2014 MEDAL WINNER RICKEE CHARBONNEAU, DIGITAL FUTURES

Rickee Charbonneau at GradEx 2014. Photo by Christina Gapic.
AmpGear prototype. Photo by Christina Gapic.

Rickee Charbonneau’s medal award-winning AmpGear is a crowdsourced prosthesis design project that goes beyond the limits of the human hand and can be made at home on a 3D printer. Here’s how Charbonneau describes it:

AmpGear is an online crowdsourcing portal that collects designs and ideas from amputees and their communities (i.e., AmpGadgets) to be then marketed and sold to the community.

The concept for this project aims to completely shift the paradigm of limb replacement from the current, strictly bound, and nearly obsessive aim to replicate hand function, towards an open discourse of prostheses as accessory tools.

This project involves the use of 3D printing technology to allow for the prosthetic hand and its attachments to be quickly and cheaply printed at home with a desktop 3D printer, such as the Makerbot, or through a local 3D printing service.

The components of my project are the following:
1. The prosthetic hand supporting multiple task-specific attachments
2. An online community that actively participates in innovating the product by designing new attachments
3. Makers, designers and inventors that are interested in creating solutions to various problems
4. Amputees, individuals with limb deficiencies and their peers

What inspired you and motivated you to do this project?

My inspiration for this project stems from the fact that limb loss has a wide variety of social and functional implications that have not been appropriately addressed. On the one hand, a wide variety of engineering projects have sprung up over the years with the goal of replicating limb function. On the other hand, emerging critical initiatives aim at challenging body aesthetics. Although some of these initiatives have been moderately successful, prostheses development continues to be a costly and unsustainable endeavour and its practical, commercial applications remain elusive.

Working with the inclusive design research centre has opened my eyes to a lot of large issues in design and this project is my response to some that I have been exposed to.

What part of the process of creating this project did you learn the most from?

The most rewarding experience in terms of learning new tools for me in this process was learning to use and maintain desktop 3D printers. As a maker, having this skill opens up a world of possibilities for my work.

What aspect of this project are you the most proud of?

I am proud of how innovative this project is and of how much potential it has. I worked very hard to produce a very strong concept that could translate well into a marketable product.

How did you react to the news that you won a medal for your work?

Although my cohort is a small one, the work we have produced as a small group was all very strong. Learning that I was the medal winner for my program (and the first ever medal awarded to the Digital Futures program) was really exciting! I told my close friends and family right away.

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

My fondest memory will always be the experience I shared with my two other Digital Futures “pioneers.” I won’t have to miss them much though, because we still spend most of our time tinkering on projects together.

What are you planning to do next?

I am hoping to take my thesis project to the next level in the coming months, and I will be attending OCAD again in the fall as I begin my Graduate studies in Inclusive Design.

Find out more about Rickee Charbonneau

Portfolio

2014 MEDAL WINNER MEGHAN HUNTER-GAUTHIER, CRITICISM & CURATORIAL PRACTICE

Meghan Hunter-Gauthier at GradEx 2014. Photo by Christina Gapic.
Water Log photos collected by Meghan Hunter Gauthier.

Meghan Hunter-Gauthier’s medal award-winning project Water-Log is an online initiative to collect stories about the industrial past and proposed future of the lakes and rivers surrounding Témiscaming and Kipawa in Quebec. Here’s how she describes it:

Water-Log is an online archival initiative to collect audio-recorded stories, memories and sentiments about the lakes and rivers that surround the area of Témiscmaing and Kipawa, Quebec. The project functions as a space for contemplation and reminiscence about history of these territories, by way of personal stories told by their residents.

What inspired you and motivated you to do this project?

The community I am from has held a prominent place in the logging industry for decades. Natural resource consuming industries are blatantly familiar to Témiscaming and Kipawa — they are a fact of modern life and a source of livelihood, whether it be logging or mining. I am not saying that I condone all of the processes involved, but I acknowledge that I benefit from them and thus there is hypocrisy inherent in protesting them.

There is a trade off for everything our species does to the earth. A desire to frame this trade off and question it is what ultimately inspired me to develop Water-Log. The project operates as a space for locals to contemplate the region’s social and ecological history. Stories related to water, a prominent part of the ecological landscape, draw connection between the diverse population and the territory. Most importantly, the project functions as an introduction to a complicated conversation about the rural environment, as well as the role and agency of its human population.

