VOL3/ 101 Contemporary Artists and More...
VOL3/ 101 Contemporary Artists and More...
VOL3/ 101 Contemporary Artists and More...
contemporary
artists
and more...
Nata Buachidze is an artist from Tbilisi, Georgia, born on 14.10.1967. She grew up
in a family of artists and architects, so being an artist is natural for her. In 1990,
she graduated from Tbilisi State Academy of Arts (Graphic Design department),
Tbilisi, Georgia. In 1990-1991 Nata did a training course in Gray’s School of Art
(Painting and photography course), Aberdeen, Scotland, UK.
Nata was working as a graphic designer from 1985, first as a freelance designer,
then in 1991, in a design company ‘McElroy coats, Edinburg, Scotland, UK, and
from 1992 to 1996 in an Architectural & Design company, ‘Racurs’, Tbilisi,
Georgia - she was painting and taking part in local and international exhibitions
at the same time. From 1993, she mainly devoted herself to painting, with
occasional design commissions.
From 1999-present, Nata established an art school in Tbilisi and had a long
pause in her own artistic life as she was mainly involved in the life of the studio
and organizing grand exhibitions connected with her art studio.
Since 2017, she’s intensively working as an artist again, making Solo exhibitions
and participating in group exhibitions, biennales, and Art Fairs. Her artworks
are in private collections worldwide.
She was born in 1967, in a house brimming with paper, paints, plaster, and
plasticine clay. Within those walls, images took shape before her eyes, evolving
day by day into vibrant creations that sprang to life. Her father, a sculptor,
possessed his own unique world of artistry, an individuality that resonated
strongly with her and her brother.
Perhaps it was this environment that kindled her profound fascination with the
malleability of forms, the richness of their hues, and the interplay of air and
space that enveloped them, infusing every stroke with vitality.
Paunch my face
Oil on canvas,
42x32cm, 2022
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Laura Léna Bogyay
Self-Portrait with the wild deer - Oil on loose canvas, 91x61cm, 2023
Alana Palomo
Nicola
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Debanjaly Sen
''My artistic work delves into a multitude of female experiences, exploring themes such as
memory, perception, emotion, desire, and thought. Women often serve as the
protagonists in my pieces. Through the figure, I examine personal narratives and
memories intertwined with contemporary dilemmas. My work critically analyzes gender
stereotypes, challenges the male gaze, and confronts the issue of violence against
women. I strive to spin a compelling tale that engages the viewer on a personal level.
In my current artistic practice, I utilize ink, watercolor, acrylic, gesso, and pigments. These
materials come alive on paper, unstretched canvas, and board, as I manipulate them to
create a surface that interacts harmoniously with my chosen medium. Texture and mark-
making play pivotal roles in my creative process, allowing me to imbue my work with
depth and visual interest. Throughout my artistic journey, premeditation serves as an
ever-present companion, opening countless doors within my mind. With a playful
mindset, I visualize my work intertwining with a plethora of creative activities, resulting
in unique and captivating compositions.''
An Indian native, Debanjaly Sen earned her B.F.A in studio art, Painting from The Indian College
of Art and Draftsmanship (Rabindra Bharati University), and an M.F.A in painting from Sister
Nivedita University. Her paintings have been exhibited nationally in juried and group shows.
Debanjaly is mainly a painter, besides that she explores a variety of mediums. Being an explorer
of art, she chooses the medium according to the demands of the context and the perspective.
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19 If you know you know - Ink and watercolor on paper, 9''x11'' (each)
Maka Gotsiridze
"Womb" is a collection of paintings made using acrylic on canvas, with the body as the
paintbrush. By intimately interacting with the paints with certain body parts, I aim to
express the worries and traumas relating to growing up as a woman. The idea of "Womb"
was born when I started the process of a long diagnosis concerning my ovaries and
womb, by way of illustrating the apprehension that comes from being unsure of what is
going on inside of my own body and the worry that comes with problems with
reproductive organs.''
Se Fenger comes from Shanghai, China. Shanghai is a trendy, fashionable, romantic, and proud
city, all of which are presented in her paintings.
Her biggest influences are a famous poet and playwright named Nara Hanchuan enlightened
her artistic talent and praised her as the first person to paint in 5000 years. It gave her great
confidence and encouragement.
Art has changed her. She incorporated once aloof, arrogant, reckless, and unrestrained
temperament into the painting, leaving behind a warm, calm, and peaceful face of the world for
her. She works normally during the day, and she does international business. In the morning, at
night, during holidays, she studies art. Art has no impact on her normal life, but it is just one of
her pleasures, just like reading, singing, listening to music, and watching movies.
Levan is an artist, based in Georgia. He started painting from his deep childhood ages. Works in
different mediums, but lately, mostly in acrylic. In recent years has been drawing in a digital too.
The painting processes are also different, In his paintings sometimes you can see the expression
of his personal emotions, and not only, sometimes describes the injustices surrounding the
environment
Lee Ellis is an American contemporary artist currently based in the south of France. Started
working primarily as a chalk muralist creating large-scale works for outdoor festivals and
museums. Ellis transitioned to create a less public art practice around 2020 where he found
himself drawn to smaller works. After being forced inside during Quarantine Ellis started creating
a series of works where he put hundreds of Post-it notes with individual drawings onto a canvas.
He has participated in multiple group shows with Curators from New York to Chongqing, China.
Who are we without others? As individuals we can only accomplish so much, there comes a
point when we understand the importance of community. An excellent example comes from
the global pandemic, where the world understood how much better we are together. Why does
it take a tremendous tragedy for us to realize the significance of the collective? Within his work,
Lee Ellis attempts to reinforce this ethos by giving the audience a glimpse at the overwhelming
power we have together.
28 Most Black Kings Create A Legacy - Post-it notes on canvas, 96x70cm, 2021
Sebastien Theraulaz
After completing a degree in industrial design at the ArtCenter College of Design (Los Angeles,
1997), Théraulaz moved to Montreal and founded a graphic design studio. Over the next fifteen
years, with this studio as his base, he worked as creative director on a host of projects for Quebec
stakeholders in the arts. His visual creations were recognized with prestigious awards such as the
prize for best Quebec and Canadian music video in 2003, and the Grafika grand prize for his
Subroyal typography in 2006.
