La briciola squisita

  « These are Drawings with Coffee. If Modigliani had Drawings for drinks, I can also have "Drawings with coffee". Drinking coffee is my favorite ritual. Then I relax, organize, draw a little, write a little, plan…relaxed, relaxed, just relaxed… » . . Ana Djukanovic Miljkovac (@anamiljkovac_art), Drawings with coffee, 2019, felt-tip pen and ballpoint pen on paper, 25 x 20 cm . . Fronts: various text

  «T hese are pages from zine “Sazhentsy” i made in 2019, each page is A4 (210 x 297 mm). The zine is based on a selected chapter of Vladimir Sorokyn book “Norma” which is about soviet repressions. Riso Print (automatic), with silkscreen print above (manually printed), 15 zines in total. » . . Kate Zhilina (@katezhilina),  selected pages from Zine “Sazhentsy”, 2019, riso print and silkscreen, 297×420 mm 

« This little book is a journey amongst some stars of the constellation I made, I meet and talk with them... » . . « Qualche anno fa, (credo fosse a Lisbona) in una vetrina di un negozio di antiquariato vidi un libricino e me ne innamorai per la sua bellezza. Entrai e chiesi cosa trattava e quanto costasse. Mi dissero che parlava di medicina e che costava 150 euro! Sorpreso stavo per estrarre il portafogli quando il commesso si corresse con 1500 euro… Troppo per le mie tasche. Ma, dalla vetrina, ci feci questa foto. Volevo fare anch’io una cosa simile ma mi ci sono poi voluti 2 anni circa per allineare forma al contenuto. Dell’oggetto originale ho mantenuto i dischi (che per me sono le stelle) e i rombi rossi all’interno delle frasi.  Ho poi dovuto esercitarmi molto per scrivere bene a mano, perché normalmente scrivo velocissimo e malissimo (spesso non capisco le parole che scrivo :-D) » . . Photos 1, 2, 3, 4: Luca Serasini ( http://www.lucaserasini.it, @lucaserasini10), Little tra...

  «T hese are the primary easy explorative sketches made without any regard for further realization. » . . Kate Zhilina (@katezhilina),  2 Sketches for sculpture project, 2019, acrylic paint, ink, cola pen, 2 pages 297×420 mm each ( the whole strip is 420х594 mm) . . Fronts: various text

« Mine is kind of a devotion for diaries, and it’s been like this since i used  to stick flower petals on the page borders of my primary school years.  Only during art school I learned to attach words to my drawings and  illustrations, cause before then I thought it was unnecessary; why should  I write on something that is meant to speak for it self alone? A teacher of my class always underlined the importance of adding written  informations during the sketching phase, and mostly of the time I didn’t  know what to say, sometimes maybe I faked it to write something useful. With time, while I was focusing on my artistic path, words started  emerging, about anything: shop lists, songs titles, memo ideas... Until  it became essential to me. I really need to put the tickling weight of  thoughts somewhere, before it can possibly fade, and paper is capable to keep it for me with secrecy. Handwritten words are part of me, as much  as visionary f...

« To this day - a list of products in Hebrew for purchase that has been forgotten and not realized. The list says missing: Matbucha, sunflower sprouts, lemon peppermint diet, sprite, dishwasher tablets, pitas, diabetes diet, bread, popcorn, soy cheese, paper towel, bottle like orange juice, iodine, 9 percent yellow cheese, mozzarella flakes, loaf, juice Oranges, paper towel, snow sushi for stainless steel, jam, soy milk, chocolate, diabetes, pastrami, tahini. Write but deleted and there are already: dill, yellow cheese, carrots, mozzarella and potatoes. I'll never buy it.» . . Shahar Tuchner (www.shahartuchner.com, @shahartuchner), I will never buy this again, 2021, erasable and non-erasable markers on a print of melamine, 30 x 22 cm

« I'm in the Doctors waiting room - and ideas grow and push aside pre appointment tension. Using 'Poems in the Waiting Room' as my sketchbook I jot down ideas, keeping an ear open and an eye on the buzzer board. Later I roughly colour the scribbles so as to have a vague idea what I was mentally juggling with. Some waiting room ideas are simply repeats, dragged out at times of stress - others seem new, and they can take wing. » . . John Thomson ( www.thomsonart.co.uk, @johnthomsonart), Poems in the Waiting Room, ink and pencil on paper, 20 x 20 cm

« This artwork was made during the first lockdown in Spring 2020. Nothing was making any sense, fear everywhere, the media worldwide was in panic, the world was shut down, we were upside down and lost as one humanity. And the words I wrote were about the need for a deep soul searching on all our parts - yet to come, over a year later! » . . Ramona Galardi (www.ramonagalardi.com, @ramona_galardi) ,  The Answers Lie Within, 2020, fine line marker on folded and stitched paper, 10 x 70 x 2 cm approx . . Front: THE ANSWERS LIE WITHIN . . SO DEEP WITHIN

Ursula Vargas (www.ursulavargas.com and @ursulavargas_art),  Passion roulette, 2020, ink pen on paper, 24 x 24 cm . . Front: PASSION ROULETTE . . HELP . . HUMAN condition . . childhood killers . . it's a perverts world

« Pen & paper fragment from a mathematician's study.   Looks meaningless but maybe you can decipher it. » . . Mike Clements ( www.mikeclementsartist.com and @ mikeclementsartist) , Pie,  2021, pen on paper,  c6.5 x c10.0 cm

« Made as a direct response to the call out the piece is a collage with a handwritten post-it note attached. The title,"Ladies in Waiting," is a riff upon how often ladies wait patiently for a phone call after meeting a new man. It's an urgent request! » . . Susan Plover ( www.susanplover.com) , Ladies in Waiting, 2021, collage, 21 x 29.7 cm . . Front (handwritten): Call me, please!