What part of the process of creating this project did you learn the most from?

Probably the field work component. The process of collecting the eleven interviews and stories brought me closer to the project and my objectives. Everything became much clearer after that.

What aspect of this project are you the most proud of?

Probably the presence that it’s been able to hold within the context of my home community. I’m ecstatic that the project has been so well received in Témiscaming and Kipawa — it’s motivation for me to expand it in the future!

How did you react to the news that you won a medal for your work?

I was home alone when I found out, so I just stared at my laptop for a while. Then one of my roommates came home. Once I told her, the reality of it all began to sink in. Right after that I started to phone my family — including the ones living out west. I’m sure the ol’ cellphone company loved me that day.    

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

I’ll miss those moments of walking into a class on the first day of semester expecting it to be just OK, but then having it blow my mind! OCAD U has been filled with these unexpected gems and I’m so thankful for that. I would hate to have gone though university getting exactly what I expected. The unanticipated is so much better  — it requires one to be creative.

What are you planning to do next?

I will be going to Humber College in the fall for a Graduate Certificate in Arts Administration and Cultural Management. It’s the next step towards my career goal, which is to imagine arts projects and programming that are specific to rural communities. I also plan to expand the Water-Log project  —  hopefully with funding next time around (fingers crossed)!  

Find out more about Meghan Hunter-Gauthier

Water-Log // Registre de l’eau

LinkedIn

2014 MEDAL WINNER CECELIA LEDDY, PRINTMAKING

Cecelia Leddy at GradEx 2014. Photo by Christina Gapic.
Perpetual Paths by Cecelia Leddy.

Cecelia Leddy’s medal award-winning project Perpetual Paths is a series of etchings and prints on layers of transparent acrylic that explore the origins of personal identity and human connectedness. Here’s how she describes it:

Perpetual Paths consists of silkscreen and dry-point on overlapped Plexiglass structures, using light boxes to illuminate or accent the areas of interest. My work is an investigation of the origins of human identity and how we come to shape who we are.

What inspired you and motivated you to do this project?

Conceptually, I was driven by my curiosity towards what makes people so different or alike, so I began to focus on the development of our identity, using the philosophies of Gilles Deleuze and Félix Guattari as a foundation for my research. I became fascinated by the thought that each individual person is an accumulation of their own unique experiences of the world and the people they encounter within it. The idea of accumulation stuck with me and I began layering and overlapping my prints until I created dense masses made out of individual segments. I continued to allow these clusters to grow until it became impossible to distinguish between the layers.

What part of the process of creating this project did you learn the most from?

Through creation of my work I really challenged myself to apply printmaking techniques to other materials, which allowed my practice to grow in a way I never expected. I explored alternative methods to expand printmaking beyond ink on paper and used this opportunity to take advantage of some of OCAD U’s facilities (the woodshop, plastic shop and rapid prototyping center). I learned how to make each piece as I went, through trial and error, and through the support of the technicians and class assistants. I learned to not be afraid to ask for help.

What aspect of this project are you the most proud of?

I am most proud of how it stands on its own and doesn’t need me there to defend it. I am proud to have created the evidence, which shows my development as an artist. Perpetual Paths reflects the creative and conceptual growth of my practice, and it is very rewarding to see how far I’ve come.

How did you react to the news that you won a medal for your work?

I was ecstatic! I was already very proud of the work I had created regardless, but to be recognized out of all the talent within OCAD U is such an honour. Second to my excitement was a sense of extreme gratitude towards all those who helped me along the way.

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

I have such a deep love and appreciation for the faculty, staff and students who make up the community of the Printmaking program. I had such support from everyone, making it such an enjoyable and conductive work environment. It’s strange to say, but I’m going to miss getting to the studios at 8 a.m. and not leaving until 1 a.m., feeling sore, hungry and exhausted. I’m going to miss laughing in the studios, printing for hours on end, and spending all day doing what I love with my friends. OCAD U was my home away from home, and if it were open 24 hours, I would have only ever left to go as far as The Grange.

What are you planning to do next?

I’m working hard to create a studio environment at home where I can begin my next set of projects that I have planned. I’m really excited to begin assembling plastic structures and continue creating print-based light boxes. I would love to expand with this direction and begin working much larger — my goal is to overwhelm walls with my masses.