After returning to Switzerland in 2010, he devoted himself entirely to his artistic work and taught
art classes in cantonal schools in French-speaking areas near Lausanne. His approach as an artist
is to reflect on the paradoxes of contemporary society through experimental processes in collage,
photography and engraving. Curious by nature, he explores different forms of artistic language,
but with the constant aim of initiating a sensitive dialogue with the audience.
Obada Alomari moved from the medical field into art in 2013 and opened ZAKKA Gallery in
Jordan in 2016. He began by making decorative and customized art, upcycling, and trading with
antiques and collectibles. In his work, Obada is exploring many notions like life, deaths,
apocalypse, human relations & the philosophy of nature. He is also interested in the critical
nature of the artwork, especially in relation to social norms and behaviors. Obada's practice is
mainly based on experimentation through merging different materials like sand, canvas, wood,
paintings, objects, and installations.
Elizabeth Hindle is an Interdisciplinary Fine Artist living and working in the UK. Elizabeth is a Fine
Artist, Artist Educator, and one-half of the collaborative duo Ridge & Scrase.
Elizabeth graduated with a Fine Arts degree in 2012 and has regularly exhibited in both the UK
and internationally since then. Elizabeth is primarily a painter, although her practice has spanned
multiple disciplines through the years and continues to challenge genres. Elizabeth describes
herself as an abstract expressionist and relies heavily on emotion and the concept of her inner
self to influence her work.
Elizabeth's most recent paintings are dynamic abstract works focusing on the use of bold color
and geometric shapes juxtaposed with texture and expressive charcoal overlays. The use of
compressed charcoal is heavily featured in her work, influenced by her early studies of abstract
drawing and expressionist mark-making. Elizabeth is a disabled, neurodivergent artist who
identifies as queer and non-binary, which she reflects upon and uses as a positive drive within her
work.
34 Fear is the Glare of Light - Acrylic and compressed charcoal on canvas, diameter 40cm, 2022
Dionne Hood
Dionne lives on the edge of the moors in a village just outside Bradford. Dionne originally trained
as a ceramicist at Loughborough College of Art and Design and pursued ceramic sculpture for a
number of years after graduation. In the early 2000s due to a number of life changes, including
redundancy from teaching ceramics in college and the birth of her son, Dionne gave up ceramics
and started making mixed media works. She puts food on the table by working as a
Development Librarian which means bringing literature, culture, and creativity to the people of
Bradford.
Dionne's work is currently a combination of paintings and mixed media relief pieces that
combine embroidery, paper clay, precious metal clay, paper, watercolor, ink, and found objects.
Each piece is accompanied by a poem as a response to the physical work.
Dionne pursues experimentation with these varying objects, movements, textures, techniques,
lines, writings, and temperatures to present information and expressions, to convey a patchwork
of passing revelations; a sequence of unconnected or connected answers which may or may not
offer the possibility of a coherent ‘story’ and is always looking to go somewhere unexpected.
36 The Great Escape - Mixed media with acrylic paint, embroidery & found objects, 50x50cm, 2022
Larry Graeber
''After many years of practice, I trust a degree of skill and understanding are inherent in
me, conveyed and perceived in my paintings, sculpture, and works on paper.
Intrigued with approximations and the experience of convergences I find myself at the
mercy of my medium, my thoughts, and the time at hand. Unfinished work can be
revisited and new work can be started. In a given day I may only add to my debris but the
engagement has potential and often emerges to fulfill my hope of an intuitive, subjective,
coherent product.''
Larry Graeber studios in San Antonio and Marfa Texas. He has studied painting, sculpture,
printmaking, jewelry, and film making. Today his focus is on painting, sculpture, and works on
paper.
Exhibiting began in 1971 with participation in the Texas Painting and Sculpture Exhibition, Dallas
Museum of Fine Arts. The first major one-person exhibition was in 1974, Works From a Small
Duplex, curated by director John Leeper at the McNay Art Museum, San Antonio Texas.
Published in several regional books, Texas Abstract, Modern/ Contemporary, Art at Our Doorstep,
exhibiting regionally, most recent museum exhibit Formal Proof, Blue Star Contemporary 2019
International visual artist Gabrielė Kuizinaitė lives and creates in Kaunas, Lithuania. In 2003 years
she finished Vytautas Magnus University, Institute of Arts, and obtain an art criticism specialty.
Since then she started to be interested in visual arts and photography field. Since then she
started to write about photography exhibitions and curating visual arts exhibitions. 2005-2007
years she studied at Vilnius Academy of Arts, at UNESCO cathedra, and obtained a master's
degree in the cultural management field. Since 2008 years she is a member of the Lithuanian
photographers union, also she is a member of foreign arts associations and galleries. She
organized more than 200 exhibitions and wrote more than 200 articles. Since 2019 years she
started to create pictures and take participate in her personal and collective exhibitions. She
organized 4 personal exhibitions and take participated in 85 international collective exhibitions in
the art field in Europe countries.
Joshua Norwood is a new and emerging artist who is also a freelance curator and director at the
Meta Space Gallery. They were born in Ichinoseki, Japan ( 一関、岩手、日本 ) to a Japanese mother
and a British father. They often use their dual nationality in their work as they concentrate on
their identity and now their questioning outlook on their gender identity.
Body image is a large topic in their work as they believe that shame must go away and there
needs to be harmony and acceptance in our bodies as we are all humans. Every work either tries
to create a duality of peace in it while questioning existence itself. Their art strives to be different
and spontaneous with experiments with different styles becoming their own style. They believe
that the human mind must be deconstructed and reimplanted onto the canvas and the deep
conscious must be imprinted whenever and wherever possible onto any medium. Their work
and path are to create more artistic awareness and understanding to help bring their thoughts
and ideas through their art to the world.
Their practice also incorporates environmentally friendly messages, materials, and recycled and
scrap items to show their idea of having a sustainable practice.
