TIONS JUNC Spaces of creative interactivity How We Found Foundation The Agony and Ecstasy of Applying to Emily Carr Institute photograph by Alexander Duff by Carina Piccioni Since September the 4th, 1998, I’ve often found myself in a circle of amazingly intelligent budding artists, surrounding an old tire covered in resin with gum wrappers stapled all over it, cri- tiquing it’s message about exactly what’s wrong with the world today. Whilst everyone drops forty-five grand words like "Juxtaposition" and "poignant", I become amazed... Mystified even, at how I got there. What am I doing here? I ask myself. How the heck did I get to ART school? I’m an artist? I’m here... I belong here. I must belong here. The 13 other people all cri- tiquing away with me; they belong there too. That means that sometime last year, they all made the effort to come to Art school too. Here they stand... fresh meat. Foundation. But how exactly did we get here? It all starts with an application. I’m sure you’re all pretty familiar with filling those nasty official-looking pieces of paper out. Every single one of them means you’re putting yourself up for inspection. You’re on display like so many shirts at the Gap. As you take your ballpoint pen in a shaking hand, thinking to yourself, "Don’t you dare mis- spell ‘Richmond?’ this time," you realize that every stroke could have a say in whether or not you get accepted to UBC, or get that part-time job at Starbucks. Everybody who wants to get into Emily Carr Institute gets to fill out an application form. This nifty double-sided piece of paper, which you can pick up in the Student Services office, comes in a variety of pretty decorative colours. As well as that, you must also submit a personal essay describing all of your finer points, and why you wish to subject yourself to art school. At first glance, the application process for Emily Carr Institute scared the bejeezus out of me. It seemed like some revoltingly huge homework assignment, involving horrible new activities that I had never even thought of. Before application, I was this carefree high school student, completely oblivious to the cutthroat world of art, totally naive to all forms of "Portfolio". As I learned the ways of Emily Carr Institute, the idea seemed more and more idiotic. How was I supposed to put together a “Diverse and Creative portfolio?” What the heck is “photo-documenta- tion?” I didn’t even keep a sketchbook... and slide lists, what the heck? I didn’t think I’d ever even seen a slide! Especially dis- turbing was this gargantuan "Map your Week" project. Nowadays, I know better. The application process for Emily Carr Institute is At first glance, the application process for Emily Carr Institute scared the bejeezus out of me. pretty much identical to other art schools and art programs. The only real difference is the “Map Your Week” project. This is the only school that requires its applicants to perform in such a way. The “Map Your Week” project essentially takes the place of an interview, which many schools use to find out what a student is TRULY like, underneath the letters of reference. When I was originally told about it, however, I automatically crossed Emily Carr Institute off my list of prospective post-secondary institutions. There was no way I could force my pampered, high school mind to perform such artistic acrobatics as that project. Not everybody seemed to be as shocked as I was, however. "I thought it was a good way to get into the school," says fellow Foundation student, Rainbow Frieberg, "It showed you what you were getting into, and... shit, it was fun." The fun of the “Map Your Week” project involves build- ing a 3-D sculpture out of anything you want, in any form you want, as long as it fits into the portfolio size restrictions, because it has to come in the same box as your portfolio. This sculpture has to display a week in your life, hence the name. Next, you have to make a creative container to hold this sculpture, which has to do with a week in your life, as well. The project has to come with the appropriate sketches and notes showing your creative process, plus documentation of it’s construction, and your thoughts and problem solving skills, etc. The major obstacles with the project mainly seem to be the size restrictions, and the lack of clarity with the instructions. According to Foundation student Melanie Jones, that lack of clarity was the best part of the whole applica- tion. "The instructions for creating the ‘Map Your Week’ project were basically just that... ‘Map your week’," she says. In fact the instructions basically say, "Don’t call us, we aren’t telling you any- thing," literally (although, not in those exact words, of course). Like myself, having never undertaken such an open- ended, yet complex project, Jones saw it as an exiting new chal- Corinna Piccioni Untitled Mixed media, 1998 ay Now that | look back on it, those hours of lying prone on the kitchen floor, weeping with frustration were completely worth it. lenge. However the instructions for application definitely read as if someone who’s fluent in Artspeak wrote them. At first glance, they sound like instructions for handling volatile chemicals. Foundation