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Without the river children cannot learn how to count
An ache, and a type of magical realism in Queyras’s work, resonates with a series of Holga photographs by Calgary-based artist, Kaylin Obst. A couple weeks ago, my poetry instructor,...
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The Wrong Side of the Tracks
It is 2002 in Sacramento, California, and Christine is in her last year of Catholic high school. Having unofficially re-named herself Lady Bird, she is a conventionally awkward, emotional,...
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The Wrong Side of the Tracks
The need to run away, to escape and be independent from others mixes with the desire for relationships, for sex, for friendship, for Lady Bird’s mother to talk...
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Creating a Baseline
*Ted Stenson: Can you tell me about the very beginning of this project? How long ago did you start working on it?* Gillian McKercher: The formal start was...
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Creating a Baseline
*TS: Never having written a feature before, how did you approach the writing phase? Did you just say, ‘I’m going to write a script and that will be...
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Creating a Baseline
*TS: Was it hard to get rid of things because of the autobiographical aspect of the script?* GM: It’s a balance. The story is informed by personal experience, but...
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Creating a Baseline
*TS: You’ve never done something on this scale before. What has it been like making these kind of decisions? And how are you figuring out what you need...
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Creating a Baseline
*TS: What has surprised you about this process so far?* GM: Finding that people believe in my project and that people want to help me. I think there’s...
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Crossing Borders
The fence, the focus of A Very Long Line, is the symbol of constructed nationalism and a tool to shift transborder discourse. In an earlier related project discussing...
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Crossing Borders
The fences in A Very Long Line run in horizontal lines, then in tightly staggered vertical lines; most ominous are the heavy metal forms crossed to create forbidding...