Alison Garwood Jones

Happy Thanksgiving

October 5, 2012

 

©AGJ on Sketches for iPhone

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Buried treasure

September 26, 2012

[A]s a genre, online anonymous comments drain the blood from my face and twist my heart into a knot.

But last night the blush returned to my countenance — no, my entire being — when I found this note tucked inside a book of short stories by Irwin Shaw.

On the last page of the story, “A Year to Learn the Language,” was this note written with a blunt-tipped pencil on stationary adorned with a nighttime Christmas scene:

You, who reserved this book before I had a chance to extend it (it is due tomorrow, Thursday, April 1st, 2010), what did you think of this story?

Wasn’t it great?

I think I have found a new favourite writer.

If you wish to share your thoughts, and if you’ve reached this point [page 354], please do so at patrickabois@gmail.com

I plan to read this story to my future wife, wherever she is.

And if you want, keep this in the book for the next person.

From one reader to the next,

Patrick

This is how life should be, but often isn’t.

Long live paper.♦

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Life is beautiful

September 25, 2012

Our understanding of breast cancer shifted this week. Through genetic analysis, U.S. scientists working for the National Institute of Health’s Cancer Genome Atlas were able to identify four types of breast cancer. More specifically, they discovered that the most deadly form of breast cancer — the “Triple Negative” — acts a lot like ovarian cancer and a type of lung cancer. “[This] raises the possibility that there may be a common cause,” Dr. James Ingle of the Mayo Clinic told The New York Times. Ingle is one of 348 researchers who worked on the study. These new findings give doctors the green light to test ovarian-style cancer treatments on patients rather applying the routine class of drugs used for breast cancer, which haven’t always worked.

In one of my recent assignments, I interviewed a young woman who beat a “triple negative” diagnosis a year ago. Sarah Lucero lives in Los Angeles and is the Global Artistic Director for Stila Cosmetics. Through humour and tears she told me her story. (Photo by Winny Au)

[I]t first occurred to me that something was off in the summer of 2010. I was on a plane headed to Australia for a Stila press event, and when I lifted my makeup kit into the overhead bin I felt a pain in my right breast. My kit weighs a ton, so I figured I had pulled a muscle. I took an Advil and didn’t think anything of it. Two weeks into my trip, I was still popping pain pills.

When I got back to L.A., the pain hadn’t subsided, so I decided to go to the doctor. I had convinced myself I had a cyst that needed draining—it couldn’t be cancer. I was only 34.

The first doctor I saw didn’t think it was cancer either. “Breast cancer doesn’t hurt,” she said. A Google search by my husband returned similar results. Boy, were we relieved. I love my job and was way too busy to get sick.

Thankfully, the doctor who examined me advised me to get a mammogram. Her tone didn’t imply any sense of urgency, so I went in for a second appointment about a month later. After one mammogram and an ultrasound, I found out I had Stage 2 Ductal Breast Cancer.

I got that second opinion and all my treatments from Dr. Kristi Funk. When I told her what the first doctor had said (“Breast cancer doesn’t hurt”), she replied, “Yeah, but six per cent of breast cancers do hurt.” I was in that six per cent. It just goes to show that you have to trust your body, not the Internet. Also, always get a second opinion.

My first thought when I started chemotherapy was, “Oh, no. I’m going to lose my hair.” I had super-long bohemian beach hair that I’ve had since 10th grade. It had been a part of my identity for so long, and I cried when I lost it. So you can imagine how overjoyed I was when my client and friend Victoria Beckham and her hairstylist Ken Paves surprised me with a wig Ken had made. It looked better than my real hair! I got so many likes on Facebook from unsuspecting friends that I wanted to say, “Enough about the hair, people.”

My lashes fell out next, then my Brooke Shields brows. I cried some more. Finally, for peace of mind, I chose to lose both breasts and have all of my breast tissue surgically removed. I couldn’t face a relapse.

Breast cancer takes away all of your feminine attributes: your hair, your curves, your facial accents, your period. For a long time, the mirror is not your friend. Staring into it, you don’t even see you. I especially avoided looking at myself on days when I felt good. I wanted the feeling to last. And on bad days, I adopted the mantra: “I’m going to be rebuilt by my doctors, and when I am, I’ll be healthy and more beautiful than ever.” That brought me a level of acceptance I never knew I could achieve.

[pullquote]When I told Dr. Funk what another doctor had told me (“Breast cancer doesn’t hurt”), she replied, “Yeah, but six per cent of breast cancers do hurt.” I was in that six per cent. [/pullquote]

As women, we all lose something along the way— whether it’s colour or lustre — from age or sickness. To me makeup is not just for vanity; it’s to make us feel good about who we are at every stage of life. That attitude gives us so much more mileage than trying to look a certain way or wasting energy fighting change. To me, self-acceptance is the true definition of beauty.

For an entire year, I used every ounce of strength, willpower and positivity to fight this disease, but doctors couldn’t tell me why I had cancer. Dr. Funk sequenced my genes to see if my cancer was genetic because that would determine the best treatment for me. The results showed I wasn’t remotely at risk for the disease — despite my grandmother dying from breast cancer, I didn’t carry the genes — nor was estrogen feeding my tumour. The origin of my cancer is still a mystery

I didn’t tell many people about my health crisis. However, I did confide in one or two people at Stila, including the wonderful Deanna Kangas, our CEO, who introduced me to Dr. Funk. I’m sure others suspected something was up because my schedule and my appearance changed.

To protect my positive energy, I chose to keep my cancer largely private. I found it difficult to tell those close to me because I didn’t want them to worry. Also, I didn’t want to answer questions each day about how I was doing. Most of the time, I didn’t know how I felt or even what to say. Some people asked me whether I was going to freeze my eggs or if I planned on having children someday; those things were especially hard to hear and process. I insisted on going to work most days with my game face on.

