In having the application process based on portfolios
and the project, plus the essay, it gives you time to think about
yourself and what you do. I could write and re-write my person-
al essay over and over, allowing me to present myself without hav-
ing to mumble or tap my feet. The main reason for the “Map Your
Week” project, however, is the time constraints. There just isn’t
enough time to see every single applicant individually, then decide
who gets in. In September ‘98, over 600 people applied to
Foundation. 450 people actually submitted portfolios. Out of
those, 160 people were selected to be members of the E.C.I.A.D.
family. Those that aren’t accepted, however, are each personally
phoned and told exactly why they didn’t get in. This can come
from lack of diversity, or not heeding-the portfolio size restric-
tions, or even just lack of talent, but, if you don’t get in, they tell
you exactly how you can next time.

I dropped off my portfolio at Emily Carr Institute at the
last possible minute of the last possible day, and walked back to

my car sweaty palmed and shaking. I just barely got it in. I =
noticed on one of those student feedback surveys the Faculty had 8
hanging in the Concourse last month, someone had commented Se
that we should get more time to apply to the school. We did get s
almost a whole school year, but that definitely didn’t feel like Se
‘enough time. I felt the burn. I think my portfolio suffered from a
it. I wondered how they were going to react to what I figured was 2

a shoddily put together and immature box of crud. I had been to
National Portfolio day and had my stuff looked at by the repre-
sentatives from the Institute. They told me I had potential to
become a student, but needed some more stuff. More stuff? I
didn’t even have the time and energy to brush my teeth twice a
day. Still, I took their advice. I figured the Faculty of E.C.I.A.D
would know what they were talking about when it came to an
application portfolio.

After putting my precious advice to use, and slapping
my address onto everything, the box went through those doors
and was assessed.

Once your portfolio gets to Emily Carr (by the First of
May) it gets catalogued by size and stuff, as the assessment
process is set up, during the first two weeks of May. Once every-
thing is ready, the portfolios are fed to the Faculty members, who
are set up in groups of two, each one from a different division.
The two Faculty members check each portfolio for diversity of
materials, development processes, use of colour, visualization
skills, aesthetic skills, use of 2d and 3d space, use of materials and
media’s, and the overall presentation of the portfolio. They also
look at your “Map Your Week” project and personal essay. Then,
they give you an overall recommendation, and assign an overall
value score out of 5. You get graded for everything, but your over-
all score is what gets you in.

One afternoon last summer, at the end of July, I was
about to head off carousing with my best friend, when I decided
to check and see if the mail had come. Our neighborhood uses
one of those systems where your mail goes in a little slot in a big
Mailbox sentinel thing at the end of your street. This way, the
mailman...er, mail carrier, doesn’t have to trapeze out to every
house shucked back in the dark corners of suburbia. So I walked
across the baking asphalt to the mailbox, and found a sterile look-
ing white envelope with E.C.I.A.D. for the return address. I was
instantly seized by gut wrenching fear...if I didn’t get in, I was
doomed to a year of shame in the zombie factories of community
college. Although I was pretty much indifferent about going to
Emily Carr Institute or not at the beginning of High School, I
seemed to change my mind over the course of application. Many
students in Foundation based their futures on a similar kind of a
plan: "If I get in, Pll go... if I don’t, I’ll either take a year off and
work, or go to instead." The problem was, I dropped
out of some of my academic courses to take extra art classes.
Consequently, I couldn’t go to any of the universities, because I
didn’t have 4 provincials. So, if I didn’t get in, I’d either have to
go out and get a job, or go to community college. Neither option
seemed very stimulating. Plus, if I really wanted to get into
E.C.1L.A.D, Pd have to go through that whole application process
AGAIN. I said silent, pleading prayers as I opened up the letter
right there at the mailbox, all alone. "...you are conditionally
accepted to attend..." wait a second....it said "accepted". I got in!
Moments later I was tackling my best friend down on my front
lawn. I had to go in and sign my application form, or else I would-
n’t be accepted, but, hey, I got in! (It turns out I forgot to sign the
dang Official Looking Form way the heck back in March when I
applied). Wow. I’m goin’ to art school! That was something to
tell people you meet.

1999 Foundation School drawing class.

At first step through the threshold, Emily Carr Institute
of Art and Design instantly made me feel at peace. I was terrified
at first; intimidated by all these other artists whom I was sure were
a bazillion times better than I could ever be. It turned out, how-
ever, that they were all perfectly civil, and, shock of shocks, pretty
much everyone was sure that their portfolio was piece of crap, and
they were amazed that they got it at all. Wow, sounds vaguely
familiar. Emily Carr Institute exudes this sense of...some-
thing...it was as if ’d suddenly found my myself at a home I never
knew I had. I had no expectations from E.C.I.A.D., just that I’d
get some kind of an education. Foundation seems a good place

| was terrified at first; intimidated by all these other artists whom
| was sure were a bazillion times better than | could ever be.

to be. The School of Foundation is set up to provide students a
broad base with which to explore their options for their next three
years at E.C.LA.D. Its mandate is its name: Foundation.
Something to build upon. In Foundation we all have to take the
same courses, such as Drawing, Colour, and Creative Processes.
During the second semester, the Foundation students get to pick
a few elective courses in things like Introduction to Design, so you
can get the gist of what’s to come in the future. After Foundation,
the Institute splits into 3 divisions. The School of Visual Arts, The
school of Design, and the School of Media Arts. You have to pick
one to go into.

