Invititation: exhibition and events

Spill
Ruth Fazakerley & Agnieszka Golda
9 October - 2 November 2007

SASA Gallery
University of South Australia, City West Campus
Kaurna Building (K), Level 2
Cnr Fenn Place and Hindley Street Adelaide

Exhibition launch: 6pm, Wednesday 10 October 2007

Exhibition floor talk: 5pm, Wednesday 10 October 2007
A public talk in the gallery with the artists and visiting international scholar, Dr Divya Tolia-Kelly, University of Durham; prior to the exhibition launch.

Public seminar: 2pm (time TBC), Friday 12 October 2007
Room H6-12, Hawke Building
University of SA, City West Campus
Dr Divya Tolia-Kelly presents a public seminar in conjunction with the Cultures of the Body Research Group (School of Communication) and the SASA Gallery.

The exhibition invitation is available here.
More information about the SASA gallery can be found here.

Blue

Hope: A Moving Image
8 to 19 August 2007
191 Gouger Street, Adelaide
and Arts SA windows, 110 Hindley St, Adelaide

Hope: A Moving Image is an opportunity to experience the work of several well known emerging artists expressed in the medium of ‘film’. While familiar to the viewer, film is a medium unfamiliar to the practices of most of the exhibiting artists.

The artists selected to explore moving image in Hope: A Moving Image are:
Prathna Biswas \ Susan Bruce \ Reuben Duffy \ Peter Dyson \ Ruth Fazakerley \ Agnieszka Golda \ Anja Jagsch \ Scott James \ Lorelei Siegloff \ Ryan Sims \ Scott Taylor

Hope: A Moving Image is supported by the Helpmann Academy and Rob Ellis of Local Tech Services has provided the projection screens. The exhibition is part of the SALA Festival Moving Image Project.

Our contribution, the 3 minute video Blue, makes use of text, colour and repetition to bring together something of the affectual economies of both Australian and Polish rituals of renewal associated with domestic house painting!

Pictures & Tears

James Elkins 2001, Pictures & Tears: a history of people who have cried in front of paintings, Routledge, London.

If modernist and postmodernist paintings are about the act of painting or the artist’s own engagement with painting – ironic, circumspect, intellectual – as Elkin’s remarks, they are not subjects calculated to draw tears.

In contrast, Elkins comments upon the eighteenth century fashion for crying; a mode of being in the world that seems to have had its day.

An ‘epidemic’ of crying spread through Europe, he suggests, in parallel with the development of the novel:

readers cried because Rousseau’s characters were simple, because they were pure, and because they were happy. They wept delighted tears, jubilant tears, gentle tears, and rapturous tears … Soon the weeping spread from novels to theater and from theater to daily life … Tears were just part of the full response that any sensitive person should feel. (p 121)

Tears were wept with judgement and tempered passions. This was a regulated economy of emotions – and texts, performances and artworks were expected to yield a measurable quotient of weeping, neither too much nor too little, requiring careful staging on the part of the author or playwright.

‘It is no accident’, Elkins writes:

that the eighteenth century is also the beginning of the theory of acting. Diderot and Voltaire both speculated on whether actresses should cry outright, or feign their emotions. Some might elicit pity, or even disgust. Crying had to be projected, sent out to the audience and not just released. (p 123)

The rhetoric of tears, the codes of emotional communication, have altered drastically since then. Although it’s not hard to find their trace in contemporary film genres, or in the sets of rules given to authors of contemporary mass-produced romance novels, Elkins suggests we are wary of being manipulated and resent trickery. Dry-eyed and well-controlled, ‘stoked with irony’ and ‘banked with lucidity’, we no longer know how to cry moderate tears, permitting ourselves only ‘slim rations of pleasure’ and forbidding‘genuine transport’ or feeling. (p129)

the title - spill?

Agnieszka's thoughts on the Maria Magdalena i Pieta are really helpful in making me think again about the exhibition title Spill. We were initially playing with the imperative embedded in speaking the word - the active injunction to perform - to spill one's guts, to tell, reveal, divulge, leak, ooze... At the same time, involvement in a physical spill (handwept glass onto the floor) generates another kind of involuntary, adrenal response. Both senses of the word evoking liquid, fluid metaphors - something difficult to bind or contain; escaping at the edges.