Tiziana Rasile was born in Rome where she lives and works. She completed the course of studies
at the Academy of Fine Arts, specializing in Painting. She obtained a Diploma in "Technical
Builder in Merchandising Museum" and for a year she dedicated herself to the study of
Restoration of Ancient Paintings. She immediately developed a propensity for abstract art and
engraving, always maintaining a strong relationship with the classical technique of nuance and
oil veiling. Over the course of her career she has participated in numerous events and won
several international awards. Her research explores light, through over-positions suffused with
chromatic textures and is focused on the possibility of creating a dialogue between scientific and
philosophical realities, spiritual and artistic insights. Her journey begins with the "FADES"
Collection, where the form is dematerialized in color, to other collections such as "LACONIC TIME"
and "VIBRATIONS": the light that vibrates in the space of the picture and modulates time. From
2018 to 2019 she adhered to the constitution of the "New Roman Spatialism", presented at the
Merulana Museum in Rome. In March 2021 she received the "Opera Prize" for career
achievements during the last five years by the U. I. L. (National Union of Artists-Writers). The artist
writes film reviews for the Teatro Contemporaneo e Cinema magazine, a column “Art
Dimensions" for the Foressego Art International Organization and collaborates with several
galleries, writing articles and catalogs for them. She is represented by Laura I. Contemporary Art
Gallery in London.
''A range of botanical & landscape images combines photography with painting, drawing,
Gold leaf & digital manipulation to create unique artworks. Many feature silhouettes,
when plants, flowers, trees & buildings are viewed in this way, the distraction of full color
is removed, allowing an almost hidden beauty to be revealed. Trees look so fragile in their
winter skeletal state, delicate lace patterns are created with tangled stems.
The changing light of the landscape never fails to inspire me with its vast pallet of colors.
Trying to capture that perfect moment in time before it changes & fades away.''
Having achieved a Degree in 'Combined Studies in Crafts' from Crewe and Alsager College, Fiona
embarked on her creative journey. Initially, she delved into crafting wooden boxes, cabinets, and
clocks.
Between 2000 and 2017, Fiona transitioned to larger-scale endeavors, focusing on designing
impactful public art projects. Her creations spanned sculptures, gates, signage, seating, and
clocks. Taking on the roles of both designer and project manager, she collaborated with external
fabricators to bring her visions to life.
From 2004 to 2023, Fiona amassed over two decades of experience leading diverse art and craft
workshops catering to individuals of all ages and skill levels, ranging from children to adults.
Currently, her artistic endeavors are centered around botanical and tree prints crafted through
intricate layering techniques. Additionally, Fiona offers a collection of plaster-cast flower plaques,
showcasing her artistic versatility.
52 Lindisfarne Pilgrimage 1 - 312g smooth fine art archival paper, archival inks, imitation Gold leaf, 30x30cm, 2023
Irakli Keidia
Bridges - Ink and gouache on the craft paper, 80x95cm, 2022
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Savina Ražnatović
Natalie started painting professionally shortly after moving to Shropshire in 2003, following her
completion of a Fine Arts Degree and a post-grad in Stage and Set design.
Natalie often works from photographs translated onto a large-scale canvas. The focus is then
increased to enable the viewer to be surrounded and drawn into what becomes a detailed
perception of color, form, movement, and texture.
The subjects themselves are just the starting point to study these elements; the effects of
sunlight and shadows are also having an increasing effect on my work; the subtlety of colors
captures a unique moment. Each subject is so different, offering delicacy and detail but at the
same time strength and vitality. It’s these differences that fascinate Natalie and she tries to
capture that essence in her work. She wants the viewer to have an experience that is beyond that
of the image itself; therefore, the scale of her work is important. By enlarging the scale, the nature
of the subject is intensified and enables the viewer to become surrounded by the beauty of the
subject.
The focus of the painting is intensely studied to identify the motivation for the study. Her
interests range from capturing the delicacy of a petal or feather while also showing the strength
within the subject; this is then emphasized by the plain background where a minimum
distraction is sought. Her work has currently been shown in Tokyo, Singapore, London, New York,
and Australia, as well as locally in Shropshire. She had an article published in Artists and
Illustrator’s magazine in 2007, and Shropshire Living Magazine in 2021 and has delivered several
masterclasses at the prestigious West Dean College, in Chichester while also a regular Artist in
Residence at Nature in Art in Gloucester.
London-based multimedia artist Dom Holmes works across multiple disciplines to create works
that challenge our ideas of identity, sexuality, mythology, and spirituality. Since immersing
themselves in the creative counter-culture of the underground and alternative art scenes in the
UK in the early 2000s, Dom has continued their journey of exploring and utilizing a diverse range
of techniques and platforms with which to manifest their art. They delve into concepts of
identity, sexuality, and spirituality through abstractions of ancient mythology, folklore, and
symbology in the modern world, combining traditional and contemporary techniques and
influenced by their studies in Classics, Ancient History, and Fine Art. Their focus on natural form
as a subject acts as a vehicle to explore the human connection to nature and our place within
the natural world. Dom combines their self-taught classical Fine Art practice of oil painting with
traditional craft skills such as technical pen and ink drawing and print-making to produce pieces
and series that express and explore various ways of abstracting or connecting to, a subject
matter. Visually, Dom’s works often intentionally highlight the boundaries that exist between
inspiration and cultural appropriation in the arts, and between traditionally respected artistic
practice and counter-culture, lowbrow art forms. Since 2019 their primary practice has been
focused on contemporary oil painting techniques to explore the human connection to nature.
Their artwork shows regularly across the UK, including renowned galleries and collections at
Stolen Space, The Brick Lane Gallery, The National Maritime Museum, and Atomica Gallery,
alongside the Free Painters and Sculptors Collective, and has work regularly featured in group
exhibitions in the US, Paris and Australia. Their pieces feature in collections across the world.
Dom is a prominent activist for the LGBTQ+ community and is the founder of SheHerTheyThem,
a non-profit community-building initiative for queer women and gender-diverse people. Their
important personal experience with their LGBTQ+ and gender equality activism is a prominent,
often very obvious inspiration in their work.
“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.”
''Starting from this idea of Marcel Proust, I paint with new eyes and reinvent shapes and
atmospheres. These new eyes produce images that seem taken from parallel worlds. The
subjects of my paintings are often usual but play with modes of representation and
question the concept of otherness. They bring out feelings of the unknown. Drawing
inspiration from traditional arts, science-fiction, or esotericism, the result is paradoxical: to
discover the world with new eyes, one can first imagine it on paper, by creating images
that imbue us with unfamiliar ideas, feelings, and perspectives. This process originates
from a question on the nature of reality and what makes reality intelligible and “known”.