student Luke Luoh described it as "Crap". I needed to go over the sheet at least twice. This, combined with the exten- sive list of tasks and all the separate due dates, makes it a little hard to handle. (Not too much unlike the first term or so of Foundation Year). Somehow, I found myself applying to Emily Carr Institute. I managed to build that “Map Your Week” project. Most of the work I ended up scrambling to do at the last possible minute, as usual. It took me until January to come up with an idea, since this was the first time I had ever been told to do such an open project. Everything before had been a direct order from my art teacher to do things like paint endless still lives of fruit. It was like eating plain toast your entire life, and then suddenly being told to eat an entire bottle of hot sauce, all by itself. Now that I look back on it, those hours of lying prone on the kitchen floor, weeping with frustration, were completely worth it. Once you actually get into Emily Carr Institute, pretty much every sin- gle project in the School of Foundation is like the “Map Your Week” project. If I hadn’t undertaken it then, I would have come here and gotten the shock of my life. Also, if we didn’t have the project, we’d have to do an INTERVIEW. An Interview? This brings to mind the numerous times I’ve sat in offices with overly sympathetic and concerned individ- uals, trying do describe all my greatest attributes in less than 2 minutes. They nod while I make gurgling sounds about being allowed to work in such a fine environment as McDonald’s will help me to fulfill my goals of trying to assist mankind by truly allowing everyone to Have Their Break Today. I don’t know about you, but when I am subject to scrutiny under interviews, my brain turns into a blabbering, bumbling bucket of bilge water. My abil- ity to entertain and mystify all with my snappy banter and razor sharp wit is reduced to a set of 5 possible phrases: "Um...well.... I guess it would be my creative thinking skills," "Oh yeah, that’s neat!" "I have no problem with that," and "I guess so." I definite- ly wouldn’t like my future to be judged by my ability to nod my head and go "Uh hmmm..." Although many of the Foundation students agree that if acceptance was based on an interview instead of a “Map Your Week” project, they’d probably turn into blithering idiots as well. Some people seem interested in having both an interview, plus the “Map Your Week” project, based on the fact that you can obviously see what the applicant HAS done with their project, but you can’t see what they HAVEN’T done. Handing in a beautifully done project does not tell you how much help the applicant had, or exactly how long it would take them to do it again. continued on page 29 Influx: Magazine March1999 27 JUNCTIONS paces of creative interactivity, How We Found Foundation The Agony and Ecstasy of Applying to Emily Carr Institute | by Carina Piccioni Since September the th, 1998, I've often found myself {na crcl of amazingly intelligent budding artists, surrounding an ‘ld tie covered in resin with gum wrappers stapled ll oer ter Corinna Piecioni Untitled the appropriate sketches and nots showing your creative proces, Mixed media, 1998 plus documentation of i construction, and your thoughts and tiquing it's message about exactly wha’ wrong with the Wedd today. Whilst everyone drops. forgy-five grand words like “Juxtaposiion” and “poignant, 1 become amazed... Mystied ven, at how I got there. What am I doing here? T ask myself, How the heck did I gett ART school T'm an artist? T'm here. belong here. T must belong here. The 13 other people ll ei- tiquing away with me; they belong there too. That means that Sometime last yea, they all made the effort to come to Ar school too. Here they stand. fesh meat. Foundation But how exactly did we get here? Ital stars with an pplication. I'm sure you're all prety familar with fling those ‘nasty official-looking pieces of paper out. Every single one of them means you'e puting yourself up fo inspection. You're 00 display like 0 many shits atthe Gap. As you take your ballpoint ‘en i a shaking hand, thinking to yourself, "Don't you dare mis- ‘spell ‘Richmond? this time" you realize thar every stoke could Ihave a sayin whether or not you get accepted to UBC, or get that part-time job at Suarbucs Everybody who wants to get into Emily Care Istnate {2110 Bl out an application form. This nity double-sided piece ‘of pape, which you can pick up inthe Student Services afc, comes in a variety of prety decorative colours. As well s that, you must alo submit & personal essay describing all of your Ber points, and why you wish to subject yourself oar school ‘At fist glance, the application process for Emily Carr Insite scared the becezus Out of me.” It seemed like some revolingly huge homework assignment, involving horsble new actives that Thad never even thought of Before application, T ‘was this carefee highschool student, completely abivous tothe cutthroat world of art totally nave to all forms of "Portfolio". AS Tlearned the ways of Emly Carr lstitate, the idea seemed more snd more idiotic. How was I supposed to put together a “Diverse and Creative portfolio? What the