lara

Imagine Nina and Matthias take their 4 year old son to a local market (ravkan or fjerdan).

And the lil boy spots a pair of bright blue colored gloves embroidered in yellow bird patterns and he immediately picks them and excitedly says, "Uncle Demjin wears these! I wanna give present!"

And Nina and Matthias are sure Kaz would absolutely despise them. But before Matthias can even try convincing the child, Nina pays for them.

Later when they visit Ketterdam for their yearly reunion, the lil boy happily runs with the gift-wrapped box towards Kaz.

"Uncle Demjin!"

"For me?" Kaz blinks in surprise.

The child nods several times, his big blue eyes shining with innocent joy.

Kaz opens the box, mildly shocked but Jesper immediately snickers at the sight. Wylan punches him lightly. Inej however, coos at the cute gloves and pinches the boy's cheeks, making him giggle.

Now all of them turn their attention to Kaz because obviously everyone wants to see his reaction.

Kaz keeps his face neutral and nods stoically at the kid, mumbling a short "Thanks". But inwardly he's very pleased by the gesture. Even if the gloves aren't his type, he's really happy. He won't admit it but he loves his adorable nephew.

And the little kid smiles widely, happy by his Uncle's approval 🥺

Jesper loving this month and Wylan admiring him.

MTA Arts & Design joins Jim Hodges Studio and Gladstone Gallery in unveiling a new permanent artwork by artist Jim Hodges. Hodges' new mirrored-glass artwork, "I dreamed a world and called it Love" (2020) at Grand Central-42 St (4,5,6,7,S) station is nestled above the busiest entrance to the MTA transit system. Reflections of riders are a constant but ever-changing element of this public installation. No two visits will ever be the same.

Located near the 42 Street entrance, on the landing and mezzanine levels of the stairs and escalator that connect Grand Central Terminal with the subway station, the expansive work is comprised of over 5,000 pieces of glass in more than 70 different colors. The composition inverts the commuter’s visual experience of descending underground. The progression begins with an upper landing rendered in sparkling deep blues that reference the celestial ceiling of Grand Central Terminal's Main Concourse and contrast the pale stone architecture of the Terminal, then bursts into a kaleidoscope of color on the lower mezzanine, dazzling against the backdrop of black granite in the newly renovated subway entrance.

Camouflage serves as a representation of nature. The artwork's organic patterning contains a sense life. Shapes appear fluid and imbue the surface with a swirling visual dynamism that mimics the pulsating energy of the station itself.

CONGRATULATIONS, HARRY, FOR YOUR FIRST GRAMMY NOMINATIONS!