For, while the real voyage of discovery comes from our outlook, our experience of things is
shapeable. As a scientist who, by reflecting in new ways, reveals hidden aspects of reality,
we, artists or humans, are completely free to model the “known”, not the things in
themselves, but their meaning and our experience of them.''
Nico Pearleyes is an artist, freelance illustrator, and graphic designer from France. He is self-
taught in art but has studied graphic design in Gobelins, Paris. The call to make art came
naturally during the 2020 lockdown, after several years of trying out different career paths.
Shortly after, his work was exhibited in Europe and the US, in galleries such as Equity or Nucleus
galleries. Currently based in Paris, he has lived several times in South Korea. Besides creative
activities, he is interested in languages and foreign cultures. He is especially interested in the way
they shape our minds to make us experience reality differently. This interest led him to live and
work several times in South Korea and teach himself several languages, which in turn had an
impact on his art practice.
67 Couple with dog - Giclée print on watercolor paper, various sizes, 2022
Ieuan Holt
''When painting stops writing begins; And when the writing stops painting begins.''
''It is within this cycle, where painting and writing inform one another, that my most
recent works seek to situate themselves. Through the combination of non-
representational paintings combined with the perceived concreteness of words I set out
to produce poetic artifacts that explore the uncomfortableness that can be found within
the relationship between the two forms as well as the vulnerability such emotional
expression produces when silence is given something that resembles a voice. Influenced
by my time spent in the merchant navy I am drawn to pallets that resonate with the sea as
well as the ports I have visited, favoring inks and watercolors of dark blues, greys,
oranges, and browns, as well as the hopefulness I find in pink. Whilst the subject matter of
my paintings is non-representational in nature there still lies a sea that is always with me,
pulling and pushing in tides of geometric marks, abstract landscapes, as well as in the
words that accompany the paintings, for without it neither would exist. I decided to leave
the merchant navy so that I could follow my passion for creative writing by studying it at
university. Without crea- tive writing, a practic that had helped me come to terms with my
mental health issues and ignited my love of the creative arts I not have discovered
painting.''
Ieuan Holt is a Plymouth-based artist and poet interested in the spaces created when words and
visual arts meet. Recently he has finished his English and Creative Writing Degree at the
University of Plymouth, as well as becoming a member of the Plymouth Society of Artists. During
his most recent solo exhibition, Crossing Oceans, at the Brownstone Gallery, he exhibited several
of his visual poems.
70 I Don't Believe We Have the Same Definition of Love - Acrylic on canvas, 26''x22",. 2021.
Something Like Art Maybe
ICan't Be an Artist - Embroidery of vintage photograph, 2023
71
Gillian Mather
77 Untitled
Rytis Gervickas
Crisis 11
Mind in the state of chaos. Driven by anxiety, confusion and uncertainty. The perfect picture of soul in disarray. Camera
as a tool to look and find some kind of order. Resulting in disorder, dirty ,underexposed, grainy images. Result of
scattered thoughts and side effects of medications, lack of sleep, constant fatigue, state of waken dream. No sunlight
in sight. Everything half light, by electric mist. Closed spaces melting in to an open air sceneries. Camera as a tool to
watch, notice, capture the pieces that are still visible, still relevant, just for me.
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Adi Lotcu
79 P2
Vakho Khetaguri
A remarkably skilled photographer hailing from Tbilisi, Georgia. His photographs capture the very
essence of the scenes his camera encounters. His portfolio spans social documentary snapshots,
evocative and emotive landscapes, and bold and edgy portraits, all brimming with enigmatic
tranquility.
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Jay Goldberg
In his 20s, he worked on political campaigns with the country’s preeminent strategist. In his 30s,
he was a sports agent to athletes, sportscasters, and Spuds MacKenzie, and brought Russian
hockey players to West Point and Mississippi. In his 40s, he co-founded a creative design studio
that specialized in handmade beautiful baseballs coveted by business titans and bar mitzvah
boys. In his 50s, he opened a unique gallery/shop/community event space on a Greenwich
Village side street that became known around the globe. Now, in his 60s, he’s working on “The
Memory of America” and other multimedia art projects. Jay Goldberg lives in NYC, the city where
he was born.
A graduate of NYU and New York Law School, his creative designs have been featured in retail
stores, catalogs, art galleries, and museums throughout the world, such as the Museum of Arts
and Design, Museum of Contemporary Art Chicago, Museum of Fine Arts Houston, Cooper Hewitt
Design Museum, Ethan Cohen Gallery, Sundance, Neiman Marcus, Saks Fifth Avenue, and Colette
Paris.
82 Gone, 2023
84
Alice Lenkiewicz
Doorway-Versailles, 2020
85
Lea Hope Bonzer
The power of simplicity
Tomi Borza
"SpArt-Nouveau" Pun in Romanian meaning "BrokenArt-Nouveau", 2022
86
Alexandra Buxbaum
Chefs in SoHo, NYC, 2994
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Arefeh Nosrati
Born in Iran and having grown up and established her life in Tehran, she navigates a landscape
where attention to art remains meager, particularly for emerging talents. The prevailing
conditions seldom provide a platform for showcasing artistic endeavors unless one has
connections that can vouch for them. Undeterred by these challenges, she forges ahead on her
artistic journey, even if that means pursuing her path beyond the borders of Iran.
Her primary artistic focus lies in the realm of writing, with a pronounced affinity for screenwriting
and playwriting. However, her creative journey took root during her childhood, when she
developed a passion for music, piano playing, and photography. The photographs she submitted
for a contest were captured at the age of seventeen, but due to the lack of a suitable avenue,
they remained unseen. Now, after many years, the recognition of her work brings her a sense of
contentment and strengthens her self-assurance to persist in this pursuit.
A strong inclination towards minimalism characterizes her artistic style, evident both in her
writing and her photography. This aesthetic preference has allowed her to perceive concepts
within simplicity and the presence of unembellished elements. She firmly believes that when a
photographer gazes upon a scene, a narrative unfurls in their mind, a story they hope the
audience will perceive as well. Yet, she acknowledges the audience's freedom to interpret the
image as they deem fit. This dynamic contrasts with her approach to screenwriting, where she
crafts words in a manner akin to painting vivid mental images for the reader or viewer to absorb.