In Agnieszka's words the Magdalena is linked to 'the generation of collective affective practices of resurrection (of which most notable is absolving) and ascension (of which most significant is the reunion)'. This brings me back to the sense of Spill as confession, which is in part about reconciling an interior, personal experience with an exterior, collective one; a personal and community absolution, bringing experience (and affect) into the realm of the shared and agreed upon...

The context of confession then is a useful one for thinking about what we have been calling 'scale' in relation to affect: the relationship between personal, embodied experience and broader social, political understandings or productions of affect.

Jill Greenberg's images of crying children, referred to by Agnieszka, are another useful example here, in pointing to the artist's mistake of assuming to know the dominant (or seemingly universal) affect to be generated in the viewer by the image of the crying child. The unease caused by Greenberg's photographs point instead to the multiple registers of distress these images provoked, and that knowledges of the 'child' are deeply imbricated with other discourses concerning a fear of being seen to feel - to take pleasure or other benefit - from children (exploited or otherwise). These involve too the well-circulated media anxieties concerning child pornography and the role of technology in allowing disguise or distancing of the realities of (especially child) exploitation. The point then, I think, is to keep thinking about the (inextricable) connections of bodily, perceptual response and other social, cultural and historical layerings of difference.

Sw. Maria Magdalena i Pieta

Fascinating…, the word, a pietà is a statue or other art showing the Virgin Mary, a mother overwhelmed by love and grief at the unjust death of her son. A pietà is an artwork explicitly depicting The Holy Mother, the Virgin Mary cradling the dead body of Christ. It is a particular form of the devotional affective practices/traditions known as the theme of Our Lady of Sorrows. The use of affective practices within the Polish folklore culture is interesting enough, but this is not the mother in sorrow, is it the lover, devoted disciple, wife, prostitute? It is Mary Magdalene, the controversial identity within the Roman Catholic faith and the subject of ongoing debate. Fascinating…

Intensities of feeling: towards a spatial politics of affect’ Part 2

An Interpretation and Summary of Thrift N (2004) ‘Intensities of feeling: towards a spatial politics of affect’, Geografiska Annaler 86 B (1):57-78

I do not know what it is I am like

Thrift suggests that the realm of video art conveys and engages explicitly with affect while utilising century old strategies to manipulate space and time. The author also points out the more recent developments and sophisticated use of moving image technology within the visual arts, as well as the possibilities of translating moving image into film, video, web and virtual reality artworks (here, I would also include DVD movies, mobile films and animation/anime).

Furthermore, video work easily translates onto the web with access to a more diverse group of viewers than the usual gallery audiences. I wonder if Thrift’s focus on video art also suggests that moving image is more effective to evoke affective responses than other visual art disciplines such as painting, sculpture or textiles. In addition to video art’s distinct representation of the connections between emotion, movement and city spaces as well as influencing space and time.

Thrift draws upon Bill Violas video work as it produces emotional reactions from the audience and utilises depictions which purposely engage the history of affect. Thrift sets out historical and contemporary past examples of affect which Viola draws upon in his work, such as the history of representation of the agonies of Christ from Middle Ages and the Renaissance tradition, which stems back to the ancient Greek pathos and the Christian notion of passion.

This reminded me of the Polish folk sculptures Sorrowful or Worrying Jesus and an evocative wooden sculpture of Saint Mary Magdalena praying while kneeling on a skull. Her grieving yet hopeful face seemed to simultaneously be looking towards the heavens as well as over her shoulder, an affective depiction which continues to fascinate me and for this reason I am considering to reference it in my artwork.

This representation, (my interpretation) would continue to engage the historical depictions and the unconscious history of affect as well as the original intension of the sculpture, the generation of collective affective practices of resurrection (of which most notable is absolving) and ascension (of which most significant is the reunion).

Placing this representation in a contemporary gallery space will affect the space and viewers within the space differently (if shown in Poland for example) and in different ways due to viewers’ affective capabilities formed by their social/cultural/political positioning, if at all. The artwork may even appear to be about something else entirely.

The possibility of such reactions and outcomes requires consideration as it opens up a range of theoretical and practical issues. Some of which are issues of representation, communication and finding ways of expressing affect, how affect can be located within an artwork and how an artwork transmits affect? Other issues would involve ways of unpacking, navigating and rendering knowledges of affect from other studies as a way to generate affective spaces that in turn enable viewers to be affected.

