La briciola squisita

« 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

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

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...

« ‘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>

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

« L'œuvre est une sorte de livre qui fait le pont entre le monde des vivants et des morts.» . . Sophie Lavigne (@sofilavigne), Lettre à ma mère, 2020, (the images, inkjet printed, are taken from her sketchbooks and they are made of graphite pencil on kraft paper) leporello folded with hemp paper Ginwashi awagami, acetate, and paper thread wrapped in a silk ribbon, book: 5 x 50 cm, open and 5 x 5 cm closed; thread: 5 x 200 cm . . <various text>

Lucio Palmieri (luciopalmieri.tumblr.com), Donkey judgement does not fly in the sky, 2020, mixed media on paper, 42 x 29.7cm . . Front: <deleted text>

Federica Caporaso (@federicacaporaso), 8 hours, 2020, ballpoint pen on paper, 21 x 14.8 cm . . Front: 8 ore . . Fantasia . . Futuro . . Ali . . Voglia di... restare . . Lacrime . . Cuore . . Talento . . Creatività . . Micro-managment . . Fatica . . Libertà . . Sforzo . . Voglia di andare via . . Indipendenza . . Stupore . . Lavoro . . Dubbi? . . Speranza . . Rispetto . . 8 ore che danno e tolgono libertà allo stesso tempo . . Federica Caporaso

Giulia Berra (@berra_giulia), Untitled, 2019, ballpoint pen on paper, 9 x 14 cm (each page) . . First page from left: giudizio di Salomone . . malattia . . amore . . fontana giovinezza . . vecchi . . giovani (nude solo donne) . . Second page: Venere e Cupido con favo avvolto da api stranissima ape a 8 zampe . . copia dal trittico di Bosh a Vienna . . crocifisso come tronco albero parzialmente scortecciato . . piede . . tronchi molto <?> sembrerebbero alberi vivi se non ci fosse piede ladrone . . Hans <?>

Elizabeth Coleman-Link (@lizziecolemanlink), Text on paper from Antoni Tapies - Writing on the walls, 2012, mixed media collage with a print onto canvas, 20 x 28 cm . . Front: <asemic writing> . . Back: found image . . text from Antoni Tapies - writing on the walls . . Elizabeth Coleman-Link 2012 Frankfurt am Main