Issuu on Google+

musetouch Happy Birthday Musetouch

Visual Arts Magazine

ISSUE 27 SEPTEMBER 2013 Zena Holloway Margarita Georgiadis Christian Schloe Bogdan Prystorm Mara Light Hush Iris Scott Ilse Moore Kat Moser Loui Jover Michal Zahornacky Michael Taylor

MUSETOUCH MAGAZINE September 2013 Editor Maia Sylba Graphic designer Dejan Silbaski Contributors Nini Baseema Kiyo Murakami Ian Furniss Cover Natalie Shau MUSETOUCH is a magazine about visual arts. It has been created by Maia Sylba out of a love and passion for art with the hope that people will be able to use the publication and website as a platform to showcase their skills and gain recognition.

Facebook Twitter

Linkedin Mail

Submission Guideline If you want to contribute to the next edition, you can send us an email with your data and a PDF file that shows your works, also a link of your website if you have any. We would love to see your art so don’t hesitate to contact us and welcome. All artwork in this magazine is copyright protected under the MUSETOUCH Magazine brand or remains property of the individual artists who have kindly granted us permission to use their work.

musetouch 2

Kat Moser

Beyond the Shadows


Christian Schloe Anything

Mara Light




The Presence of Absence


Michael Taylor The Light


Bogdan Prystorm World of My Own


Complex and Original

Iris Scott

Margarita Georgiadis


The Battle

Loui Jover


Art, Cartoon, Thought

Ilse Moore


Subconscious Denial of Reality


Zena Holloway Her Magic



Michal Zahornacky Listen to the Silence


musetouch 3

Kat Moser

Kat Moser explores the potency of the female form and the otherworldly aspects of earth and water through her elegant, ethereal and often enigmatic photographs. By envisioning age-old cultural narratives we first experienced in fairy tales, mythology and legends, Moser allows the viewer to revisit mystery and imagination through fresh eyes. Over the past two decades, Moser’s photographs have been widely exhibited and her work is included in numerous private collections. She studied with photographers Joyce Tenneson, Doug Beasley, Elizabeth Opalenik, and Connie Imbodem and counts among her influences Clarence John Laughlin, Deborah Turbeville, Sarah Moon, and Duane Michals. Kat Moser maintains a one-woman studio in Omaha, Nebraska. “Ethereal, mystical, spiritual—these are just some of the words I use to describe my work. All three represent the primal connections we have with Mother Earth and her female qualities. I am deeply moved by the powerful, yet often unseen worlds that surround and link us to life’s profound mysteries. This is my creative challenge when making photographs, which lead me to focus my camera on the feminine form, quiet waters and natural landscapes. Whether hazy and dreamy or stark and clear, each final print serves as a tangible reminder and potential window into these special places that exist just beyond the shadows.” Kat Moser musetouch 8

Beyond the Shadows

musetouch 9

musetouch 10

musetouch 11

musetouch 12

musetouch 13

musetouch 14

musetouch 15

musetouch 16

musetouch 17

musetouch 18

musetouch 19

musetouch 20

musetouch 21

musetouch 22

musetouch 23

musetouch 24

musetouch 25

musetouch 26

musetouch 27

musetouch 28

musetouch 29

musetouch 30

musetouch 31

musetouch 32

musetouch 33

musetouch 34

musetouch 35

musetouch 36

musetouch 37

musetouch 38

musetouch 39

musetouch 40

musetouch 41

musetouch 42

musetouch 43

musetouch 44

musetouch 45

musetouch 46

musetouch 47

musetouch 48

musetouch 49

musetouch 50

musetouch musetouch 51 51

musetouch 52

musetouch musetouch 53 53

Christian Schloe Christian Schloe is a talented Austrian artist whose work includes digital art, painting, illustration, and photography. “Anything can happen in a world that holds such beauty.� Christian Schloe musetouch 54