heck is *phoro-documenta- ‘on?” I didnt even Kep a sketchbook... and hide lis, what the heck? I dida’e think Pd ever even scen a slide! Especially di ‘urbing was this gargantuan "Map your Week” project. Nowadays, know better. The aplication process for Emily Carr Institutes At first glance, the application process for Emily Carr Institute scared the bejeezus out of me. prety much identical to other art schools and art programs. The ‘only real diflerence isthe “Map Your Week” project. This is the ‘only school that requires its applicants to perform in such a way “The "Map Your Weck” project essentially takes the place ofan interview, which many shoots wie to find out what ‘Students TRULY like, underneath the eters of reference. When 1 was orginally told about it, however, I automatically crossed Emily Care Insitute of my list of prospective post-secondary institaons. There was no way I could fore my pampered, high ‘school mind to perform such artistic acrobatics as that project. Not everybody seemed to be as shocked as I was, however,“ thought it was a good say to get into the school,” sys fellow Foundation student, Rainbow Frieber, It showed you what you were geting int, and. shite was fun.” “The fi of the "Map Your Week” project involves build- ing aD sculpture out of anything you want, in any form you ‘want, as long asi fits into the portfolio size restrictions, because ‘thas to come in the stme box as your portfolio. This sculpeure thas to display a week n your life, hence the ame. Nex, you have ‘to:make a creative container to hold this sculpture, which has to problem solving sl, et. ‘The major obstacles with the project ‘mainly seem tobe the size restrictions, and the ack of larity with the instructions. According. to Foundation student Melanie ‘Jones, that lack of clarity was the best part of the whole appica- tion. "The instructions for creating the ‘Map Your Week’ project were basically jst tat... ‘Map your week) she sys. In fact the Instructions basically sa, "Don' callus, we aren telling you any= thing, iterlly (although, notin those exact words, of cours) ‘Like myself, having never undertaken such an open cnded, yet complex project, Jones saw it aban exiting new chal- Now that | look back on it, those hours of lying prone on the kitchen floor, weeping with frustration were completely worth it. lenge. However the instructions for application definitely read as i'someone who's unt in Arspeak wrote them. At fst lance, they sound like instructions for handling wiatile chemical Foundation student Luke Luch described itas "Crap". T needed to go over the sheet at least twice, Tis, combined with the exten~ sive list of tasks and all the separate due dates, makes i ate hard to bandle. (Not too mich unlike the fst term oF £0 of Foundation Yea) ‘Somehow, I found myself applying to Emily Care Taste. T managed to buld that “Map Your Week” project, “Most ofthe work I ended up scrambling 10 do atthe last possible minute, a unl. Tt took me until January to come up with an ea, since this was the fst time Thad ever been old t0 do such an open project. Everything before had been a diect order from my art teacher todo things like paint endless stil ives of fut. It ‘was like eating plain toast your enti Ife, and then suddenly ‘being told to eat an entice bottle of hot sauce al by itself. Now that Took back on it those hours of ying prone on the Kitchen ‘oor, weeping with frustration, were completely wort i Once you actually get into Emily Carr Institute, prety much every si le project in the School of Foundation i ike the “Map Your Week” project. IFT hada't undertaken it then, I would have come there and gotten the shock of my life. Also, ifwe dida't have the rojct, wed have to do an INTERVIEW. ‘An Interview? This brings to mind the numerous times Te satin offices with overt sympathetic and concerned individ- ‘uals, tying do describ all my greatest ateibutes in less than 2 ‘minutes. They nod while I make gurgling sounds about being Allowed to work in such & fine environment as MeDonals will help me to fulfill my goals of trying to assist mankind by traly allowing everyone to Have Thee Break Today. I don't know about you, but when Tam subject scrutiny under interviews, my brain ‘tums into a blabbcrng, bumbling bucket of bilge water. My abil- fy to entertain and mystify all with my snappy banter and razor sharp wits reduced 1 a et of5 possible phrases: “Um...well. T guest would be my creative thinking tilly” "Oh yeh, that's ‘net! "Thave no problem with that," and I guess 20.” T definite: | woulda like my fare to be judged by my ability to nod my ‘head and go "Un hmmm..." Although many of the Foundation students agree that if acceptance was based on an interview instead of a *Map Your Weck” projec, they'd probably turn into Dlthering ior as well Some people sem interested in having ‘both an interview, plus the “Map Your Week” projec, based onthe fact that you can obviously see what the applicant HAS done with their project, but you can't see what they HAVENT done “Handing in a beausfully done project doesnot ell you how mich Ihelp the applicant had, or exactly how long it would take them to do i again. ‘continued on page 29 Influx: Magazine March 1999 27