Currently, I am focusing on applying to printmaking opportunities within Canada, however I also intend to pursue a Small Business Certificate program in order to gain the skills to become an effective entrepreneur. In the future, I would love to have the opportunity to pursue a Masters program in Printmaking and potentially be able to inspire and help other young artists reach their goals.

Find out more about Cecelia Leddy

Website

Blog

LinkedIn 

2014 MEDAL WINNER CONNOR OLTHUIS, INTEGRATED MEDIA

Connor Olthuis at GradEx 2014. Photo by Christina Gapic.
Conditioners by Connor Olthuis.

Connor Olthuis’s medal award-winning project Conditioners is a an abstraction of the heating, ventilation, air conditioning and plumbing systems that enable us to thrive in artificial spaces. Here’s how he describes it:

Conditioners is a sculptural exploration of the facilitative infrastructures that influence our habits and structure our behaviours within a highly networked environment. I created a set of cyclically redundant yet functional systems that are a result of a co-opted authority from engineers and designers.

What inspired you and motivated you to do this project?

I wanted to take the two most basic human needs (air and water) and to redesign their common delivery systems into useless forms. I was in a civil engineering program for two years, and I wanted to go back to the methods and materials from my time there: concrete, metal — and to explore different processes of filtration.

What part of the process of creating this project did you learn the most from?

Reading and writing.

What aspect of this project are you the most proud of?

This work resolved some fundamental questions that I have about infrastructure, and conveyed those questions through a tangible set of systems for others to question also.  

How did you react to the news that you won a medal for your work?

I had just come from adopting a one-eyed cat when I got the call, and then I hugged my girlfriend.

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

I will miss talking with a few excellent professors, and being surrounded by like-minded students.

What are you planning to do next?

Continue making work.

Find out more about Connor Olthuis

Website

2014 MEDAL WINNER OCEAN FUKUDA, INDUSTRIAL DESIGN

Ocean Fukuda at GradEx 2014. Photo by Christina Gapic.
Wolf Door Light from Symbolic by Ocean Fukuda.

Ocean Fukuda’s medal award-winning project, Symbolic, is a result of a collaboration with an industrial woodworker/spiritual leader from Six Nations. Featuring clan symbols on wooden doors, the work aims to strengthen pride and promote awareness of the Six Nations community. Here’s how he describes it:

Symbolic is a project for the Six Nations of the Grand River. Six Nations is the largest First Nations Community in Canada and is located just outside of Hamilton. I collaborated with an Industrial Woodworker/Spiritual Leader from Six Nations to gain insight to the community and its unique needs. Together, we arrived at the primary project goals: to strengthen the visual identity of Six Nations, to encourage pride within the community and to promote awareness outside of the region. Symbolic, therefore, aims to create culturally representative objects with the Six Nations community.

What inspired you and motivated you to do this project?

Feeling moved and overwhelmed by the many complex issues facing First Nations communities, I asked myself if design could make a difference, even on a small scale or to a single community.

What part of the process of creating this project did you learn the most from?

The collaborative problem refinement process of this project was the most enlightening. I learned a critical lesson as a designer that I needed to listen and uncover the real needs and problems versus my initial ideas and proposals.

What aspect of this project are you the most proud of?

I’m proud of the unique visual integration of culture into a seemingly ordinary everyday object but more importantly the potential of the project.

How did you react to the news that you won a medal for your work?

With a lot of surprise, and then an excited phone call to my better half.

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

My fondest memories are being able to work with and be inspired by some truly talented faculty. I’ll miss the ability to experiment in all of the labs.

What are you planning to do next?

Up next is work on a few web-based startups and laying the groundwork for my own agency.

Find out more about Ocean Fukuda

Email

2014 MEDAL WINNER AARON MACDONALD, PHOTOGRAPHY

Aaron MacDonald at GradEx 2014. Photo by Christina Gapic.
Sunset photo from Fixing a Hole by Aaron MacDonald.

Aaron MacDonald’s medal award-winning video installation Fixing a Hole uses sunset photographs as a theme to subvert the desire of photographers to fix images to something over which we have no control: the passing of time. Here’s how he describes it:

Fixing a Hole is a video installation work that uses the ubiquitously photographed sunset as a theme to rearrange our relationship with a sublime landscape and our expectation of photographs to fix time. Sunset photographs found online are continuously cross dissolved and projected onto a large ground glass focusing screen, creating a fictive unfolding of light, time and colour within the installation space.

