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

« 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

« 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

« 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!

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...

« According to Bramha Purana , Lord Bramha created 'Shatarupa'. She is regarded as the first woman to be created by Bramha . Lord Shiva merged Bramha's daughter (being created by him) into devi Mookambika and formed 'Ardhanarishvara' translated as 'half-man and half-woman god'. Lord Shiva told Lord Bramha that males and females are both the same as their souls are the same, and the soul does not have a gender, only material. The outer body is different due to different body parts. A transmission of life occurs as a result of being united of two souls with love. According to Hindu scripture 'Srimadvagabatgita' The Supreme Lord dwells in the hearts of all living beings, according to their karmas, he directs the wanderings of the souls, who are seated on a machine made of the material energy. ईश्वर: सर्वभूतानां हृद्देशेऽर्जुन तिष्ठति | भ्रामयन्सर्वभूतानि यन्त्रारूढानि मायया || The union of man and nature has been going on since the very beginni...

Chiara Casarini (@chiara.casarini.art), Hydra, 2021, pencil on paper, 20 x 16 cm . . Front: Il bulbo è un fiore in attesa, è l'attesa della liberazione . . JUTA FONDO RUVIDO . . HYDRA PANDEMIA . . Spunta al contrario . . MAZZO  DI BULBI . . Spunta all'esterno ciò che di solito è nascosto . . CIÒ CHE DA VITA . . Cresce in maniera inaspettata, ma cresce, comunque si evolve MOSTRARE  CIÒ  CHE È NASCOSTO

Giovan Battista Rizzardo (https://www.facebook.com/Giovan-Battista-Rizzardo-102189841935319), Oceano, 2020, acrylic on canvas, 30 x 40 cm . . This is the text that accompanies the painting in the Facebook post: Io sono una nave che naviga in un oceano tempestoso, pieno di emozioni che emergono e si immergono, nei meandri di profondità talvolta abissali, coi loro colori sgargianti, il loro mistero, la loro varietà.

« My series of work is about mental health, I took a diaristic approach to my series to reflect how creativity helps me to express my emotions. I wanted the series to be personal but also involve others so I could reflect how so many people are effected by mental health. » . . Hollie Parks (@hlpphy), Can you hear me yet?, 2021, mixed media, 29,7 x 21 cm . . YOU LOOK BETTER WHEN YOURE SMILING WHO ARE YOU WHEN NOBODY'S WATCHING

Amy Morse (@therebetterbecats), Eric Przyswa (@ericbobmax) , t.a.k.tak (traceability authentication koncept @t.a.k.tak), Untitled, 2021, ink and marker on paper, 8.5”x 11” . . Front: Traceability . . traces of meaning traces of traces traces of death . . yes/no/maybe we don't know series . . How can a spoiled bourgeois with an excentricity mainly summarized with a silk scarf can be provocative with an artist of your category having such a pedigree my moral values will avoid to repeat ????? . . Paris . . t.a.k {repeated} Traceability Authenticate Koncept

First, second and third image: Isidora Sarić ( @isidorasaric._ ), Sketch of the problem, 2019, mixed media on paper, 29.6 x 42cm . . First, second and third image: <various text>

《As a conceptual idea based artist, I have found that writing down ideas help me contextualise it. I have been thinking about sound in relations to size, but my work more generally deals with language in relation to how it forms or experience of the everyday world. Here I am conjuring up a new idea that sometime will transform into a video. It only exist on a post-it note currently.》 . . Sanna Sønstebø (@sa.snart), The word, 2020, gel pen on paper, 7.6 x 7.6 cm . . Front: As you zoom in, the word comes faster. It is louder. There is only the word.

First image: Vahdeta Tahirovic (@vahdeta.tahirovic), NON, 2020 (in Belgrade), watercolor, ink, fineliner, pencil and marker on paper, 29.7 x 21 cm . . {Front (first page)} NON . . Second image: Vahdeta Tahirovic (@vahdeta.tahirovic), 2020 (in Linz), Button, watercolor on paper, 21 x 29.7 cm . . {Front (second page)} KNOPF (MUSIK) GERÄUSCHE IMMER LEISER UND LEISER AM ENDE STILLE AUSSCHALTKNOPF ALLES ABGESPIELT . . Third image: Vahdeta Tahirovic (@vahdeta.tahirovic), Entschuldigung, 2019 (in Paris), watercolor on paper, 21 x 29.7 cm . . {Front (first page)} Entschuldigung Es tut mir leid. . . Fourth image: Vahdeta Tahirovic (@vahdeta.tahirovic), The ladder, 2019 (in Linz), gouache, ink and fineliner on paper, 21 x 29.7 cm . . {Front (first page)} THERE IS NO HOME . . validation how about building a house on the moon . . {Front (second page)} "des gibts jo neeet!!!" . . WIESO SPRICHST DU MIT MIR ANDERS, ANDERS MIT MIR? I waited for this day . . "RED NET SO VÜ UND TUA WOS MA...

Abbie Cairns (@abbiecairnsportfolio), Waiting for you, 2015, black biro on paper, 21 x 29.7 cm . . Front: waiting for you {repeated}