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Dato Koridze
Dato Koridze, an artist rooted in Tbilisi, delves into a multitude of creative pursuits. His projects
serve as poignant narratives shedding light on social disparities, minority rights, and
communities grappling with oppressive themes. Garnering recognition, he stands as a laureate of
numerous international festivals. Dato Koridze's photographic endeavors have graced the pages
of influential global publications, amplifying his impact. Presently, he contributes to Radio Free
Europe, Radio Liberty's Tbilisi office, while simultaneously nurturing his personal projects.
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Mohammad Reza Masoumi
92 SEFID CHAH
Nasim Asadi
93 In between
Guilherme Bergamini
94 Window Man
Gabrielle Shamon
96 Untitled, 2022
Filipe Bianchi
Seren Willicombe is a young autistic, Welsh visual artist who primarily focuses on Welsh
Landscapes and the bond that she shares with the landscape. this body of work is a unique twist
on the theme of 'Seascapes'. Seren loves to push the boundaries of Landscape photography by
combining different mediums and challenging what could be consider as a landscape. This body
of work titled 'Sea of Glass' is a series of photographs of windows from St Mary's Church on the
coastline of Rhossili. these windows represent more than just religious iconography, they
represent the Rhossili coastline, the beaches and the sea. These photographs push the
boundaries of what is a seascape and challenge the idea of landscape in photography but still
displaying the beauty of the Welsh coastline.
St Ives 311
Photo print,
59.4x42cm, 2020
100
Abigail Victoria
102 #bridgeinbetween
Levan Kherkheulidze
103 Help!
Zahra Farsi
104 Caravan
Dana Moody
108 Photography
Shavit Vos
109 Serenity
Jonathan Stright
Chill, 2007
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113
Denis Abazi
Together, but not quite aligned - Digital processing of photos, 25.5x17cm, 2022-2023
Jasmine
Merry
Blackmoore
Phytography, 2023
114
Gjert Rognli
''What nature knows''
Rognli draws in references from his affiliation with Arctic Northern Norway, to light, darkness and the seasons. He
transforms ordinary landscapes into an enigmatic place to be and takes us on a visual experience in the evening and the
atmosphere of the night. In the project he immerses light installations in water, and creates harmony where there is
conflict between the elements. He illuminates nature with LED-lights and luminescent material.
Do we really have a memory? Do Memories represent our own imagination? After we get
over of the short travel of our life, what can we leave behind? I pursue the answer by
placing a pinhole camera on the top of the car during my journey…
What is reality? When we approach the world through vision, we believe that what we
see is real, but in reality, it is not. If ancient Chinese artists used meditation to
communicate with and describe the world, can we also use an alternative dialectic to
access an alternative vision of reality? In my work I have attempted to use self-
constructed digital interactive receptive installations to record and describe the world,
visually rendering the transformation of material energy. Perhaps such a visualization of
energy is in fact the manifestation of an invisible reality, the expression of an alternative
emotion…
Xue Chenglin (b. 1982) currently lives and works in Beijing and New York. Xue was educated at
the China Central Academy of Fine Arts and Alfred University, Department of electronic
integrated art. He has participated in exhibitions at Werkstatt Grazy Gallery, Vienna; Robert C.
Turner Gallery; and CAFA Art Museum, Beijing among others. Xue’s work uses Arduino,
processing, Maxmsp, and other interactive software in synergy with photography, video,
printmaking, and other media. His work explores the nature of video and objective reality,
focusing on the relationship between people and nature, attempting to harness interactive
media to explore an invisible reality.
Luciano Caggianello born in Siena in 1959, is an artist and designer who began his activity in the
1980s interacting with different professional fields: Advertising, Illustration, Graphics, and Design
(industrial and car design). At the same time, he embarked on a path of artistic research which,
after initial and assiduous frequentations at the Academy as well as studies and ateliers of Turin
artists, led him to evolve various representative and visual themes, allowing him to also validate
an articulated national and international exhibition itinerary, such to make him now a
recognized and historicized artist.
He is also accompanied, in this path, by the publication of some books (“Intermediario
Immateriale” 2003, “Parole Altrove” 2014, “Aporia e Metamorfosi dell’Arte” 2019, “Fenomenologia
del Quotidiano 2020, “Pubblicità .jPig” 2021)which serve as an aid to reflection and deepening of
one's conceptual and philosophical research.
In recent years, his recognition has essentially become a work of prevalent perceptual and
conceptual synthesis that re-elaborates all the didactic, cultural, and intellectual interactions also
coming from his various training fields (from Applied Industrial Physics to Architecture, to the
Visual). Furthermore, this approach, by identifying the artistic objective of thematic-conceptual
planning and experimentation inserted between concrete "poverty" and digital art, turns out to
be much more related and relevant to concepts of presentation than representation.
He lives and works in Turin.
John Laurence was born in Belfast, Northern Ireland in 1983. In his work, he playfully borrows
elements from wallpaper and fabric design to create indulgent textile collages. Seeking to
manipulate and deconstruct patterns in innovative and colourful ways, he brings together
preexisting fabric designs and embellishes pieces indulgently with beads, buttons, sequins,
diamantes, and other materials. He deploys fabric like paint, embellishes beyond the constraints
of gilded frames, and hand-stitches pattern over pattern. This recontextualizing of upholstery
fabrics with contemporary materials produces a vast number of design possibilities, which John
explores with a Fauvist sensibility and a penchant for extravagance.
Jazz Prisciandaro-Wood is an English-Italian artist working and living between Manchester and
Hertfordshire. They recently graduated from the Manchester School of Art with a BA (Hons) in
Fine Art and Art History (with Overseas Study). They have previously completed a foundation
diploma in Art and Design, specializing in sculpture, at Camberwell College of Art.
Influenced by an interest in memory, semiotics, and autobiographical work, Jazz Prisciandaro-
Wood’s practice concerns their relationship to their heritage, exploring ideas of inheritance,
identity, and linguistic and cultural distances, using letterpress and textiles. Their work integrates
personal memories with different forms of remembering, including folklore and academic
research. This method reflects the shifting and unstable nature of memory and how individual
memories can weave together to create new narratives, giving the present an opportunity to
learn from and remember the past. Craft processes such as hand embroidery and natural dyeing
are also an integral part of their practice. These time and labor-intensive processes allow her to
explore the therapeutic potential of making and forming a deeper connection with her subject
matter. The presentation of their work has been influenced by the contemporary display of
textiles, from trade union banners to handmade quilts, looking at the differences between
domestic textiles in the home versus artwork in mainstream institutional gallery settings. Using
domestic methods of display allows Prisciandaro-Wood to draw connections between these
potentially oppositional settings as well as emphasize the handmade and domestic themes
within their practice.