What inspired you and motivated you to do this project?

There’s a sense of anxiety that comes along with specializing in photography as an artist, considering the volume of digital photographs currently being produced by everyone else in the world. I found inspiration in rejecting that anxiety by working with photographs instead of taking them. I wanted to find a way to open the sunset images’ dimensionality so the more sunsets I saw and collected the more I was driven to do so. I had this idea that the steady rate at which photos are being taken these days almost keeps pace with life.

What part of the process of creating this project did you learn the most from?

Balancing the immaterial elements of found digital photographs (light, time and colour) with carefully considered material choices (ground glass, wood, black suede) taught me a lot about working with photographs as formal entities that can exist beyond the surfaces of prints. Most of my previous work has been executed from behind a camera or in front of a computer, but to resolve this work I needed to spend a lot of time in the studios mulling over materials and configurations. Only then did I feel like I was getting anywhere, refracting the glaring beam of the sunset cliché by transforming it into something people might look at more closely.

What aspect of this project are you the most proud of?
I’m proud to be recognized for my multidisciplinary (and multidimensional) approach to photography using “mass produced” found photographs. I’m also proud of the looks of curiosity, wonder and smiles that appeared on people’s faces as they entered a room where warm “sunlight” emanated from my work. But more so I’m proud of the faces that twisted up and the arms that flung into the air as if to say, “This is nothing new!”

How did you react to the news that you won a medal for your work?

Startled, proud and grateful.

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

I will miss the long meditative hours spent making colour analog photo prints. I think it’s a very special thing that OCAD U is home to a traditional colour processing machine and technicians that keep it in great shape.

What are you planning to do next?

I’m doing a residency at a ceramics studio in the country for the summer. I’ll be doing a lot more work with my hands while thinking hard about and researching new photo-based projects.

Find out more about Aaron MacDonald

Video documentation of Fixing A Hole and previous works can be viewed at Cargo Collective.

2014 MEDAL WINNER ALEX BERIAULT, SCULPTURE/INSTALLATION

Alex Beriault at GradEx 2014. Photo by Christina Gapic.
Images from Alex Beriault's "Head Study" work from The Study Series.

Alex Beriault’s medal award-winning work combines performance and sculpture in unconventional yet inviting installations to create an often confrontational experience she shares with audiences. Here’s how she describes it:

For my thesis, I produced a body of work entitled The Study Series. Often using myself as a subject of study, these works consisted of two performative installations, a video installation and a photographic series.

My final work, "Head Study," was a durational performance that entailed a kinetic sculpture attached by a harness to my head. The motor of the sculptural apparatus generated slow, repetitious movements that were echoed through the direct connection to my body. "Portrait Study" became a photographic continuation of "Head Study," placing myself into the role of the photographer while taking long exposure portraits of different individuals within the machine.

What inspired you and motivated you to do this project?

One of the books I read for my thesis research included Craig Owens’ The Anti Aesthetic: The Discourse of Others. In it, Owens states that “suddenly it becomes possible that there are just others, that we ourselves are an ‘other’ among others.” I thought this was beautiful.

For the past few years I have been working as a professional art model, and this job as a study also positioned me as a very blatant other. The vulnerable nature of a model’s nakedness usually operates in tandem with a physical proximity: this socially shields the model from the artists, and vice versa. It is this precarious situation between intimacy and distance that I believe to be applicable to all human relationships. I wanted for my work to expose the viewer’s awareness to this, forcing them to re-evaluate their behaviours within the space my performance dominates.

What part of the process of creating this project did you learn the most from?

There were several new processes that I embarked on this year, such as video, photography and mechanics, all of which were heavily equipped with their own unique technical challenges.

That being said, because my work is performative in the final outcome, very significant realizations occurred during my performances, mostly within the moments shared between the viewer and myself. Depending on the situation, these experiences felt collaborative, almost like a choreography between two dancers who were meeting for the first time.

What aspect of this project are you the most proud of?