Another point which I mentioned earlier (previous reading) is the consideration of consequences for artists, who purposely utilise the universal to engineer affect for spaces and for spectators. Thrift identifies results of such a motivation as ‘unnatural naturalism and magical realism’. Viola’s aesthetic outcomes lend themselves to this type of interpretation but could also be viewed as over-produced, emotionless artificialities with superficial materiality.

This also brings to mind the work of Jill Greenberg tilted End Times (2007) and Thrifts suggestions on affect production; the larger than life faces, hands, lighting, crying, and historical depictions of agony, just to name a few. The large carefully staged photographic stills, display portraits of crying children. Aesthetically and technically these photographs utilise current press advertising clichés and media’s political vision of reproducing reality. As well as the Renaissance icon paintings particularly of cherubs and baby Jesus.

In this case it seems, that some viewers did not respond to the affective qualities originally intended by the artist but with concerns for the children’s well being, their unprotected position as under aged models in the hands of a photographer. However, as Thrift predicted the face was the leading engineer of affect, spectators were affected and emotionally reacted to Greenberg’s work.

The result of these images seems to represent more closely the consequences of over manufacturing affective qualities. As well as being about the engineering process of affective depictions, rather than affecting the audience with the ‘raw emotion of children crying’ as a vehicle for personal views of political and global situations, which seemed to be the intention of the artist.

I wonder whether Greenberg’s awareness of the individual/personal, the idea of herself, her children and other individual lives being governed by political and social factors, was overlooked and undetectable (or at least ineffective without reading her statement) due to a reduction of the general affective practices to aesthetic and singular defining subject matter by explicitly employing the universal and formal knowledges of affective response, such as a crying face of a child.

In a way the engagement with the traditional depiction of agony was appropriate, as it was the emotional back bone of the narrative but not the artist’s intended meaning of the work. However, the use of the universal approach of affective practice to communicate the collective, the individual and the personal, limited the reading of the work and striped it of any other possible affective qualities and emotional expressions. Resulting in images that became about the distress, agony and tears of the actual children being photographed, rather than evoking affects through manipulating space, time and the emotion reactions of the affected signifiers (the ‘future of our planet’) to current environmental and economical policies set by governments.

The potential representation of Magdalena is also problematic, one reason for this is that the inherent universal affective tradition of spiritual absolving and reunion is unachievable (not that this was ever my intention). This is mainly related to the object’s own and dislocated embodied memory, cultural, political and spiritual history. Yet, this position could open up a space for more plural ways of reading the artwork and in turn being affective.

Another reason is the range of affective capacities, the ascending and descending of emotional responses, which the representation may or may not emanate. This raises earlier questions about the language of representation of affect. What is an approach for constructing the visual language of affect that harnesses affective dialogue and exchange with viewers? How is this language to be arranged? And what are the knowledges of affect that are fundamental to the construction of the visual language of affective response?

Deploying expression that evokes intended affective dimensions seems obvious; avoid pitfalls of inability to affect such as silencing of emotions, which seems to arise when the affective signifiers are over-manufactured and the historical/political memory of affective practices is ignored. In other words, ignoring the issues of power from the resent or distant past when drawing upon affective traditions can constrain the emotional voice with superficiality risking ethnocentric representations.

Perhaps it is worth considering shifting and layering rather than reducing affective signifiers to their bare minimum. For example, shifting the awareness of the individual and linking it with the personal as primary motivation to evoke affect. Furthermore, the historical models of affective practice need to be positioned as connections to the resent and distant past power orientations and political landscapes, rather than ignoring their history and exclusively using them for their aesthetic and narrative constructions. This approach of linking past memories and present reactions could generate a place for manipulating space and time which are important elements of evoking affect.

The malleable relationship between individual lives and political/social situations and the various capacities for being affected or affective would be the fundamental concern. Linking ideas of the individual with memory of the affective practices and the personal, which in this case involve a memory of a lived experience, and the post-migrancy reaction memory, or even post-dislocation memory would evoke a process of post-emotional response memory which would be accessible to the viewers. This approach would also allow this process to be documented through representations and depictions without the need to declare a personal emotional experience or exorcism in the narrative component or in the ostensible meaning.

This would not guarantee an emotional response in a gallery space but it would forge a foundation for a multilayered approach to evoking affect where varied capacities of affect and emotional expression could be formed rather than a singular orientation being shaped or channelled.