Emily Carr Institute in general seems to have an awful
lot of hands on, crafty kind of art stuff. Duh, it’s an ART school,
you could say, but some students, including myself, believe it
would be nice to have some other courses dabbling in, say, the-
atre, or music. Visual Art, Media and Design are our main focus-
es here, but obviously, there’s room for expansion (with the
expansion of funds of course); there’s more to art than just paint-
ings. Look at the musical and theatrical talents displayed by
E.C.1.A.D. students at our beloved Pub Nights. Naomi Weilier,
from Foundation, described Emily Carr Institute’s narrow field as
thus: "This is a bubble. It isn’t the Art world, it’s the Emily Carr
world. It’s a good school though." From what I’ve heard. It’s one
of the top five in North America for art, actually.

So, it’s small, intimate, full of bandwagons and colour-
ful characters, confusing to apply to, and difficult to get into; but
it’s bursting at the seams with tons o’ artistic antics and awash in
asinine acrobats, acute architectural accents and absurd, superflu-
ous alliteration. Ack. Although, like older siblings, the school
sometimes gets on your nerves, it basically stands as a shelter
against the storms of the gory fields of art and design we might
enter after graduation, outside of those ambient glass skylights in
the upstairs North Building. So, for the next 4 years I suppose I’ll
be trapezing across Granville Island to this good ole’ Art School,
even if the whole Island reeks like mushy Shreddies around 2:00,
when Granville Island Brewery is doing it’s brewing. It’s a small
obstacle for us Foundation kids to overcome. After all, we got into
this place, didn’t we?

Isabelle Pauwles
Dawning
Mixed Media, 1997

29

Influx: Magazine March 1999

In having the aplication process based on portfolios
and the project, pls the essay it gies you time to think about
{ourself and what you do. T could wre and re-write my person-
al essay over and ove, allowing me to present myself without hav
ing to mumble or tap my fet. The main reason forthe "Map Your
Week" project, however isthe time constraints. There jst int
‘enough time to see every singe applicant individually, then decide
‘who gets in. In September “98, oter 600 people applied
Foundation. 450 people actually submited porislio. Out of
those, 160 people were selected tobe members ofthe E.CLAD.
family. Those that aren't accepted, however, ae cach personaly
phoned and told exactly why they didn't get in. ‘This ean come
from lack of diversity, or not heeding the portfolio size restic-
tions, or even jas lack of talent, but iF you don't get in, they tll
you exactly how you can next time.

1 dropped off my portftio at Emaly Car Insite atthe
last posible minute ofthe lst possible day, and walked ack to
my car sweaty palmed and shaking. just barely got it ia. 1
noticed on one of those student feedback surveys the Faculty had
hanging in the Concourse last month, someone had commented
that we should get more tie to appl tothe school. We did get,
almost a whole school year, but that definitly did't fel ke
nough time. Tle the burn. I think my portfolio suffered from
Ie Twondered how they were going o react to what I gured was
a shoddily put together and immature bax of crud. Thad been (0
National Portfolio day and had my stuff looked at by the repre-
sentatives from the Institute. They told me I had potential t0
‘become a student, but needed some more stufl. More sll? T
didn't even have the time and energy to Brosh my tech twice a
‘da. Still took thei advice. I igured the Faculty of ECLA.D
‘would Know what they were talking about when it came to an
pplication portfolio,

‘Aer putting my precious advice to use, and slapping
iy address onto everyting, the bex went through those doors
nd was assessed,

‘Once your portfolio gets to Emily Cae (bythe First of
May) it gets catalogued by size and stuf, as the assessment
proces is setup, during the Brst to weeks of May. Once every-
thing is ready, the portfolios are fed tothe Faculty members, who
are setup in groups of #0, cach one ffom a differen division,
‘The two Faculty members check cach portfolio for diversity of
materials, development processes, use of colour, visualzation
‘hills aesthetic sll use of 24 and 3d space, use of materials and
‘media's, and the overall presentation ofthe portoio. They aso
look at your “Map Your Week" project and personal essay: Then,
they give you an overall recommendation, and assign an overall
‘value score out of 5. You get graded for everythin, But our over-
all score i what gets yu i.

