we're not kids anymore.
h
Not today Justin

d e v o n
Show & Tell

if i look back, i am lost

shark vs the universe
hello vonnie
Cosmic Funnies

⁂
Monterey Bay Aquarium

Discoholic 🪩
Keni
Xuebing Du
One Nice Bug Per Day
Acquired Stardust
i don't do bad sauce passes

seen from T1

seen from United States
seen from United States

seen from Argentina
seen from United States

seen from Norway

seen from Malaysia
seen from United States

seen from T1

seen from United Kingdom
seen from United States
seen from Netherlands
seen from United States

seen from United States

seen from India
seen from United States
seen from United States
seen from United States
seen from United States
seen from South Korea
@samkfad

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Top left hand picture is the layers of fat & meat I cut up to layer up with the parts of hearts not sewn together inspired by works of Berlinde De Bruyckere (nxt 3 pictures) & Alsem Kiefer (bottom pic)
It’s important to be able to demonstrate the layering, it has many deep connotations as with the artist depicted above. I hope to develop more creative practice in this direction when I move onto BA honors degree in fine Art
A like of my Dad’s was a good Leonard Cohen song
I love his line… ‘A scar is what happens when the word is made flesh.’
Hearts stitched prior to formaldehyde & then Phenoxetol
These arrangements are dictated in audio files due to their sensitive natrative & nature
Propelene Phenoxetol & scalpel delivery
Multiple sketches & lists starting to appear on scraps of paper, in sketchbooks, electronically as we get nearer to fixing hearts & installation
Powerful & privileged to be in a creative process

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Alan guided me through the process of setting up lighting to take shots of individual family photograhs so I could develop my own sets of black & white photographic negatives. My goal was to create a metre high sculpture in the form of a human heart organ with the negatives as my medium. I wanted to indicate to the veiwer the concept of past and living memory; love & loss are all emblazoned in the heart. In Chinese medicine the heart is referred to as the Palace, (where the Emperor resides within the inner chambers).
I planned to stitch through the sprocket holes of the negatives, experimenting with my hair & other cordage baring relevance to 'mending' memory & reference to fixing inter-personal relationships within a family context.
I used Black & White Ilford PAN 100mm film then experimented with medium format Ilford FP4 PLUS 125mm film which was a much larger negative that bode well to a large scale form. This did not however have sprocket holes I wanted for stitching.
Firstly I shot the original photographs I borrowed. We also down loaded a digital file to a memory card which I then printed photocopies from and shot at a later stage. I learnt the process of developing film to photographic negatives.
I used Black & White Ilford PLUS 100mm film then experimented with medium format Ilford FP4 PLUS 125mm film which was a much larger negative that bode well to a large scale form. This did not however have sprocket holes I wanted for stitching.
Firstly I shot the original photographs I borrowed before needing to return them. We also downloaded a digital file to a memory card which I then printed photocopies from and shot at a later stage. I learnt the process of developing film to photographic negatives.
"If I distrust my memory - neurotics, as we know, do so to a remarkable extent, but normal people have every reason for doing so as well - I am able to supplement and guarentee its working by making a note in writing. In that case the surface upon which this note is preserved, the pocket-book or sheet of paper, is as it were a materialized portion of my mnemic apparatus, which I otherwise carry about with me invisibly. I have only to bear in mind the place where this 'memory' has been deposited and I can then 'reproduce' it at any time I like, with the certainty that it will have remained unaltered and so have escaped the possible distortions to which it might have been subjected in my actual memory."
The 'Mystic Writing-pad' pg 429 By Sigmund Freud.
This article and specifically this quote aided my creative process regarding the use of family imagery. I relate this to both the morphing of memory, others selected & distorted memory since childhood & that of the fading memory due to my Dads dementia.
I looked to the work of renowned French sculptor, painter, film maker & photographer Christian Boltanski (1944 ~2021) who was part of the Conceptual Art Movement.
He stated that, ‘My work is about the fact of dying, but it’s not about the Holocaust itself.’
Some of his extremely powerful black & white imagery was spot lighted & had a look of obituaries. I like that he used everyday objects & their fragile make up. His use of exposed wiring as not to ‘Shush’ it out the way or out of view. He used a old rusty biscuit tin that envocoked an air of childhood memory about it & doubled as that of an urn.
His work is said to stand for the importance of our collective memory and open up a space of remembrance.
I like how he describes memory’s kept in a family album & in reference to families. ‘ We don’t learn anything about family life for twenty~five years, these images of family rituals bring us back to our own memories, to ourselves, all the family albums, inside of a given society, are almost identical, they do not represent the reality, but the reality of the family album.’
I tried to source photographic negatives from family, unsuccessfully. I created my own from taking shots of original black & white photographs & also kept a digital file where I printed off photocopies then took shots on different sized film. I planned to erect a scallfolding around my photographic negative sculpture created from bamboo in style of Asian building practices. I am aiming to depict the fragility & stability proven in East Asia.
I had originally planned to have a charring bowl of bone/wood inside my negative sculpture, however negatives are highly volitile even though less so since changing from nitrate to asertate film in 1950s.
My alternative measure was to change to a mister, the problem being was the water droplets so I started to source a transparent water resistant textile to sew a second skin inside the sculpture.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Nothing to add…
Dads school football team
Drawing of Berlinde De Bruyckere
‘We are All Flesh’ 2011 ~ 2012, Galleria Nazionale d’Arte Moderna e Contemporanea
A4 Cartridge Paper
2B, 4B & 6B Pencil
More examples of layers at The Galleria Nazionale d’Arte Moderna (although I did not get the English translation of the work)
My introduction to Berlinde de Bruyckere at The Galleria Naziinale d’Arte Moderna, Rome, Italy was a profound one.
As I come across her installation unexpectedly her work literally took my breath away. My companion on the other hand left the room immediately on recognition of what they were looking at, sickened. I felt an instant infinity with the power of portrayal, a fascination to learn more…
I spent a considerable amount of time photographing & documenting this piece. Later that evening I sought more information around her art & her as an artist. I ordered two books for my return to the U.K., Angels Throat & We are All Flesh
I learnt she had exhibited at Hauser and Wirth, Bruton, Somerset pre~pandemic. I was sorry to have missed an opportunity to catch her exhibition so close to home.
Her work on layered waxed decaying blankets was a similar concept that I had been exploring. I had wanted to creat a piece with discarded & disused mattresses layered one on top of the other to replicate the feeling of control, being trapped, almost suffocation, pinned down underneath. I had explored how maybe this could be translated in clay or even porcelain with two little ones trapped under the weight or fragility of materials.
I was excited to have discovered a potential like minded artist & was eager to research her work more & experiment further whether in theory or in practical terms. I noted her ethics around used animals & her disclaimer that no animals where hurt for the purpose of this work.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Also see notes under Alberto Burri Nero 1961
I particularly am attracted to the 3 dimensional sculptural form, I look for the depth of a piece & how far it protrudes from its canvas/board, layers within layers. Combustion and charring are a technique I have been heavily experimenting with since the inception of Foundation in Art & Design.
More influences at The Galleria Nazionale d’Arte Moderna we’re two pieces by the same artist Alberto Burri …the use of everyday artist materials appeals to me, the reusing & recycling of everyday objects. Here I am drawn to the charring of black metal distorted by his blowtorch. What attracts me is the defiance' towards the flame's randomness and the attempt to 'dominate chance,' intrinsic to Burri's philosophy.
The juxtaposition being the toxicity of burning plastic, metals & wood ~ again that place of being attracted & repelled within creative practice