La briciola squisita

  « 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...