musetouch 55

musetouch 56

musetouch musetouch 57 57

musetouch 58

musetouch musetouch 59 59

musetouch 60

musetouch musetouch 61 61

musetouch 62

musetouch musetouch 63 63

musetouch 64

musetouch musetouch 65 65

musetouch 66

musetouch 67

musetouch 68

musetouch 69

musetouch 70

musetouch 71

musetouch 72

musetouch 73

musetouch 74

musetouch 75

musetouch 76

musetouch musetouch 77 77

musetouch 78

musetouch musetouch 79 79

musetouch 80

musetouch musetouch 81 81

musetouch 82

musetouch musetouch 83 83

musetouch 84

musetouch 85

musetouch 86

musetouch musetouch 87 87

musetouch 88

musetouch musetouch 89 89

Mara Light

Mara Light was born in 1970 in Brooklyn, New York. Her artistic journey began early in life within the home. “Creativity was always encouraged by my parents” says the daughter of two artists. Her mother studied painting in New York and her father studied photography at the Art Center College of Design.“I was often drawing and being creative in some form or another,” says Mara. In her high school years, she started to understand the extraordinary power art would have on her life. “Art was a way to escape into my own world, a place where beauty and deep emotions had a voice. It was easier to paint an emotion rather than speak it.” She began to take Saturday High classes at the Art Center College of Design throughout her teenage years. This education continued after high school with night classes where Mara would create her portfolio which resulted in an acceptance to attend the Art Center. Mara completed her BFA in 1993 though frustrated by some of the unconventional schools of thought throughout the Art Center faculty. Mara states, “Once I realized that painting the figure was what I loved, it became clear to me that conceptual art was the dominating force in the school and figurative painting wasn’t widely accepted.” Through close association with the Brentwood Art Center, 1999-2001, Mara found an environment where her figurative work was nurtured and she decided to return to the path she loved most. The central theme of her original artwork is the expression of the figure with a focus on the female form using light to reveal the mood she wants to convey. Over the past several years, Mara has developed a body of work that is both deeply moving and evocative of the emotional qualities and beauty of each subject. Within this genre, Mara is constantly evolving and dedicated to creating paintings that remain fresh and speak to the viewer on many levels. Her work is shown in galleries, charity events and has been commissioned by dozens of private and public collectors. Most days Mara can be found painting in her studio in Pittsburgh, Pennsylvania. musetouch 90


musetouch musetouch 91 91

musetouch 92

musetouch 93

musetouch 94

musetouch 95

musetouch 96

musetouch 97

musetouch 98

musetouch 99

musetouch 100

musetouch 101

musetouch 102

musetouch 103

musetouch 104

musetouch 105

musetouch 106

musetouch 107

musetouch 108

musetouch 109

musetouch 110

musetouch 111

musetouch 112

musetouch 113

musetouch 114

musetouch 115

musetouch 116

musetouch 117

musetouch 118

musetouch 119


Complex and Original

British artist Hush merges various street art approaches with traditional art practices to create complex and original work. The artist presents contemporary depictions of traditional portrait and figurative imagery through an inventive mix of seemingly incompatible themes and aesthetics. Through his technique of layering divergent aesthetics, Hush’s contemporary paintings disclose the beauty produced by years of decayed tagging and the possibility of creating something new. Hush has participated in both solo and group exhibitions and shows worldwide including galleries in Los Angeles, New York City, Miami, London, Basel, San Francisco and Berlin. His work has been featured in a series of publications including Street Knowledge (Harper Collins), The Street Art Stencil Book (Laurence King Publishing), Huck magazine, Art Monthly and The Independent newspaper, where he was recognised in their list of the ‘Top 20 Up and Coming Artists’. musetouch 120

musetouch 121

musetouch 122

musetouch 123

musetouch 124

musetouch musetouch 125 125

musetouch 126

musetouch musetouch 127 127

musetouch 128

musetouch musetouch 129 129

musetouch 130

musetouch musetouch 131 131

musetouch 132

musetouch musetouch 133 133

musetouch 134

musetouch musetouch 135 135

musetouch 136

musetouch musetouch 137 137

musetouch 138

musetouch 139

musetouch 140

musetouch 141

musetouch 142

musetouch 143

musetouch 144

musetouch 145

musetouch 146

musetouch 147

Iris Scott

Iris Scott developed a unique, stylistic fingerpainting process - wearing surgical gloves and placing the oil paint directly on her fingers. The result is a sophisticated and vibrant postimpressionistic style that echoes the masters of old. Her unique composition and style has attracted collectors from around the globe. “People often ask me how I approach creating an original oil finger painting. Sketching and photography are very key. Sometimes its a photograph that provides the inspiration, and sometimes I just start sketching and develop the composition. In the evenings before painting days I stretch the canvas by hand, cover it with primer, and set it up in the studio for the following morning. A new painting always begins in the morning with a strong cup of coffee in hand. Like my dentist, I put on my purple latex gloves and get right to work. Before I became a finger-painter, washing brushes was never my strong point, but now changing colors is achieved in seconds! I simply wipe the paint off my fingertips against a coarse paper towel and grab the next color. Holbein Aqua Oils are the richest and most consistently smooth line of paint, and I use them exclusively. Once the painting begins, Pandora radio fills the studio with an eclectic playlist of musicians and bands to energize and inspire. My fingers dance rapidly across the canvas - some say it reminds them of a piano player in action. The colors collide and meld into my composition, raw oils are squeezed straight from the tubes, the texture is thick and juicy. This chaotic scene goes on well into the evening. To stay focused I dance, I sing, I stretch. Making a painting is like going to war, but the battle is thrilling. Luckily the battle is getting easier to win, my ammunition is growing more advanced and my stamina improving with practice. I keep fantasizing about which finger paintings do not exist yet, someday I will make a painting I love too much to sell. For now...I hope you enjoy!� Iris Scott musetouch 148