122 Companione (can you get me something to eat?) - Naturally dyed fabric, hand stitching and letterpress., 40x40cm, 2022
Vivienne Jagger
Vivienne Jagger has been working in glass for the past 17 years, a medium she was drawn to
because of its endless possibilities. Coming from a coastal town in the UK and now living near
the sea in Perth, Western Australia, the sea in all its myriad moods continues to fascinate and
inspire her. Glass is the perfect medium for the expression of that passion, with its opportunities
for translucence and achieving depth through layering of colors and opacity. She has exhibited in
numerous exhibitions over the years throughout Australia and her work is held in many private
collections.
124 Tidal Flows - Glass, fused, and slumped. Acrylic supports, 30x20x7cm, 2019
Alison Vincent
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127 Rebirth - A ceramic sculpture that shows the spirit and the body combining into one creating the human body
Nanxi Jin
“Ceramic is a permanent medium and I'm a reluctant visitor.”
As a Chinese artist living in the United States for the past decade, I have grappled with the
tension between my early years in China, where I immersed myself in art centered around
harmony, nature, and composition, and my art education in the US, which encouraged me
to learn the rules in order to break them. This juxtaposition has greatly influenced my
artistic journey, as I now combine my appreciation for harmony with the vibrant colors,
conceptual leanings, and unrestricted expression of Eastern gestures inspired by Western
landscapes I have discovered in Western aesthetics.
Raised in a traditional ceramic city Jingdezhen, China where perfection was the ultimate
standard, I initially focused on mastering traditional techniques. However, clay, being a
paradoxical material—both fragile and sturdy—has led me to reconsider its possibilities
and explore its unique qualities. I now emulate the impressionistic gestures found in
traditional pottery by intimately engaging with the clay, using touch and pinching
techniques. Through gentle taps on the soft clay, I create imprinted surfaces that visually
and materially record the passage of time. This process establishes an emotional bond
with the material and allows the clay itself to guide my artistic expression. By embracing
imperfections and welcoming mistakes and chaos, I have found liberation in her creative
process.
Nanxi Jin is an interdisciplinary artist who works with clay. She currently lives and works in
Chicago. She obtained a BFA in Art & Design from New York State College of Ceramics at Alfred
University in 2020. She graduated from the School of Art Institute of Chicago in 2022. Her works
have been exhibited in multiple exhibitions, including Ceramic Art Avenue Gallery (2019),
NYCxDesign during New York Design Week 2021, :iidrr Gallery (2023) She received the First Prize
in the 2022 "Shiwan Cup'' Youth Ceramics Competition, Silver Medal of the 12th Chinese Ceramic
Art Exhibition and Silver Award for China Ethnic Arts and Crafts Competition. Her work “Various
Vase” has collected in Guangdong Shiwan Ceramic Museum.
A self-taught young sculptor from Georgia. Conceptual sculptures are made of bronze and tell us
about the reality of daily life.
''The tempo of modern life is so tiring, that people have less and less time to slow down
and listen to their internal streams of feelings and explore the dimensionless world of
their imagination.
All of my artworks are unnamed as my intention is to give the viewers the freedom to
analyze, understand, and feel the artwork and choose the name that describes it best for
them. This freedom makes art more exciting and truthful.''
Salome Kobulashvili, hailing from Georgia, is renowned as a skilled sculptor and jeweler.
Interestingly, Salome boasts a notable lineage, being the granddaughter of King Erekle. The
historical residence of her ancestors has found a new purpose within the premises of the Tbilisi
State Academy of Arts.
Her artistic creations come to life through a skillful fusion of mixed media. She meticulously
utilizes mineral stones sourced from various regions of Georgia, preserving their innate
authenticity in terms of shape and texture. Beyond stones, her artistic arsenal includes a diverse
array of materials like smalt, clay, bronze, and silver. Notably, her background in stomatology has
bestowed upon her a unique perspective, enabling her to perceive intricate nuances differently
and ingeniously incorporate them into her works.
Salome Kobulashvili has been dedicated to her craft since 2016, consistently delving into the
realms of both sculpture and jewelry. Her captivating creations have garnered significant
attention, finding their esteemed place within private collections spanning the globe.
Jacky Kelsey is a Chicago-based artist with a focus on soft sculpture and a background in
drawing and puppetry. Originally from Wyoming, they moved to Illinois in 2014 to earn their BFA
at SAIC. Upon graduation, they worked as a seamstresss and upholsterer. They now continue
making sculptural work that deals with themes of body, clothing, and queer identity.
136 Lady Giraffe, 2022, Soft Sculpture with Stuffed Applique and Vinyl, 4’ x 2’ x 4’
Wolfgang Woerner
137 just hit the ball back so it bounces on my side - latex, mesh, cloth, wadding, thread 32x84x45cm, 2022
Savako
Savako specializes in sculptures made of fiberglass from clay models, and then painted. Her
sculptures are characterized by their colorful and playful forms, which look like ancient
civilizations, but with a contemporary pop.
Inspired by the shapes of mountains, clouds, and flowing rivers seen from her studio, the
lushness of trees, and the gestures of living creatures, the forms are all lively, optimistic, and fun.
Her motivation is the emotions of childhood. So adults who see her work will remember how
they felt when they were children. And children will have their imaginations stimulated and
input the shapes in their minds. Savako hopes that through her works, people will be inspired to
see the bright spirit within themselves.
138 Sculpture
and more...
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Erika Loch
Elemental
Air. Breeze.
Ground. Trees.
Flame. Heart.
River. Start.
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Erika Loch
Inside Out
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Frances-Ann Norton
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Frances-Ann Norton
Torque
145
Alla Kudzieva
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Chapter 1
Introductions
Oh, yeh… that’s Marta’s way: “oh oh” – and she’s beetled off.
“That’s what I can’t get my head around” – she was telling a bit out of breath to the Blue Tiger, who
was walking grandly next to her. “Has the world turned upside down, or is it me standing on my
head?”
The Blue Tiger squinted at her, without really turning his muzzle, grunted, stared blithely at the
horizon, and continued wagging his behind in a soft cat trot.