Tolia-Kelly's writing

hey, I just realised that Divya P Tolia-Kelly is using her writing (or her writing practice) about affectual/emotional geographies as form/platform for engaging emotional activity in writing about affectual/emotional geography, it’s quite subtle but I can sense emotional expression and investment and this is affective. I find this interesting because she points out this as a gap in both approaches in geography. Am I seeing things or are you feeling it too?

Intensities of feeling: towards a spatial politics of affect

An Interpretation and Summary of Thrift, N. (2004) ‘Intensities of feeling: towards a spatial politics of affect’, Geografiska Annaler 86 B (1):57-78

Thrift examines politics of affect as central to vitality of city/urban spaces. The author explains that cities or urban spaces are often experienced as unstable whirlpools of affect (focus; meaning derived from psychology; feeling or emotion) eg anger, fear, happiness and joy. These affects are continually present, surging and descending due to events that occur in large public spaces as well as intimate environments. He gives some international examples - some local, heroic and prosaic events linked to visual arts, would include the Adelaide Fringe Festival Opening (connected to large public space), with noisy but celebratory atmosphere and for the everyday, an artist’s studio or even an exhibition opening, an intimate space layered with emotions of anxiety, passion and hope.

Although, the presence of affect within the city environment and connections between human activities are evident, the topic is neglected in urban studies. (Thrift refers to this as neglect of the affective registers). On the other hand he points out that study of affect has a long history and in philosophy for example, artists are mentioned, utilising public spaces to express emotional content or even express unpopular views resulting in the affect of suspicion, mostly due to the attitude that emotional expression is in opposition to the idea of reason. There is also the systematic scientific investigation of affect (physiology of emotions). Thrift points out that these studies also aim to control or command emotional expressions (identified as passion) within an urban space.

Thrift, then goes on to outline some of the reasons for the neglect of affect, past methodologies of logical analysis regarded affect as having no probative value to mechanistic interpretations of physical movement through urban space. Secondly, the desire to maintain fixed boundaries between different research fields, this point also gives light to creative arts engagement with the study of affect. Thirdly, emotions and perceptions are not easily interpreted into formal and aesthetic elements. Thrift points out that these reasons for rejecting affect, given by urban literature, deny the prevalence of affect in urban design.

Thrift argues that affect has become part of a process of re-looking at the urban landscape, that affect is not only utilised to understand urban life but also used politically. Furthermore, affect is how cities are understood and how urban spaces want to be viewed, as creative, oozing with energy and expressive spaces. The difference between the past and present is that affect although a constant element across time (many centuries) is now being engineered and it’s seen as the hardware of urban spaces.

The limitations of this paper, the omitting of cross-cultural sources from anthropology as well as research from social psychology and cognitive science, show Thrift’s detachment from the idea of individualised emotions and expressions of personal emotional energies within urban spaces.

Initially, I found the ethnocentric position of this paper and lack of awareness of difference as having little relevance to my current research, which is situated within the field of cross-cultural art practice involving issues of migrancy, affect, emotions and senses to explore the sensory and affective dimensions linked to an inner world ruptured by the experience of migration. Furthermore, I also draw upon feminist epistemology and have an interest in the notion of the conceptual space formed by the personal experience of being in-between cultures, particularly the experience of dislocation and being a foreigner in both cultures. Nevertheless, Thrifts introduction drew me in as he began to generously layout a ground with some familiarities. While Thrift thought about affect in cities and about affective cities, I considered affect in galleries, affective exhibition spaces and affective exhibitions.

I began to think about the nature and characteristics of art and consequences of producing such work that puts aside the individual and the personal, to explicitly focus on crocheting political, technique and affect together, in other words, artworks, installations and installation spaces that engineer affect or even specialise in the generation of a particular affective response, conditioning viewers’ bodies, allowing their emotions to be controlled or channelled for some kind of an agenda. Affective responses can be easily designed into spaces, through what Thrift refers to as practical knowledges of affective response, which are; design, lighting, sound, time, performance (bodies and movement), film (lights, faces, hands, bodies, movement and time), signifiers (images, objects, materials and arrangements). However a universal affective response is unachievable and therefore it can never be guaranteed.