I experienced the very rewarding opportunity to perform my piece, "Head Study" in my solo thesis exhibition at Katharine Mulherin’s No Foundation Gallery. That was my very first solo show, and I was lucky enough to have it happen at such a wonderful and reputable Toronto gallery. The opening performance night was a big landmark for me in a way that I will never forget.

How did you react to the news that you won a medal for your work?

The news was told to me by my new faculty guardian angel, Wrik Mead. When he gave me the piece of paper acknowledging me as “Dear Medal Winner,” I really couldn’t read past that first statement.

I should note that I made a decisions to finish my undergrad in six years, and my parents were always a little (understandably) apprehensive about this length. After receiving the medal, I immediately phoned them both. Even though it was a joy telling them what happened, admittedly, there was also a very subtle and satisfying undertone of “Ha, I told ya so!”

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

Finding a new daytime apartment in the form of the Sculpture Thesis Studio.
Nerd nights with Doug Back and Simone Jones dude!
$5 Pitchers weekly between Monday and Sunday nights.
Conversations outside of the main building entrance as a non-smoking smoker.
Those short two-minute walks between point A and point B that mysteriously end up taking half an hour.
The tremendously supportive faculty of the Sculpture & Installation program.

What are you planning to do next?

Upon graduating, I have been working on a new contract gig with the Luminato festival while working an awesome job as an artist’s assistant. It is my intention to continue to make work, apply for residencies and to show, but it would be fantastic in a year or two’s time to work my way towards grad school, either in the United States or in Europe.

You never want to plan things too tightly though, because (if I may end on an optimistic note) things find their own ways of working out. Even in rejection, there can be opportunity.

Find out more about Alex Beriault

Alex Beriault at Cargo Collective

2014 MEDAL WINNER SANAZ MIANJI, ENVIRONMENTAL DESIGN

Sanaz Mianji at GradEx 2014. Photo by Christina Gapic.
Design for House of Artists by Sanaz Mianji.

Sanaz Mianji’s medal award-winning project, House of Artists, is a space designed as a stable foundation for artists and entrepreneurs in which to grow a thriving community that nourishes inspiration and innovation. Here’s how she describes it:

House of Artists is a solution for coping with the growing pains of the expanding creative community. The house aims to nourish a strong independent growth, while building a stable foundation for artists within the community. The house will allow the artists to freely promote themselves by exhibiting their body of work amongst each other and the larger community. The major outcomes of this house are to learn, inspire, create, innovate, experiment and grow.

What inspired you and motivated you to do this project?

My thesis project was the result of my own experiences in Toronto, when I noticed that there was a lack of creative outlets for artists and designers in order to create and promote themselves, while learning and inspiring one another. I was motivated and inspired by all the future potential for the creative crowds.

What part of the process of creating this project did you learn the most from?

I learned the most when I had to research carefully and interview the technicians in order to accommodate all the needs for designing each workshop. Also, developing the concepts of communication, collaboration and individuality within this creative community required a lot of research in order to resolve the problems and create inspiring spaces for artists and designers.

What aspect of this project are you the most proud of?

Although my thesis was a complex project, I was able to explore all the possibilities in the site. This led me create design strategies that would carry the conceptual values from the beginning of my process to the end. I very much enjoyed making the process models and I’m proud of how they could communicate the concepts and the ideas as a whole.

How did you react to the news that you won a medal for your work?

Tears of joy seem like a rare occasion and I experienced that for the first time when I was informed my thesis project was awarded the medal. I will never forget how it felt!

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

I have been blessed with many great memories at OCAD U such as meeting inspiring people and creating a new family that we call the “OCADIAN family.” I will miss our great teachers, all the shops, friends and our thesis space at 52 McCaul, where we spent most of our time for the past year.

What are you planning to do next?

I participated in The Stop Night Market Festival with four other graduates from OCAD U and we have been working hard to finish the design and execute our food cart for this competition. My plan is to work and gain more experience in the real world and I also plan on continuing my studies as a Master’s student in Architecture.

2014 MEDAL WINNER HUDSON CHRISTIE, ILLUSTRATION

Hudson Christie. Photo by Christina Gapic.
Illustration from Work Life Balance by Hudson Christie.

Hudson Christie’s medal award-winning project Work-Life Balance depicts people who must juggle their incompatible jobs and hobbies, sometimes in a disturbing juxtaposition. Here’s how he describes it:

My project was called Work-Life Balance, and it depicted ten people resorting to multi-tasking in order to make room for their hobbies.

