good at. After highschool I went into animation, and worked in post production for seven years.

Then I worked retail for a couple of years as the special events MUA for Holt Renfrew. I went back into post production animation, then got into graphic design and started my own design practice, as well as teaching at VCC and Emily Carr.

SAD: How long ago was that? And why did it feel like the right time to transition? 
JL: I started tattooing 4 years ago, after researching and trying to get as much information as I could on histories, important artists, techniques, health & safety and application. I also spent a long time building up my pen + ink drawing skills in order to make work that was tattooable.

My sister worked at the front desk of a tattoo shop for a number of years which was also a huge help. The big shift for me came after being tattooed by women. I’d mostly been tattooed by male artists, straight, cis—all super friendly but transactional. I couldn’t see myself in those environments. But when I started getting tattooed by women like Nomi Chi, Shannon Elliot—it gave me a different perspective on what tattooing could be like. It’s a big commitment and I don’t take it lightly. It was a slow transition with a big learning curve. It was one of the most challenging things I’ve ever done but also the most rewarding truest expression of my practice.

SAD: How would you describe your tattooing style?
JL: Well, first from a clients perspective it can be a much more inviting and comfortable space to be vulnerable in. It can be like hanging out with a friend—being able to have comfortable conversations and use shorthand. Maybe people who are feeling more like they’re needing a safe space where they can be comfortable to relax. It lets them focus on the experience of being tattooed, they can have a conversation rather than feeling like it’s something in the back of their mind. “Does this person know I’m queer or trans and would that be an issue?”

SAD: Why is it important to have a queer centric tattoo space in Vancouver? 
JL: Well, first there’s the client perspective. It can be a much more inviting and comfortable space to be vulnerable in. It can be like hanging out with a friend—being able to have comfortable conversations and use shorthand. Non-queer people sometimes feel more comfortable there as well. Maybe people who are feeling more like they’re needing a safe space— like a person realizing they’re transgender and worrying—where they can be comfortable to relax in queer space. It lets them focus on the experience of being tattooed, they can have a conversation rather than feeling like it’s something in the back of their mind. “Does this person know I’m queer or trans and would that make this uncomfortable?”

For artists working the space, it’s so nice to not have to worry about having certain conversations, we're able to be ourselves. However you’re going to make art or express yourself is more honest when you don’t have to adhere to the sense or idea of how tattooing should be, or when you’re not performing a gender.  

SAD: How does tattooing compare to the other mediums you’ve made art through?
JL: With a piece of art on your wall, you can take off, tattoos are permanent  (I guess you could always cover up or laser a tattoo on your body). I don’t take the responsibility of putting art on people’s bodies lightly. I’m appreciative of them wanting work from me , I know that getting tattoos changed the way I saw and expressed myself. Being able to give that to someone else feels good. There’s a lot of elements to tattooing that feel really good, you get to have some great real conversations and real moments with people. 

LEATHER + METAL BY James LAUDER

SAD: Is there one tattooing experience from over the years that stands out to you?
JL: I had done a bunch of illustrations of men crying, flash designs , and then someone came in for a custom piece. He didn’t give me much information other than what he wanted it to look like, and where he wanted it. When he came in to get tattooed, I kind of had this idea in my mind that he was queer and what it was about (I don’t push for people to give me information if they want to keep the meaning private). But when we got talking, I realized it was completely not what I thought it was. He would probably identify as straight, his partner had recently taken her own life recently, and he wanted to express the pain he was feeling and expressing that was important. For him, it was a way to say “I can be a guy and I can cry and that’s a powerful thing.” It blew me away. One, that he felt comfortable telling me that and two, that I was the person to help express that for him. It also challenged my assumptions about who this person was and what it meant to them. Some tattoos can mean a lot and some don’t and that’s fine either way. You can't make assumptions about people, and what their tattoo or appearance might indicate about them. 

SAD: How has the pandemic affected your art?
JL: It took me a while to process it and not be sad about it, and then go on to what I can do. I can still make art, I can’t put it on people, but I can make art that helps other people. A lot of marginalized communities are being more affected by this than the general public, and issues around funding and visibility were affecting them long before the pandemic. For me, now I’m thinking about how I can support people in the community, people who have a hard time with food security or access to health care. Whether it’s making a sign in my laundry room or marking art work to raise money for the food bank...whatever it might be. I’ve definitely been looking at what kind of imagery I’m putting out there. That’s difficult, right now I feel more comfortable exploring images around what I was feeling internally. I also think art that makes you laugh or feel uplifted is just as valid, though. There’s a lot of pressure to have a big idea to solve a lot of problems right now. That's a lot to take on. I’m thinking about ways to direct money or attention to people trying to solve everyday problems. 

VIRGIN CHER BY James LAUDER

SAD: Are you able to see any silver linings from this new way of life?
JL: I think I've always been very appreciative to be able to do the thing I really love. Now I’m just more appreciative in general for all the people who make it possible for us to do the things we do, like front line workers and people at grocery shops. While there’s lots of shitty things, there’s also a lot of potential to wake people up about what’s important so we can fight for those things when life goes back to “normal.” 

You can view James’ art through his website or Instagram @mrlauder

A mixed Playlist inspired by: Maya McKibbin

ILLUSTRATION: SEAL WOMAN. DISCOVER MORE ART THROUGH MAYA’S INSTAGRAM @MKCHIBS OR WEBSITE MKCHIBS.COM

Featured Artist of the Month Maya McKibbin shared in her interview with SAD web editor Becca Clarkson that growing up on the West Coast has certainly influenced her art: “I think it also plays a lot into identity. And I have a lot of questions about identity as a queer person and as an Indigenous person who grew up on the West Coast in a territory I’m not from.”

Maya's illustration Seal Woman inspired this month’s nature-bound playlist. This mix is made up of tunes from Indigenous musicians and gives you an opportunity to connect with storytellers and the unceded territories of the West through your headphones. Stay home, and stay safe!