Here, I also utilise and briefly mention, Divya P Tolia-Kelly’s commentary titled; Affect – an ethnocentric encounter? Exploring the 'universalist' imperative of emotional/affectual geographies (2006) and relate some of her points to elements of my research; the markedness of individual bodies which could be occupying the gallery space, the idea of an affected/affective/emotional gallery space as a conceptual space, a memory of theoretical critiques of universalism within an interdisciplinary approach to art practice.

Both of these papers and my research focus bring me to a point, where the practical knowledges of affective response are being enriched with the consideration of the individual (an awareness of individuals’ social positioning, issues of power and difference) and furthermore, this is expanded by the incorporation of the personal (relating affected personal memory to broader affective memory and broader affective memory to affected personal memory), as a way to engage with and convey affect through affected and affective space.

As a result the unpredictability of affective capabilities would be central to the installation space and not incidental or a random process. Ensuring fluctuations of affect, the rising and falling of emotional reactions and multiplicities rather than singular or universal affective response would imbue the installation space with varied and unfixable energies, which could refer to the life of urban spaces and hint at the gap between cultures experienced by migrants and refugees.

Affect - an ethnocentric encounter

Tolia-Kelly, Divya P (2006) ‘Affect – an ethnocentric encounter? Exploring the 'universalist' imperative of emotional/affectual geographies’, Area 38(2):213-217

This is a short but complex commentary by Divya Tolia-Kelly referring to Thrift's article. Again situated within the discipline of geography, much of the argument is specific to the debates in that field, so it's immediately interesting to think about the differences from the dominant discourses in the visual arts...

Tolia-Kelly charts a political, material, division between two strands of geographical research - ‘affectual’ and ‘emodied’ geographies - both concerned with attending to 'the intractable silencing of emotions in social research and public life'.

On the one hand, ‘affectual’ geographies (including Thrift's work) demonstrate a concern with affect as transpersonal embodied experience. ‘Affectual economies’, Tolia-Kelly writes: ‘are defined and circulate through and within historical notions of the political, social and cultural capacities of various bodies as signified rather than those specifically encountered, felt, loved, loathed and sensed.’ As feminist and postcolonial critiques have demonstrated more generally, however, there is a danger in the lack of historicity in much of this work, of a tendency towards universalism; so preventing any sensitivity to difference and to power geometries - to the idea that the affective capacities of bodies are signified unequally within social spaces, and that the registers of affect and emotion are multiple rather than singular.

On the other hand, Tolia-Kelly suggests, the ‘emotional’ geographies (of say Kay Anderson, Joyce Davidson, Liz Bondi), focusing on embodied experience, have ‘embedded’ a memory of social theories of difference, ‘emodied in a feminist critique of modernity and its legacy'. The emotional geographies project is a successful one, she suggests, in ‘its attempts to retain a sense of plurality and continually presenced are issues of power’. However, what is missing is ‘historical contextualizing towards a non-universalist understanding of emotional registers'. Hate and love, for example, need to be understood in ways that are sensitive not only to gender but to other differences (such as race).

Through a brief discussion of current research in the field, Tolia-Kelly proposes an ‘alternative conjoining of ‘‘affectual/emotional’’ geographies and power geometries [with] a political orientation that is historicist, and thus wise to the pitfalls of modernist ideology (feminism included) and thus is not sold on a universalist scale of measurement and encounter with emotions and geographies of affect’.

Perhaps the significance of such a project isn't immediately obvious to those familiar with the privileging of individual (artists') experience within much visual arts discourse, but it is worth remembering that this privileged body is still typically blind to all but a limited view of difference - de-historicized and de-politicized - and all too ready to adopt the universalist, deracinated, dehistoricized knowledge of other authoritative disciplines concerning the individual body, perception and affect.

A spatial politics of affect

Re: Thrift N (2004) ‘Intensities of feeling: towards a spatial politics of affect’, Geografiska Annaler 86 B (1):57-78

This was the first article that we agreed to jointly read and discuss. The article is a bit more ‘contextually dense’ than I’d realised (by which I mean it needs to be read as the work of an urban geographer talking with his peers about the field rather than any kind of general primer on 'affect').