‘One afternoon last summer, atthe end of July Twas
aout to head off earousing with my best frend, when T decided
to check and sce if the mail had come. Our neighborhood wes
fone of those systems where your mail goes in a ite tin big
Mailbox sentinel thing at the end of your street. This way, the
‘mailman, er, mail carer, docs have to tapeze Out to every
house shucked back in dhe dark corners of suburbia, So I walked
across the baking asphalt to the mailbor, and found «serie lok
ing white envelope with E.C.LA.D. forthe return address, Twas
instantly seized by gut wrenching fear.-ifT dda’ ge ia, Twas
doomed toa year of shame inthe ombic factories of community
college. Although I was prety much indifferent about going 0

ily Care Institute or not at the beginning of High School, 1
seemed to ehange my mind ove the course of application. Many
‘dens in Foundation based ther farures on a similar kind of
plan: °K get ny go. if don', I either take a year off and
‘work, oF g0t0 instead" The problem was, dropped
fut of some of my academic courses to tak= extra art clases
‘Consequenty, I coulda’ go to any ofthe universities, because I
didn't have 4 provincals, Soy 1 didn’ get i, either have 10
10 out and get job, or go to community college. Neither option
Scomed very stimulating. lun, i T relly wanted to get into
ECLAD, [i have wo go through that whole applicaon process
AGAIN. I said silent, pleading prayers as I opened up the leer
fight there atthe mailbox, all alone. "you are conditionally
fccepted to attend." walt a second..it sti "accepted". Igo in!
‘Moments later Iwas tackling my best ftiend down on my front
lawn. Thad to go in and sgn my application frm, o elie T woul
tthe accepted but hey, ot in! (turns out I forgot to sgn the
‘dang Official Looking Form way the heck back in March when
‘pplicd). Wow. T'm gon’ to art school! That was something ¢0
tell people you meet

ie Sy.

1999 Foundation School drawing class.

Ac first step through the threshold, Emily Care Tnstrate
‘of Ar and Design instantly made me feel at peace. Iwas terrified
2a frst intimidated by all hese other artists whom Iwas sur were
1 basil times beter than I could ever be. Te turned out, how
‘ver, that they were al perfec iil, and, shock of hocks, prety
‘much everyone was sure that thei portfolio was piece of eapy and
they were amazed that they got tat al, Wow, sounds vaguely
familar. Emily Carr Insitute exudes this sense of.some-
thing. ¢ was asf Pd suddenly found my mel at a ome I never
Jnew Thad. Thad no expectation fom E.C-LAD., just that Pd
‘et some kind ofan education. Foundation scems a good place

| was terrified at first;

to be. The Schoo! of Foundation is set upto provide students
‘broad base with which to explore dei options for thei next tree
years at ECLAD. Its mandate is its name: Foundation.
‘Something to build upon. In Foundation we all have to take the
same courses, such as Draving, Colour, and Creative Processes
During the second semester, the Foundation stadents gt to pick
‘few elective courses in things ike Introduction to Design, 30908
fan gt the gist of what's to come inthe future. After Foundation,
‘the Insitute splits into 3 divisions. The School of Visual Arts, The
School of Design, andthe School of Media Arts. You hav © pick

Emily Car Institute in general scems to ave an afl
Jot of hands on, crafty kind of art stufl- Duby i's an ART schoo,
you could sa, but some students, inchading mrel, belew it
‘would be nie to have some ther courses dabbling in, sy, the
‘ate or music. Visual At, Media and Design are our main focus-
‘here, but obvious, there's room for expansion (with the
‘expansion of funds of couse); theres more to art than just paint-
ings. Look at the musical and theatrical talents displayed by
ECLAD. students a our beloved Pub Nights. Naomi Wel,
from Foundation, described Emaly Car Institute's narrow Beld as
thus: "This is bubble. Ie is'e the Art world, it’s the Emily Care
‘world, Ies.a good schol though.” From what I've heard Is one
‘ofthe top five in North America for art actually.

So, i's smal, intimate ful of bandwagons and colour-
fal characters, confusing to apply to, and dificult o get ito; but
it's bursting atthe seams with tons oars antics and awath in
asinine acrobats, acute architectural accents and abstr super
ous alliteration. Ack. Although like older siblings, the school
sometimes gets on your nerves, it basically stands as a shelter
‘guinst the Storms ofthe gory Gols of art and design we might
enter afer graduation, outside of those ambient las hyighs in
the upstairs North Building. So, forthe next years T suppose Tl
‘be tapering acre Granville Island to this good oe’ Art School,
ven if the whole Island reeks like mushy Shredis around 2:00,
when Gracie Island Brewery is doing is brewing. Isa small,
obstacle for us Foundation Kids to overcome. After al, we got nto
this place, ida’ we?

Influx* Magazine March 1999

intimidated by all these other artists whom
| was sure were a bazillion times better than | could ever be.

Isabelle Pauwles
Dawning

29

lixed Media, 1997