“No, please understand,” she persisted, jumping over yet another fallen tree, “I don’t know what to
choose: should I live without understanding the world or should I accept that the world doesn’t
understand me?! This is vital! Everything depends on it! Either I will have to learn the art of vanity
and blame the whole world or learn to exist in depression and progress in self-flagellation. Can’t
you get it?”
“Why are you running, my dear?” asked the Blue Tiger without turning his muzzle and just jiggling
his tail in displeasure.
“I’m running away.”
“Yet no one is chasing you.”
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The Blue Tiger also stopped. He sat down leaning against the tree. With his long, striped tail, he
flapped on the fold of his beige trench coat, and with one deft movement of his paw, caught the
joint that flew out of his pocket. He lit it and took a long lazy toke and offered the joint to Marta.
Marta pulled on her shades, fixed her dress, and sat across.
“I really don’t understand,” continued the Blue Tiger, blowing the smoke out.“You are running away
from a choice, aren’t you?”
“No, no! Of course, not. I’m running from the groom. I’m straight from the wedding.”
“Judging by the black veil, from your own wedding, as far as I understand.”
“Well, yes.”
“Then, you are selfish, my dear.”
“I beg your pardon? You are wrong here. In this case, I’m, quite on the contrary, making sacrifices
for the good of society.”
“Well,” Blue Tiger relit the pot, “this is a completely different matter. Let’s go on, then.” He handed
the joint to Marta.
“Thank you,” Marta responded politely and pressed her lips to the joint.
“I’ve heard, and please correct me if I’m wrong,” said the Tiger crossing his legs, “That people need
ongoing communication with each other, and moreover, this connection is exclusively energetic. Is
it true?”
“Right. There are several interpretations, though; some folks still talk about chemistry, instincts, or
smell, but in general, you are absolutely right.”
“I’ve also heard that people are constantly craving for new energy, that you are addicted to the
very process of searching and anticipation.”
“This is also true. People are narcomaniacs of their own illusions and vices. But what are you
getting at?”
“I mean that I would call you, Marta, a human if it were not for your wing instead of your left arm.
Therefore, most of your heart, where the quills of feathers do not reach, is human. So, you are
more than infected with the humanity virus??”
Marta took off her glasses and stared at the Blue Tiger.
“That’s gibberish, my dear friend,” she answered defiantly. “Are you trying to convince me that I’m
infected with feelings? Human feelings???”
148 Drawing
“I wanted to, but I didn’t expect such an arrogant protest on your part.” The Tiger took offense at
Marta’s tone, sprawled and stared at the sky.
“Don’t you know,” Marta continued authoritatively, crawling slowly on her knees, closer to the Blue
Tiger, “in order to be able to feel, and I mean really feel, you have to give the other person your
entire heart? Wholly.”
The Tiger turned his muzzle and brushed his nose in Marta’s face. He looked fearfully into her
frightened eyes and hugged her with his huge fluffy paws.
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Chapter 4
Honey Moon in the City of Dust.
Marta was sitting at the typewriter. With her wing (which, as we remember, she had instead of her
left arm) she was warming up her bent legs while with her right arm she was hitting the keys
incessantly. Writing.
The Blue Tiger gave Marta an invisibility cloak as a present. A special one, for the walks around the
City of Dust, where he took her for the honeymoon.
Marta fell in love with the gift. She coveted it so badly that she couldn’t even imagine it until the
very moment she put it on for the first time. Now, she began wearing it every day. This has become
her new ritual.
Every morning, at 5 o’clock, she slipped out of the house and headed wandering around the city.
She managed to return when The Blue Tiger was just waking up.
And never once did she catch him sleeping, although she really wanted to.
Having returned, she settled herself down right on top of the blanket, across from The Blue Tiger,
and began to tell him about everything she had found in the city.
-Good morning.
The Blue Tiger pulled himself up and sat down, leaning on his elbows
-Good morning.
Marta was waiting, wiggling impatiently. She needed The Blue Tiger to focus enough to listen to
her.
The Blue Tiger reached for a glass of orange juice unhurriedly, and the for his pince-nez;
threw his paws behind his head, and uttered:
150 Drawing
-First, appreciation, -she rapped out long-awaited text, -I’ve found oxycodone berries you tossed
into my cloak pocket. Thanks. It was very handy.
-Your thanks are accepted, - The Blue Tiger got a bit embarrassed.
- And now about the new, - she continued, a little disconcerted, on next inhale, - Today I’ve studied
such a phenomenon as the impact of the sun on a human. The impact of a phenomenon has been
transmuted into the phenomenon of impact, and it seems I’ve discovered a new kind of addiction.
Addiction to the sun.
- Is it berries talking out? -The Blue Tiger adjusted the pince-nez on his nose.
- Rather, the consequences of berries. And some people who are capable of seeing me through the
invisible cloak.
- Go on.
- So, Is it from the heat or from the light, I’ve not yet got it, but the human has a dependency on the
sun’s rays. Having been exposed to even a slight dose of the sun, they experience the pleasure
differently. They begin to covet it. Want to smile, want a shorter dress. Want an ice cream. And ice
cream, banana flavor, in particular, is a sure sign of a celebration.
- I’m not gonna argue, - The Blue Tiger agreed, licking his lips.
- At night, - Marta continued, - We are in withdrawal, green around the gills. That’s why we create
during the night. Make things up. Sometimes even get sick without sun. It is addiction.
It is painful. Everyone knows that creating is possible only when it hurts.
- Well, your arguments are reasonable.
Marta stared motionlessly at The Blue Tiger for another second with burning, childlike eyes.
The next instant, completely changing her facial expression, she climbed headlong under the
blanket and barely legible demanded:
- Now, give me more of your oxycodone berries and I’ll fall asleep. The city is very wearying. It’s
difficult, you know, to carry so much dust on.
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K are n Stro n g
A collection of everyday Whatsapp
conversations between a millennial couple
living together in 2022.