The following brief outline of the introduction and general structure of the paper might be of some help if you haven’t already read it...
In brief, Thrift does the following:

1. Introduction
Why is affect relevant (for Thrift)?
It is a topic neglected in urban literature. However, it is important because:
i) Knowledge concerning affect is already being systematically created and mobilised in the urban landscape.
ii) It may (once) have been possible to restrict thinking about affect in terms of aesthetics but it is increasingly treated as ‘instrumental’; that is, ideas/knowledge/techniques of affect are put to use to do ‘work’ on people and spaces in particular ways with particular goals in mind.
iii) Affect is not only mobilised/actively engineered, but is increasingly part of how cities are understood: as ‘creative’, having ‘buzz’, ‘vitality’, ‘vibrancy’, being expressive etc.

Aim? To think about affect in cities, affective cities, and about the political consequences of thinking about these.

How? Looks at different propositions of what ‘affect’ is (Section 2); looks at some of the ways in which the manipulation of affect for political ends is becoming routine (Section 3); give examples of what might constitute a political agenda that takes into account affect (Section 4), offers a case study (Bill Viola, Section 5) and concludes (Section 6).

Limitations? Thrift says that the limits of his paper are that it is Eurocentric; ignores much of the psychology and cognitive sciences research; comes from a specific theoretical standpoint, which he outlines in detail – including that he is treating affect as a kind of ‘thinking’, or rather that thinking is not just a property of cognition (the brain/perception etc) but is patchy (fragmentary, takes place in space and time), has a material nature, etc.

2. What is affect?
Could be taken to mean lots of things. Often ‘emotions’ and ‘feelings’ (but not exclusively).
Thrift is NOT interested in idea of individualised emotions (eg as in much psychology).
Instead looks at emotion more broadly; individuals and spaces understood as the ‘effects’ of the events to which their body parts respond and in which they participate (eg I think as Foucault or Judith Butler might talk about bodies).

Concentrates on 4 approaches. These have in common that affect is discussed as ‘a kind of intelligence about the world’. So affect (eg emotion) is not ‘irrational’ and it is not ‘sublime’ either. (I think he means not not-rational or wrongly-rational, and not ‘outside’ of rationality/transcendent either.)
These approaches don’t stand independently, but each is connected to each other in some way (historically, in practice, …)

These approaches are:
i) affect as a set of embodied practices (eg from phenomenological tradition)
ii) affect as a manifestation of underlying ‘drives’ (eg psychoanalytic models)
iii) affect as ‘interaction’ (Spinoza/Deleuze; materiality/thought, mind/body aren’t distinct – instead ‘knowing proceeds in parallel with the body’s physical encounters’; affect is the property of the active outcome of an encounter – not a constrained/defined ‘response’ , but an action …)
iv) affect as the physiological product of evolution (neo-Darwinian; tends towards ideas of ‘universal’ human emotions manifested in common facial/hand expressions, albeit that these can be expressed differently in different social/cultural contexts)

3. The politics of affect
re: the manipulation of affect for political ends. Has a long history (eg military training of aggression), but argues that there is something new in contemporary times – new developments that expand ‘the envelope of what we call the political’ to ‘take note of the way that political attitudes and statements are conditioned by intense autonomic bodily reactions that do not simply reproduce the trace of political intention’.

Gives four examples of such developments:
i) changing forms that make affect a visible element in the political
ii) mediatization of politics
iii) new forms of calculation
iv) design of urban space to produce political response

4. Changing the political
Examples according to the 4 different models of affect.

5. I do not know what it is I am like
Gives a useful and detailed example of the work of video/installation artist Bill Viola

6. Conclusions
...

it all started with a snow flake

Crocheting, the seductive tactility of tightly intertwined surfaces could be utilised to disturb ideals, shinning and glorified examples of sacrifice, suffering, renouncement and martyrdom. This traditionally female practice shifts between the romantic and the insubordinate, dislodging and unsettling historical, ethnographic and political admissions and events.

fire

Ok…a way (my intention) to assemble the current cultural inability to meaningfully honour grief and loss. I can’t believe I said that, I mean…construct some transformative affect on/for the viewer. (aha, political, yes ugly social reality), so what about, fire than?

from green

well, some do not wish to show the horror of emotional turmoil through explicit imagery, well... that’s ok, but there is nothing better than, chicken feet, bells on horns and cow tongues. As well as, cloth, wax, dead animals, films and film sets.

night lights

I feel compelled…..I’m interested in….how to…..ways to tackle emotional and psychological states connected to loss, pain and death. Yet, most of all these images are metaphors for death that is transcended.

From Abstract to Bambino