What inspired you and motivated you to do this project?

I was attracted to hobbies as a subject in my thesis because they have a really great earnest candor surrounding them. The notion of taking hobbies, which are this really harmless thing, and putting them into situations that actually make them harmful was really funny to me.

What part of the process of creating this project did you learn the most from?

The sculpture/photography approach I used for my thesis is something I’ve only been developing for over a year now, so there was obviously a lot of growing to do in my technique. A big difference is how many corners I can cut now. I work a lot more efficiently today than I did in September.

What aspect of this project are you the most proud of?

I am happy that I was able to make ten pictures that actually make sense to people 95 per cent of the time. It was always so frustrating when I would work for hours on an illustration but it would be totally illegible, just because I lacked the know-how to make images “readable.”

How did you react to the news that you won a medal for your work?

I was very excited. I remember shouting and hi-fiving the wall, and then calling my mom.

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

The immersion in peers and professors that you get at OCAD U is a very unique thing that I will really miss. It becomes a lot harder to get that constant artist-to-artist contact once you’re done, especially with such a variety of people.

What are you planning to do next?

There are some installation opportunities opening up for me that I’m currently working on, during which time I’ll be developing my next photography series and hopefully picking up more illustration or animation jobs, which are really fun.

Website

LinkedIn

2014 MEDAL WINNER BRENDAN MCMULLEN, ADVERTISING

Brendan McMullen. Photo by Christina Gapic.

Brendan McMullan’s medal award-winning ad campaign concept for a soda company, Pursue the New, celebrates the stories of strange soda flavours and those who drink them. Here’s how he describes it:

My advertising thesis was entitled Pursue the New. Its objective was to get people to chase Jones Sodas again and frame the drink as an indulgence by getting people to pursue new and unfamiliar flavour experiences. I brought it to life in an entertaining and fun way by telling the stories of the Jones family of strange flavors and those who drink them and celebrating anyone willing to Pursue the New.

What inspired you and motivated you to do this project?

I was motivated by the brand I chose. Jones Soda is fun and eccentric. Choosing it gave me the creative liberty to literally do and make whatever I thought was cool and entertaining. Not everyone has the chance to do that in their career. Jones Soda’s quirky essence made it easier to be excited about working on the same thing every day.

The idea of tackling a soda company was an enticing challenge as well because of the stigma around the category. Blowing up its strangeness really positioned it as something you consume in moderation, guilt free.

What part of the process of creating this project did you learn the most from?

I learned the most from having to transition from a completely strategy focused fall semester to a completely creatively focused spring semester. It was difficult to go from one to another when you spend so much time on strategy before creative. I had to break a personal barrier between being caught up in a very rational strategic process and having to start coming up with crazy creative ideas. It taught me a lot about what mindset I had to be in.

What aspect of this project are you the most proud of?

My project was always changing, past the day I handed it in and up until the day I pitched it to a group of peers and industry folk at the Masters presentations. I’m proud that I never settled and never got comfortable. I was able to kill ideas that muffled the message I was trying to deliver and completely change my delivery days before the pitch. I’m proud my campaign adapted and got stronger when obstacles came up.

How did you react to the news that you won a medal for your work?

Despite dreaming of ending my university career as a medal winner, when I heard I won I was in disbelief. There was such a high calibre of both work and character in our program that I felt many of us deserved to win. I had been proud of my work and work ethic before but never as much as I was that day. It felt very validating to have my work appreciated by my teachers (and now colleagues).

What’s your fondest memory from your studies at OCAD U, and what will you miss the most?

I will miss the ability to show up every day and get to work creatively with my best friends: people who push me, inspire me and make for one hell of a good time. I know I’ll have the chance to work with different creative minds in my career, but I may never have the chance to collaborate with my best friends like that again. My peers and friends motivated me creatively in ways I never imagined.

What are you planning to do next?

I’m staying in Toronto indefinitely, hailing from Montreal. I believe I have a future in advertising in this city. I’m currently interning at an agency I respect a lot and hope to take in as much as I can one day at a time. I aspire to always work for an agency that pushes creative work and has brands that I can get excited about.

Brendan invites you to check out his website, let him know your thoughts and connect on social media. Brendanmcmullen.com

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