« '見ぬが花' (“Ignorance is bliss”) is a project consisting of 47 embroidered Polaroids which represent the 47 prefectures of Japan. The sceneries depict typical Japanese streets in residential areas. The wires are embroidered with a yellow thread, creating a spiderweb of electricity. The timeless appearance of electric pylons contrast with a world constantly overwhelmed by significant changes in term of urbanisation, technology and architecture. The embroidered wires represent the different path that is given to us and the connection that we choose - or ignore. The Polaroids have two sides: the daylight side shows the linear, unavoidable, inflexible, circle of life (birth, life, death) while the dark side depicts how unpredictable and uncertain life is. The darkest side also creates an imaginary map of constellations, an unlimited sky with endless possibilities. » . . Aurelie Crisetig (@aureliecrisetig and www.acrisetig.com),  見ぬが花 (“Ignorance is bliss”), 2020, embroidered Polaro...

  « "The Norm" was born whilst walking back from the shop carrying my shopping. My weekly local shop and the walk home provide me with good food, social life, culture and exercise. I know this might not be normal. Normal modern life might denote a quick dash to a shop after a long day at work, then off to the gym and maybe a drive to somewhere remote. There were so many societal concepts to unpick just within that one set of differences but how to express that? Cartoon strips have not been my natural art form but it seemed like the most efficient way to tell this story and encourage thought on various norms. My art work often takes fairly contentious or difficult issues and veils them in less daunting forms. Through this people will approach and are embroiled in the discursive and conceptual elements of a piece before they realise its tricky subject. Then I find conversation of a deep nature often occurs with less blocks and insecurities...

  « Selfie-before-selfie, a self photo on a timer controlled old style regular film camera in front of a blackboard at the high school where I went to school in the 1970s and then taught English for 3 years before I got a job at the US Embassy in 1987 (and only ever returned to teaching at universities in 2000s). The writing behind me is mostly French, from a previous class, because English was facultative, not compulsory, so students came from various individual classrooms and so no one had a sponge to wipe off the blackboard, and I wrote on it in capitals to make the text stand out. Apparently this was about ethnics (I completely forgot what I was teaching 37 years ago), as DUTCH, DANISh (sic), GERMAN and RUSSIAN are discernible, as is POLE (not sure if this was about Polish people, probably) but also SURGEON, CHOOSE and SPLE... behind me, probably SPLENDID and not SPLEEN. » . . additional information: « At the time I hated that small town in Serbia, 50 minutes drive from downtow...

« I riflessi di luce guizzano sulla bambina, si riflettono sul suo viso, nei suoi occhi e sull’alluminio stropicciato su cui è dipinto un qr code, un codice che come un ponte collega il supporto pittorico a dispositivi digitali. La decodifica svela la parola latina “reflexus”, come un monito a non dimenticare le origini della comunicazione moderna. » . . Luisa Valenzano (@luisavalenzano), Reflexus, 2020, acrylic on cotton canvas, 36 x 20 x 3 cm . . Front: qr code

First image: Pippa Martins (https://pippamartins.myportfolio.com/), Untitled, 2014, pen on paper, 13.5 x 13 cm Second image: Pippa Martins (https://pippamartins.myportfolio.com/), Untitled, 2015, marker on paper, 12 x 16.5 cm Third image: Pippa Martins (https://pippamartins.myportfolio.com/), Untitled, 2019, pen and marker on paper, 10.5 x 15 cm Fourth image: Pippa Martins (https://pippamartins.myportfolio.com/), Untitled, 2019, pen on paper, 11.5 x 16 cm . . Front of all images: various text

« The work was completed with 2020-2021, I recorded my secrets, pains and sorrows during my lockdown in London, UK in a strange and abstract form, so I invented words that only I could read and wrote 15 of my experiences and stories on a bookmark I made and dropped my work in anonymous and randomly chosen different locations in London, UK. The front of the bookmark has a photograph of the most important part of my memory and the back has my text, and the two are combined using needle and thread stitching. » . . Jiali Mai (@jmai_photo), Secret Fragments, 2020-2021, paper, sewing, pictures and text, 3 x 7 cm/each . . back: various text

  Alkistis Voulgari (https://alkistisvoulgari.weebly.com/), Iris, 2021, digital photography with poetry, 1920 x 1920 pixels . . Front: Iris Perfume surrounds the air I drive for a life blissful and fair The child in me still plays with fire Your love always takes me higher Misty thoughts Silent wind Madly obsessed with the colour green I dance with the shadows around My spirit cannot touch the ground

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...