La briciola squisita

Oscar Salamanca (@oscarsalamancaa), Juegos de muerte, 2021, mixed media on paper, 21 x 29 cm . . Front: Fácil recordar el pobre escenario de una vida cargada de nostalgia por el bienestar de otro, extraños seres capaces de robar el aliento más considerado. Antes de estos dibujos mi existencia tranquila se tornaba cruda, directa, detestable dentro de los pobres entramados de mi cultura del hambre. Suelo conquistar la calle con los pies sudorosos y cansados de tanto deseo por conquistas pírricas. Qué tanto pueden saber quienes mi interioridad pretende rescatar, si la vida de un triste a nadie importa, circunstancia fútil en clave de afectación potencia, afectación cargada de frutos rizomáticos Oye tú, el que escucha tras el vidrio nauseabundo, aquel miserable adicto a la sociedad de la conexión. Aquí canta por siempre quien sabe de antemano que habrá de alcanzarlo la muerte. Oye tú mira qué fácil decimos ese adiós violento de la potencia ciega. Ve a tu hogar a calmar los odios lentamente

« House Studies is an ongoing series of un-staged images that began when we moved home last March. Just days before the first national lockdown we moved to a remote setting in Kent, not far from where I grew up. I already had memories of the wooded lanes and how dark and cold the winters could get, this bought an uncanniness to the place; everything appeared enchanting to me, from the black dead trees, the hooting of owls at dusk, and the transformation of light from day to night. Set well back from the road the house had been empty for several years and the landscape was starting to take hold. These experiences coincided with my discovery of Jung’s shadow work, which, given the long, early days of lockdown and extended time alone, gave me plenty to ruminate over. Running parallel to my thoughts and feelings, the images developed over the months and seasons ahead and my inner self began to synchronise with my surroundings. What started out as a documentation of a new physical space, sl

« ‘Why I?’ as a singular question, denotes multiple perspectives. For most, it is about ‘Why I?’ have to go through this/ ‘Why’ life has been unfair to me. But to the contrary, if we start asking, ‘Why I am not strong enough to overcome obstacles?’. It takes a lot of courage, but one can find a way. If the ‘Why’ here, is replaced by ‘How’ the pessimist attitude transforms to the optimist. As a text it is just about interchanging words, but in life the change brings a positive comparative difference. » . . Payal Chakraborty (@payal.chakraborty.banerjee and lifeafullcircle.home.blog),  ‘Why I ?’, 2021, pen and ink on paper, 6x8.5 inches . . Front: Why I? {repeated} <question mark>

«[...] l e pagine sono alcuni dei diari che avevo realizzato fra il 2000 e il 2018, avevo raccolto questi quadernetti pubblicitari della Omnitel chiamati "La voglia di raccontare", e nel tempo ci avevo inserito piccole suggestioni, pensieri, disegni. La pagina è una delle più recenti del 2016, in tutto ne ho una decina, ora uso quelli di Tiger, amo scarabocchiare con le linee ». . . Domenico Olivero (@domenicoolivero), La voglia di raccontare, 2016, graphite on paper, 8 x 12 cm . . Front: A chiunque è consentito conoscere se stesso ed essere saggio Eraclito . . Printed text: Un'idea che non sia pericolosa non merita affatto di essere chiamata un'idea. (O.Wilde)