Cancer is such an isolating disease. It messes with everything: your chemistry, memory, emotions and physical strength. I slowly learned to accept my limitations—my “new normal,” as I called it. I drew strength from my husband and my mom. They were my rocks. They sat with me through every chemo session and came to every appointment, and watched movies on the iPad while I slept.

When I went to work, like I said, I kept quiet about everything because I didn’t want to be put under a spotlight. My job as a makeup artist is to make others shine. Every day, I help women feel beautiful on the outside and the inside, whether it’s by recommending a product or showing them a quick tip. That, in turn, helped me to accept that I looked different and that I should use makeup to enhance what I had, instead of mourning what I’d lost.

I may work in an industry that’s all about surfaces, but I learned that it’s not what you see in the mirror that matters; it’s more, so much more. In the mirror, I see resilience.♦

(A version of this was published in the September 2012 issue of Glow Magazine).

 

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Hot off the press

August 31, 2012

The lines in this drawing are actually clumps of pulled wool caught in fishing line.

Drawing stares

Despite itself, the computer age has given rise to a more intense engagement with objects. Miles Davis on vinyl, homemade scrapbooks assembled with a medieval attention to detail, and libraries of real books stacked in such unexpected places as abandoned phone booths and mailboxes are just some of the tangibles we’ve insisted on having and holding in the aftermath of the digital killing fields. Now add to that the humble pen on paper, which gets a thumbs-up from hipsters, for its control and organic touch as well as its singularity of purpose.

Italian architect Emilia Serra and designer Andrea Mancuso have literally walked into this trend toward object engagement. In Analogia, a series of textile installations, they recreate the old school appeal of loose pen sketches. First unveiled during 2011’s London Design Week, and most recently seen this spring at Salone del Mobile in Milan, Analogia #003 shows a white room set up with a table, a planter and a modern lamp. The archetypal shapes have been sketched out using pulled clumps of inky black Merino wool, woven within a web of transparent fishing line that criss-crosses the space like graph paper.

The idea was first hand drawn and then laid out to scale using 3‑D software. On site, the designers reproduced every detail of the original by applying the wool to the ethereal framework, at once sketching and realizing their imagined furnishings. In a final act of engagement, the designers walked through their sketch, ducking beneath the lines and pointing out the shadows cast by the different strokes. Solid ideas, it seems, really can spring to life out of thin air.

Published in Azure Magazine, Jul/Aug 2012.


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heartsick

August 28, 2012

I’m heartsick for my friends, Danny and Alanna Cavanagh, who lost their brother, Shawn, this week.

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Republican control

August 22, 2012

Big government has no place in the lives of Americans.

Unless you’re a woman.

Creative Commons License

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House Wars

August 19, 2012

My biggest challenge right now isn’t dust bunnies. It’s green pepper seeds. My floor just loves them.

Sketch: ©AGJ on Brushes

 

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Nuh-uh

August 15, 2012

Life is greener on the other side of the sushi grass.

And spicier too, or so they say.

Not so.

Chop, chop!

All images ©AGJ on Sketches for iPhone

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His Worship

July 22, 2012

©AGJ on Brushes for iPad

Mayor Rob Ford

Some day this will be funny.

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Food trend: face plants

July 20, 2012

I’ve noticed a food trend. It’s not sexy like figs with warm honey, or technically brilliant and tasteless like foam. It’s definitely not healthy. And it’s more a style of eating than any new culinary concoction.

It involves doing a face plant in clouds of takeout wrapping paper. Anyone watching you eat like this has no idea what you’re working on — we can’t  see through all the paper and foil. Usually it involves a burrito, but not always. All your audience knows is that you’re going in, coming up to chew, then going back in, and that you’re  breathing heavily through your nose while your cheeks gather skid marks of sauce and vegetable detritus. I give it zero out of five stars for style.

The first time I witnessed it I couldn’t help thinking, ‘You’re ramming that food down one hole until it comes out another.’ It’s that crass to watch.

Has anyone else noticed that people have stopped directly touching their food? Fear of germs and the rise of hand sanitizing gels have probably contributed to this. So did the necessary changes to environmental packaging standards, from Styrofoam boxes back to waxed paper. Remember this olde delivery systeme that gave you no choice but to directly pick up the contents?

McDonald’s Styrofoam Big Mac container, circa 1990

Back in the day when I ordered a McDonald’s cheeseburger (sans box, but with paper), I’d completely remove the damp sandwich from its yellow wrapper and chomp my way through, occasionally losing a plop or three of ketchup. Most times, though, it was too dry and too old to drip. Still, mess is the biggest reason why folks today don’t remove the wrapping on big production numbers like burritos. It would be like slicing open an intestine.

The Breakfast Burrito. There’s that cloud of paper!

Alien anyone?

But the trend is spreading. I’ve seen people refuse to touch “clean food” like granola bars (the dry ones, not the sticky honey or chocolate-coated ones). They eat them like toothpaste, by pushing the product up from the bottom of the wrapper until it’s safely in their mouth. And when it comes to burgers, they’re only half-unwrapping them, even at the table. They slowly push or peel the paper back until they’ve consumed the whole thing. Not once do they pick it up, feel the weight of it, engage with it. NEWSFLASH: ten minutes after posting this, I got a message from my friend, Carolyn. She had a Whopper at Burger King last night and said it’s now being served in a half wrapper inside the box. “I only touched the burger when it became absolutely necessary,” she said.

This is not a diss against junk food. It’s just that I’m all in favour of getting intimate with every hamburger I encounter. I like rolling up my sleeves in advance of the condiment stream down my arm.

Our relationship to food is sacred, or it should be. I’d just like to see us honouring this special occasion where our senses converge.

The naked hamburger

 

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