Nick Tobier
Nick Tobier is an artist and flower farmer. Nick studied sculpture and landscape architecture and
has worked at The Fabric Workshop and Museum in Philadelphia, The Philadelphia Museum of
Art and Storefront for Art & Architecture in NYC, and as a designer with the NYC Department of
Parks and Recreation/ Bronx Division. Nick’s focus as an artist-designer-educator is in the social
lives of public places, both in built structures and events from bus stops to kitchens and
boulevards in Detroit, Tokyo, Toronto, and San Francisco. His work has been seen at the
Smithsonian, The Queens Museum, NY, The Mattress Factory, Pittsburgh the Prague Quadrennial,
and Somerset House in London. Nick is co-founder of the Brightmoor Maker Space in Detroit, a
libra, a mid-fielder for the Penguins, a 4th division soccer team, and a Professor at the Stamps
School at the University of Michigan.
Aqueduct:
Built for an overlooked public square in Boston, this perpetual watering system was
constructed to care for the plants and to serve as an element of visual delight. The
aqueduct takes an ordinary task-- watering the garden--and turns it into a public
ceremony by way of a ‘fountain.’ This aqueduct consisted of two holding tanks connected
by bamboo sluices. A gardener filled each of the tanks once a day and opened the valves,
thereby allowing the aqueduct to gradually irrigate the entire garden; a trickle
meandered along elevated waterways, and out through a series of perforations.
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Aqueduct: watering system - Pencil and ink on paper, 28x24cm, 2018
Aqueduct: A distant. view - Collage and pencil on paper, 27x24cm, 2018
Aqueduct to water Garden
Paper & pencil, 28x22cm, 2018
Jes Chatwin
Bovine eyes / Cow.
The woman from the white car catches my eye, and her eyes catch me too. There's a semblance of
privacy in cars, of solitude. Perhaps you're being watched, perhaps you're stressed, but depending
on the person, you can be very close to one of the versions of your true self in a car, if there is such
a thing. Stress and relaxation create a concentrated, varying potion in each passenger. Passenger,
because the driver truly is concentrated; the lens is different for one car dweller, the one at the
wheel, and the others, if there are any. Tunnel, wall. We're the fast lane now, and I'm the left
window. Nothing but fields. Little cottages with the holding columns on the outside. Bunched
together like mushrooms- large house with cottage mushrooms around it, and then nothing. The
other side zooms by, boxed individual worlds disappear into retrospect, to the past which no
longer exists, because there is no looking behind you. Eyes can't follow them, it's as if they never
existed, as if the cars didn't have dwellers at all, as if they were only blots obstructing your vision
for a split second, white, black, black, white, white, black… Van. Grey. Van. White. Van. Red. Van.
White. Black. Black. Grey. Running yellow. Truck. White. Would you like some candy? No, thank you.
I'm only a window. A window with wide, curious eyes, who has a left again now, and meets puffy
blonde, puffy-nosed eyes- why are you looking at me?, they ask. Remember what you said about
privacy?, they ask. I said semblance, I retort back to the hood of the big black, rounded car. Parking
lot, window rests. Big black, rounded what, you say? Big black, rounded, throbbing, veiny, smooth,
hard… woman gets into the car on the left. Big black, smooth, long, wavy, soft fabric on her body.
Only her bright green eyes glow lightlessly out of a pitch black robe. Like me. Only eyes. Just a
window. Don't talk to the window, please. I have no robes. My eyeballs are unprotected. They have
nothing to say. They have only the basic needs - a thirsty throat, puffed nipples, a swollen lower
belly, and a humid loin. Loin. Tenderloin? Cow flesh. Carcass, and swollen, throbbing bits. Which?
You fell asleep that day, you dreamt, and the dream's seeped into your eyeballs since then,
knocking at your irises. You always wonder if it was the dream that fed you, or if you fed the dream.
If it fed you poison, or if you gave it belladonna. Were you trying to cure it or kill it, in that case? In
any case, you've felt your body differently since then, and now you're okay just being a pair of
eyes. You need to be a pair of irises. How do you stop feeling the rest? Do you want to? Or rather
than taking away, could you add? Your wrists are cold. Your upper arms are warm
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against your sides. Your left elbow is sinking into your V-bone. Gently. Your lips are chapped, and
slowly burning. Your mouth feels dry, your tongue feels big in your mouth, your teeth taste yellow.
You forgot to brush your teeth. Your neck is crooked, tense, but not sore. On the right. The cold
plastic of your headphones has warmed up and is lying against your left collarbone, touching
below your jaw. You rest your head against the right bud, tensing your neck even more. The skin on
your face feels dry, stretched, but grimy on the inside. Teeth, lips? You have lip balm on your lips.
Greasy, slightly. Your right butt cheek hurts slightly from sitting in the same twisted position. Your
feet are coldly immobile, or neutrally frozen in place inside your Converse. Your hip starts to hurt
with your leg, carries it up all the way on the right side of your body, pressing your dimple, and
sending a sharp shock down to your buttock. You don't feel all this when you're only eyes. Without
a body, you are the eyes of a cow, a caged cow. But you feel human, and you feel safe. Now you've
got a nose and eyebrows, but half your ass hurts; is that better? Lean legs against a big book. Less
pressure, same discomfort. Have we crossed the border? Eyes want to play a game with their
fingers. Fingers.. crack your right thumb, yawn, your hair and that incredibly specific spot on your
head feel scratchy. Do you feel it more? It sinks into your skull, like warm saltwater in your ear, in,
in, inches slowly, begging you to scratch it. Please. Please, please. At least touch me. Stroke me.
Your fingers feel light, but your palms feel heavy. Your eye twitches. Ha! Your eye. You have eyes.
You've transformed. They are not you, they're not all you are anymore. Your mind has done a
somersault, and realized its own existence, classing itself away inbetween being a part of your
body and the invisible viscous substance that controls your entire being. Now your eyes are tired.
Your lids can close. Since they are more than themselves, they can sleep in peace, and trust the
viscous substance to wake them, open them again. The under eye lid can be itchy, and the left eye
socket can feel heavy, heavy pushing into your nose and making half of your side heavy, calling
your mind for attention. Your ponytail tickles against your skin collar, and the sun rests on your
face. The left half is bathed, from the side window. You're no longer a window, either. It isn't part of
you at all anymore. Sleep, dear substance, lay your bones down and sleep like a jellyfish. I'll wake
you when your sleepy state decides it's necessary for one reason or another. You're falling apart,
hands droopy and eyes heavy. Dream of rocks, and pebbles, and bury the cow in a shallow grave
on a hilltop, lonely cemetery. Good rest.
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Biographies: