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PEDRO DÍAZ MOLINS
Bronze” is my second series of photographs. It consists of ten portraits depicting imaginary characters. For this series, I was very much inspired by bronze sculptures, especially by bronze busts.
s far back as I can remember, I have always been fascinated by bronzes. A feeling of power and grandness radiates from bronze sculptures, mesmerising those who gaze upon them. Even more than the historical figures they represent, I was very interested in bronze as a material with great aesthetic qualities – a slightly grainy texture and warm tones, close to sepia. The final result was obtained in post-production since the models did not wear any make-up. This last step was essential in the making of “Bronze”. It enabled me to make the models look as if they were made of bronze. I worked on refining the texture of their skin, their hair and their clothes to make them more lively than bronze busts. I did not want my models to look as rigid and cold as statues. To create a singular series of portraits, I designed and sew all the collars the models wear. These collars are not only decorative since they influence the models’ attitudes and postures. Even if some characters’ appearance or clothes evoke distinctive features of specific historical periods – ruff, monocle, etc. – I did not want “Bronze” to be a historical reconstruction.
A WORKING DAY IN DHAKA BANGLADESH LARRY LOUIE
Bangladesh has experienced one of the highest and most rapid urban population increases in the world. Dhaka city has a huge population of 14 million with over 300,000 migrants arriving annually. But without adequate infrastructure to support the high levels of urban population growth, over 40% of the population in Dhaka are forced to live in informal settlements or urban slums and many others live in public places such as railway terminals, bus stations, ports, empty markets, parks and stairwells. This means, of the 14 million people estimated living in Dhaka, over 5 million do not have a home or are considered a floating population.
ife is very difficult for these people. People are overcrowded in slums and public spaces that lack basic facilities such as safe water, sanitation and health services. With no access to further education and training, they can only be employed in menial labor allowing them to survive day to day without any means of getting ahead. These images take a glimpse into a normal working day of these people. In recent years, the prevalence of child labor has become a serious problem in many poor developing countries. Bangladesh, being one of the poorest and one of the most densely populated countries in the world; the problem of child labor is huge. It is estimated that there are 4.9 million working children between the ages of 5-15 in Bangladesh. That is 13.4% of the total work force in the country. Most of these children have no other options. Some are orphans growing up on the streets while others are forced to work due the economic hardships of their family. There is not much future for these children growing up and living in
Few will ever have the opportunity to an education or to learn skills to ensure a better life for them in the future. But just banning the use of child laborer in industries is not a permanent solution to this problem. In fact, this step is useless if the government and NGOâ€™s do not ensure the economic and social securities of these minors. 40% of the 166 million people in Bangladesh make less then $1 a day and spend 80% of that income on food. With the rising cost of fuel and food prices, more and more children will be forced to work to help support their family and put food on the table.
nternational award winning documentary photographer Larry Louie leads a dual career. He is an optometrist in Canada and also a travel and documentary photographer who has managed to combined his interests to promote the work of different charities around the world. In his optometry clinic, he is Dr. Larry Louie, working to enhance the vision of people from all walks of life in the urban core of a North American city. On his travels, he is a humanitarian documentary photographer, exploring the lives of remote indigenous people, and documenting social issues around the world. As an optometrist, Larry adjusts peopleâ€™s visual perception. As a photographer, he seeks to adjust peopleâ€™s view of the world. Either way, he is interested in things that exist outside the regular field of vision.
photo is an trace, Bangladesh has experienced one “Every of the Bangladesh hasenigmatic experienced one of the highest and most rapid urban population which pushes us dreams and highest andtowards most rapid urban population urban slums and urban slums and fascinates and it is a problem which
preoccupies. On the one hand, we want to believe, that thanks to it’s nature, subject, object, activity, past, moment etc. will be found; on the other hand – we should realise, that it will never bring them back. By contrast, a photograph is the proof of their disappearance and mysteriousness and at best transforms them.” François Soulages “The Estethique of the Photography: the Lost and the Rest
he Redheads project came into existence in an attempt to contend with the true principle or belief of photography. When exploring this problem it is often easier to answer the question “what is not photography?” than to accurately state what photography really is. Therefore, it is not space, it is not time, nor is it object (in the sense of photography on it’s own not in the sense “photo”). It might only be an imperfect attempt to try to resolve the characteristics of space and time, to try to describe the object. Although these attributes in the collective consciousness of photography are perceived as the representation of the real, on the other hand the manipulation in the picture structure is
blended with the properties of this medium. Through Rejlander’s allegorical photograph “The two ways of life” mechanical manipulation during the creative process had been laid bare by the author and revealed to observers of the photograph. To what extent does the fact that the viewer is aware of being led in a particular direction by the photographer have on the quality of the photo? Where are the bounds of the “objective simulacrum”? Does the awareness that the picture was transfor med reduce the “desire of the reality”? In the Redheads project I tried to answer these questions myself by combining two types of portraits of people with natural red hair.
JANEK | MAKE-UP: Wioletta Uzarowicz | HAIR: Kajetan Góra
These diptychs form a kind of metamorphosis. Bangladesh has experienced one of the The absence of any reference to reality is crehighest and most rapid urban population ated by the use of advanced montage and urban slums and computer retouching techniques. Even these seemingly realistic portraits are only subjective photographic representations of the subject, therefore the second photograph becomes a transformation of the transformation. Redheads from these photographs exist only within the realm of make believe. From the middle ages there are many associations with Redheads. There was a popular belief that the colour of one’s hair was a reflection of a fiery temperament and that people with these natural physical attributes had a
fiery temperament and were morally corrupt. Bangladesh has experienced one of the Associations with witchs, werewolfs and vamhighest and most rapid urban population pires only served to perpetuate such beliefs. In urban slums and these portraits I concentrated only on the natural qualities connected with redheads. I have focused on the fact that as redheads they rarely change their hair colour so the ability to hide their physical attributes – pale complexion, freckles etc. is only possible through manipulation of the image.
KASIA | MAKE-UP: Wioletta Uzarowicz | HAIR: Kajetan Góra
ANDRZEJ | MAKE-UP: Joanna Miturska | HAIR: Kajetan Góra
live in Warsaw where I was born and raised. I graduated from the Academy of Fine Arts in Poznań with a bachelor degree in Multimedia Communication Studies and later gained a masters degree in Photography at the acclaimed Leon Schiller National High School of Film, Television and Theatre in Łódź. My motto, quoting Charle Parker, is: ‘There’s no boundary line to art’ and I couldn’t agree more. Subsequently I think there is not only one field that can be perfected but if work that
we do, we do with love, that is what makes sense the most. I like challenges and diversity. I love everything visual. I think that good realisation combines IDEA (coherent conception) with TECHNIQUE (perfect realisation). In every project I do, my priority is the responsibility towards the initial motive. I like to cook & eat, practice yoga, meet people. I love cats, especially my ten year old Gapcio.
MAGDA | MAKE-UP, HAIR: Sebastian Kaźmierczak
PAWEŁ | MAKE-UP: Małgo Kotlonek
MUSIC MAKERS JIMMY WILLIAMS
“Before I lift my camera, I always open myself up to the moment and trust my emotions to dictate and inspire a compelling story. Whether I’m shooting a portrait or a landscape, my purpose always remains the same: to establish a connection with the subject and to produce utterly “real” moments. The emotions are raw. Sometimes private. Always Honest.”
immy Williams is a fine art and assignment photographer based in Raleigh, NC. He studied visual design at North Carolina State University, and shortly thereafter, opened an independent studio where he established himself as a successful and award-winning assignment photographer. Now, more than thirty years later, Williams devotes much of his time to personal photography endeavors, nurturing and maturing his photography into significant bodies of work. Three of Williams’ series, “Tuscany”, “Music Makers” and “Our Waters” have been showcased in solo exhibits, most recently at the Block Gallery in Raleigh, NC and The Contemporary Art Center of Virginia. His work has graced the walls of The Corcoran Gallery of Art in Washington D.C.; The Center for Fine Art Photography in Colorado; The Eisner Museum in Wisconsin and the Gregg Museum of Art & Design in North Carolina. Williams’ is also represented at the Waverly Artists Group in Cary, NC; John Cleary Gallery in Houston, TX, and Open Shutter Gallery in Durango, CO. Photography from his “Music Makers” series were also acquired by the City of Raleigh for its permanent collection.
Williams has been awarded an Excellence Award by Color Magazine; Merit of Excellence for Nature Photography at the Masters Cup Awards; Outstanding Achievement in Photography at the International Spider Awards; and 2nd place Deeper Perspective Photographer of the year at the Lucie Awards Gala at the Lincoln Center, NYC. Other recent accolades include: 1st place at Center’s Singular Image Awards, Fine Art Photographer of the Year at The International Spider Awards in 2004, and editorial features in The New York Times Lens, Lenswork, Rangefinder, Photo District News, B&W, Color, Communication Arts, and Graphis magazine.
MUSIC MAKERS SERIES
usic Makers is an ongoing series that pays tribute to the faithful disciples of Southern musical traditions. Music, the blues in particular, has always been an interest in my personal and professional life. I’m particularly captivated by the souls who have a commitment to Southern musical practices as a means of self-expression, historical preservation and in the case of many of the Music Makers artists, as an honest means of survival.
In 2004, I photographed “James.” During the photoshoot, this quiet elderly African American man broke out in a simple blues rendition of the song Stardust… High up in the sky the little stars climb, always reminding me that we’re apart…, a favorite tune of his late wife. He was not a musician by trade, but his soulful interpretation of the melody overcame the shakiness of his pitch. James’ delivery was innate.
The emotional connection created while taking this portrait stirred my desire to continue with a series.
In early 2006, I discovered the Music Maker Relief Foundation, an organization dedicated to supporting the true pioneers and forgotten heroes of Southern music. Struggling, and often penniless, these artists are given the opportunity and funding to preserve their musical legacy. I have been photographing these artists for 8 years, starting with those living in my native North Carolina.
These artists are the behind-the-scenes originals who have lived their lyrics –the chaos, the loneliness, the poverty, and most of all, the faith. Individually, the portraits capture each artist’s underlying personality and passion. As a collective, the series hums the narrative of a generation whose music helped define the grassroots South.
As many of these artists push through their eighties, they continue to perform tirelessly at shows and on tour. When asked why, Captain Luke sums it up perfectly – “Because I can.”
Please visit www.JimmyWilliamsPhotography.com/musicmakers for a short audio-video of the series narrated by Jimmy Williams.
THE PERCEPTIBLE BEAUTY GARY BRECKHEIMER
Gary Breckheimer is a New York Citybased photographer, and has been pursuing his craft for over three decades. After attaining a BFA from Brooks Institute, he moved to New York City and eventually to Europe, where he was published in many international magazines.
reckheimer then made the transition from Fashion to Fine Art, and developed a propensity for Black & White imagery. He predominantly focuses on juxtaposing the perceptible beauty of the female form against our manufactured environment. His intent, he explains, â€œis to allow viewers to contemplate the relationship of man and his urban environment. Observing my choice of location, placement and positioning of the model, use of props, along with my use of light and lines, each viewer is able to surmise his or her own conclusion about the relationship of man and his environment. This is why there is an element of the unexpected, mixed with an overtone of solitude yet erotica in his work. As an artist, his goal is to create photographs where the story,
the meaning is not immediately obvious, but to take photos that lure viewers back for deeper consideration so that his vision of manâ€™s relationship and sexuality can spawn infinite conclusions.
Breckheimer has been recognized for his vision by numerous awards, the prestigious, International Photography Award for Fine Art Nude, The Spider Awards, B&W Magazine, Erotic Signature and others, and featured in many books & publications including Nude Magazine, B&W, Fine Art Nudes, Erotic Signature, Mammoth Erotic Photography, Art Collector Magazine and many others.
THE PLEASURE OF TRAVELLING HARRY FISCH
Harry Fisch, polyglot and originally a lawyer and businessman, has been a photographer for more years than he cares to remember. He has photographically documented more than 30 countries through which he has travelled , concentrating since 2002, on Asia, especially Thailand, Cambodia, Laos, Vietnam, Nepal and India.
is work has deserved several awards: Two Jury Awards in 2014 at the Grand Prix de la Découverte, France, Winner of the 2012 World National Geographic Photo Contest (places), and later disqualified, finalist in the Sony 2012 World Photo Awards and selected in 2010 by Photoespaña—possibly the most prestigious Spanish photographic event— in the section “Discoveries”. His work has also been published, among other publications, in “La lettre de la Photographie”, which was nominated best Blog of 2011 by the prestigious magazine LIFE.
A leader of photographic expeditions to exotic destinations with his company Nomad Photo Expeditions. (www.nomadphotoexpeditions.com) he is currently developing different photographic projects related to the work in the bricks factories of Nepal and the spiritual activity at the churches in North Ethiopia.
A writer in different international photography publications, his interest in the photography of localities and cultural realities has seen him travel through the â€œGolden Triangleâ€? between Laos, Burma and Thailand, and to such unusual events as the camel fair of Pushkar in India, sleeping in tents near poorly known fairs and lost towns in India, visiting the famous temples of Bagan in Myanmar or spending days in the lost salt mines in the desert of the Kutch. He has been to better known destinations like the home of the Kayan tribes in Mae Hon Song in the north of Thailand and lesser known places like the remote Jainist temples of Shutrenhaya in Palitana, or even a Gurudwara Shij temple lost on the last town on the south-east border of India.
Interested in Asian cultures different to those he has known, the more he sees and experiences the more curious he has become. He endeavours to build relationships with the people of a place, sharing as far as possible, their daily existence, listening to the ups and downs of their lives. He plans the expeditions from this perspective, looking for different locationsâ€”sometimes a nearby residence, or attending an event, or accepting an invitation that can make that contact more real and personal. He designs everything by researching and incorporating experiences from new destinations and anecdotes originating from friendships that have developed along the way, and that have been consolidated over the years. He studies localities, cultural events and experiences of human interest and photographic value, all documented through expeditions of travelers and documentary makers.
After years of travelling, he has come to the conclusion that technique and vision are indispensable tools, but that empathy, curiosity, pleasure through personal relationships are the determinants which enable photography to transmit so much more than a post card. If you want to share with Harry the pleasure of travelling, the discovery of hidden locations, people of different cultures and, most of all, the challenge of improving your photographic skills, visit www.nomadphotoexpeditions.com
DEINDUSTRIALIZATION JOSEPH ROMEO
I’ve been a commercial and fine art photographer for over 25 years. The beginning came in 1988 with a Bachelor of Arts degree from Brooks Institute. I guess you could say that I have a pretty extensive technical background, which certainly helps when you’re a commercial photographer. Being a sound technician gives me the freedom to express myself photographically. I believe in the importance of technical excellence.
or me, the capture is just the starting point; it’s what I do in post production that completes my vision. Merely documenting what I see doesn’t interest me. By not allowing the camera alone to portray what I feel, I’m able to create a new mood; an atmosphere that did not previously present itself. After a thoughtful approach to my subject with the camera, I now have the canvas with which to work. In other words, I don’t rely on circumstance to dictate the final outcome of my photographs. Instead, the process of image making is a two fold endeavor. The initial capture must be as good as possible, and the style I incorporate in post production must be tastefully executed in order for that image to be successful. My philosophical approach to photography is simply that I strive to create beautiful images. It doesn’t begin with some internal message that I want to express. There is no “deep psychological meaning” in my photographs that I’m consciously aware of; it’s a natural process, where I rely on my instincts to take control. I typically head off in the direction that I want to photograph, and find what interests me. I don’t let politics enter into my thoughts when I’m out taking photographs. There are no hidden agendas or social statements. My photographs are free of ideology.
Over the years I’ve managed to put together a rather eclectic collection of images; a result of not wanting to do the same thing over and over again. Photography today, is becoming increasingly specialized. This is problematic for me, as I like to explore different approaches and styles in my work. It’s difficult for me to imagine putting restrictions on myself by photographing only in black and white, or only in color. I would never want to limit myself to shooting in only one format. There are so many different and interesting subjects in the world, and my curiosity to explore new approaches and places is what motivates me.
It’s important to me to think of my photography as a body of work. Consistency is the goal; each image is as important as the next.
A current project that I’ve been working on over the past few years is a series called American Deindustrialization. All along the American Rust Belt are rapidly disappearing relics of Americas Industrial past. I’m intrigued by these abandoned buildings. They beg the questions, what happened? Why have they been abandoned? Who worked here? Where did all the people go? What intrigues me most of all is the architecture. The building shapes are so unique. They don’t design structures like that anymore. I prefer to photograph them in black and white and on overcast days. This gives me the mood that I feel is appropriate for what I want to convey.
