La briciola squisita

« 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

« '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...

  « 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...

« 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...

« 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

  Francesca Longhini (@francescalonghini), Untitled, 2020, pencil and black pen on Fabriano paper, 29.7 x 21 cm . . Front: Tutto quello che avrei potuto fare, io l'ho visto e voi no. . . Giovedì . . - 2 colli 40 x 50 x 10 50 x 60 x 10 1 kg - peso/dimensioni - doc trasporto 60 x 70 x 15 - contanti ritiro 500 gr 55 x 65 x 12 - costo 72 € entrambi i colli con assicurazione! . . F 7.1 SS 40 Flash 24 mm 1/32 ISO 125 . . 1 x A = 1 . . 0 x A = 0 Multiply moltiplica . . Multiply . . Da total black al colore stesso NO TOTAL WHITE MA DA 100% BLACK a colore stesso . . Composizione diagonali su Lightroom . . 133, 14

Sara Giannasi (@sara_giannasi), Every powerful beginning, 2020, digital photograph, 2753 x 2753 pixels . . Sara Giannasi, Every powerful beginning, 2020, marker pen on paper, 29.7 x 21 cm . . Front: Abbracciate, senescenti, cullando i semi e le loro ali. Possiamo decidere di volare, qualunque sia il vincolo che ci trattiene.