My subjects of decay may be perceived by many to be ugly. It is sad when you see what’s become of these buildings. Their time has indeed passed. For me, I’m drawn to the beauty of the architecture. That combination of decay and beautiful architecture is visually fascinating to me. Creating beautiful images from these two dichotomies is my goal.
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WINNER | TRAVELING WITH ART
FISHERMANS | MARCEL REBRO
STRANGER THAN FICTION SAM GOLANSKI
New York is vibrant, crowdy and the most of all unpredictable. I spent six weeks last year on the streets of NYC trying to define life and people of this great place. Among human traffic and streams of yellow cabs you can come across certain moments where all this perception about big city is almost not important to point your camera at.
hen you walk into completely new environment, as I was, almost everything is interesting. From photos of shoppers at 5th Ave and street vendors to suited up workers having lunch I had to make my judgment right and be happy with the results. Hard work and hard choices to be made. After shooting probably hundreds of photos a day I managed to get into some kind of agreement with my self that its not about quantity but the quality of shots you take. Less is more and camera frame has its limitations. Soon after first week passed and gone I realised that I prefer single maybe two persons and the object in my photos from NYC. Results started showing of some conclusions to put together as a project. Is so good not to expect anything when you doing street photography. Right moment and situation will find you and the only thing you need to do is to press the shutter button on time. New York which we all seen many times in the movies or on postcards can obviously affect your own viewpoint and become repetitive. I tried to avoid it even photos of my favourite photographers like Joel Meyerowitz kept coming into my own ideas. I can say now after flying back into UK and editing work on my mac that the best and the most enjoyable photography is the one we never thought of.
Sam Golanski is Polish born street photographer and documentalist who currently lives in Manchester UK. He finished Culture Studies in University of Bialystok Poland in 2003 and have been living in Manchester since 2005. He started being interested in street photography during time at Uni where his Modern Media teacher introduced to the class history of Street Photography. His biggest influencers in the field are Garry Winogrand, William Klein, Joel Meyerowitz and Stephen Shore. He finished street photography course in Photo Fusion Agency in London in 2009 and been photographing since then.
NOTES FOR AN EPILOGUE TAMAS DEZSO
Tamas Dezso (Hungarian, b.1978, lives in Budapest) is a fine art documentary photographer working on long-term projects focusing on the margins of society in Hungary, Romania and in other parts of Eastern Europe. His work has been exhibited and published worldwide.
piritual tradition and physical heritage are simultaneously disintegrating in Romania. Time is beginning to undermine centuries-old traditions preserved in tiny villages, in communities of only a few houses, as well as the bastions of the communist eraâ€™s enforced industrialisation, which became part and parcel of Romaniaâ€™s recent history. Those living in the reservations of forgetting blend with nature, exhibiting a humility inherited through generations. Urged on by modernisation, they are living out their last days in evident equality of closeness to nature and, helping time, they are diligently pulling down the absurd edifices of their environment. In the manner of termites, they carry away small pieces of immense concrete constructions on the rickety carts of poverty, pick through reinforced concrete frames of former factory monsters, power stations and furnaces, dismantling monuments of formerly enforced modernisation which have corroded into a stage set. One year ago, I began photographing the scenes of a world irreversibly decaying, the transformation of a Balkan country surviving the regionâ€™s hardest dictatorship. When capturing the still recordable milieu I am examining the parallel of a general tendency and personal stories: as resilient humanity condensing into symbolic destinies takes shape in the face of mortality.
DRAGOS IONEANU My name is Dragos Ioneanu, I am a fine art photographer based in Copenhagen, Denmark specialised in B&W photography and subjects like architecture and seascapes/landscapes.
My main two projects are “Geometry in motion” – an architectural one and “White sea” – a collection of seascapes. I call them together “Water and steel”. They are like yin and yang, so different and so interconnected in my photographic work, one symbolising the calm of the sea and the other the chaos of the city.
“Geometry in motion” is a project that presents modern architecture using a fine art approach. It resides in my background, in both my past and the interactions with geometry during school periods and in the present with my recent fascination for modern architecture. The project is my own view about architecture: I choose to show details, shapes and angles rather then entire buildings. My photography does not have a documentary role, it does not intend to show the viewers how a particular building is looking like, how it is placed in its surrounding; instead it offers them a projection of the architectural structure filtered through my vision. The buildings in my work are placed in a hyper reality. I start with the reality, the building itself as designed by architect and built by the constructors, and move it into my hyper reality in four simple steps:
- firstly I try to discover the soul of the building, some composition that is, in the same time, revealing a lot and hiding a lot. Like some people thought in the past that by taking a picture of someone you take his/her soul, thats what I am trying to do with the buildings I am shooting
- I use long exposure technique; the passage of time is in contrast with the stillness of the structures; the clouds on the sky become simple stripes of shadow and light, negative space for the building
- I use B&w conversion, removing the realism given by the colour; it might be that photography existed only in monochrome in the past, but we all see in colour, and a B&W conversion can be a level of abstractization for many people
- I paint the light in post processing, revealing shapes, planes and interactions between architectural elements. I dodge and burn to attract attention of the viewer to some particular elements with the help of strong contrasts With these steps, I transform the architecture work into my vision. The project features architecture from Copenhagen, Malmo, Berlin, London and Athens and I plan to add more in the next few years.
The nude photographer is usually thought to be a male photographer. This is due to the fact that both scientific development and artistic work are generally considered to be masculine pursuits… although this fact has changed during the last few decades.
believe that a woman standing behind the camera offers a slightly different vision, whether we speak about the artistic nude, the erotic or the pornographic photography. A woman has a different kind of innate sensibility, a keener attention for details, a way of seeing things as stories. In the end, the resulting images are no different from their essence, maybe only in appearance. They are not better or worse than those of a man. They’re just different sometimes.
I was always attracted to photography because it provides the physical means to create ideas. Definitely the biggest influence of my work came from the „classics” of nude photography. There are two opposite directions here: the nudity in the photography and the nude photography. Big part of contemporary photography presents nudity as any other element, without any formal or stylistic accent, and it generally is only a component of some bigger aesthetic project. I want to continue studying the technical side, since the understanding of a large range of photographic processes leads to an extended visual vocabulary and placing oneself in a better position in order to control the result. But I also intend to further explore the nude as a subject, to give into the challenge and proNatural light is abundant all throughout my work, partly because I enjoy the way the film relates to it. I only use artificial light when natural light is insufficient or when the project requires a different type of light, raw or with special effects.gress in representing the female body.
FIVE MINUTES PEDRO DÍAZ MOLINS
Can you tell us a little about yourself?
My name is Pedro Díaz Molina and I’m living in Orihuela (Alicante), SPAIN and I’m thirty four years old. I studied Chemistry and Food Science and Technology in University of Murcia and in this moment I’m working in I+D departament in a sugar factory and I’m professor in University of Murcia.
How did you get interested in photography?
My father was an amateur photographer and he showed me his cameras when I was young. I always wanted to learn photography but when I tried it was very difficult for me, a lot of parameters to control. With the digital world, I bought my first digital camera, a Kodak of 5Mpx and I learned to use Photoshop. Finally, My father gifted me my first camera reflex in 2009.
Do you artist/photographer inspired your art?
The minimal seascapes of Darren Moore and Keith Aggett are my first inspiration. The B&W treatment of Hengki Koentjoro is simply the best.
Could you please tell us anything about your technique and creating process?
In the moment of scene, I use neutral density and degradated filters to get the best quality in my shots. After, I use the Silver Efex Pro software to convert to black and white and I adjust the different zones with levels layers. Finally, I use degradated layers to create a special mood.
Describe your ideal photographic situation
My ideal photographic situation can be some curious object in to the sea with a cloudy sky.
How much preparation do you put into taking a photograph?
I like having a lot of time to prepare the filters and all parameters of my camera and so I can study the light for shooting in the exact moment.
What quick advice do you have for someone who wants to improve his or her photography skills?
I analyze very much the photographies that I like and I try to extract the basic information to apply in my works.
From time to time many photographers find themselves in a creative rut or uninspired to shoot. Does this ever happen to you and if so how do you overcome these phases?
Timely question, I’m in that moment. It’s very difficult be cause I feel that my work is very repetitive. I have broken that moment making a recycling of my photos. I have introduced different persons who I photographed in my last trip to New York in old photos taken in a minimal seascapes. This last work I titled “Aimlessly” because of the feeling that you can feel when you are in a creative rut.
What future plans do you have? What projects would you like to accomplish?
I haven’t a new projects in the horizon. I hope escaping soon of this uninspired moment. A new trip could help me….