The Battle

musetouch 149

musetouch 150

musetouch 151

musetouch 152

musetouch 153

musetouch 154

musetouch 155

musetouch 156

musetouch 157

musetouch 158

musetouch 159

musetouch 160

musetouch 161

musetouch 162

musetouch 163

musetouch 164

musetouch 165

musetouch 166

musetouch 167

musetouch 168

musetouch 169

musetouch 170

musetouch 171

musetouch 172

musetouch 173

musetouch 174

musetouch 175

musetouch 176

musetouch 177

musetouch 178

musetouch 179

Zena Holloway Self-taught photographer Zena Holloway, a daughter of an airline pilot, was born in 1973 in Bahrain and now lives and works in London. She is famous for her underwater projects. She was travelling the world as a SCUBA diver instructor when she discover her interest for underwater photography, which lately became a real passion. Zena’s creative photographs are not only surreal and glamorous, but are also full of light, they are simply soft and natural. Once you look at her work, you find yourself holding your breath like if you were under the water. The magic of her pictures consist of an inspirational atmosphere, serenity and uncatchable romance. To create it, Zena is using the highly technical aspects of underwater photography, direction of lightning and deep understanding of people’s nature. Thus, it comes to a result of striking and extraordinary images. Few work have been published in famous magazines and also used in advertising and films.

Throughout history there has been much contention surrounding the definition of creativity. The common accepted definition is that creativity is the act of creating something new, something from nothing. According to this definition however, many argue that only writers and poets can be considered to be truly creative, while artists (under which category photographers fall) only replicate what already exists. What would you say to someone with that belief and what is your own understanding of creativity? Its an interesting idea but I would argue that most worthwhile painters and photographers don’t replicate what already exists but use their craft to create work that is an interpretation of what they see or imagine. Photographers use light to paint an image and in most cases a variety of processes afterwards to change and bend what they’ve captured to further alter it from reality. If the photographer is using the medium to do this then they must be considered a be creating something new. Everyone’s creative process is different. For some creativity comes easily and leads to a proliferation of great work while others describe their creative process to be like extracting poison, slow and incredibly painful. What is your creative process like? Ah yes the ‘beautiful burden’. I confess I’m not one of those wonderfully crazy people with an elastic mind stretching off at tangents all of the time and obsessing with work. I wish that I was less ordered, less literal and more radical, however the upside is that I’m content to let the ideas or the situations to create arrive in their own time. I need to create but not in a way that is destructive.

musetouch 180

Her Magic

musetouch 181

Do you rely heavily on external stimuli - mood boards, music, movies etc - to boost your creativity? One of the great things about working solely underwater is that I can pull references from all sorts of sources and once applied to an underwater environment the results take on their own direction. On an editorial shoot where creativity is allowed to evolve and the water plays its part there are lots of opportunities to create something different. The trick is to recognise when the accidental process is going in a good direction and when a different approach is needed. The more references I start with, the more ideas I find to move the work forward. I’m sure everyone has experienced that moment of panic when a great idea occurs to you only to slip away, like water through your fingers, before you’ve had a chance to get it all down. In fact, studies have shown that some of the most creatively successful people have “capturing” methods in place to capture creative thought the moment they happen, before they disappear. Do you have any creative capturing methods ie carrying around a notebook/sketchbook everywhere etc? For example, one interviewee said she kept a dictaphone next to her bed which she used in the middle of the night to record vivd dreams she’d just woken from. All my best ideas tend to come when I’m in the place of dreaming before becoming fully asleep. When I’m trying to work out some ideas I always keep a note book by the bed otherwise I just end up foraging around in the dark trying to scribble the ideas down. Indeed this doesn’t seem to be a very uncommon strategy for lots of people. The popular image of the tortured, depressive artist is an enduring one and is often attributed to the agony artists suffer at the hands of the whims of creativity. For artists, with so much riding on creative performance, the unpredictability of creativity can be incredibly crippling. Do you experience creative block yourself and if so, how do you get around it? When I was was younger I might have fallen into the ‘tortured, depressive artist’ category. I was often unsure if the path that I was on would actually work. I didn’t have a role model, I’m self taught and specialising just in underwater photography was quite a radical approach. I didn’t know if I would be able to create a business from it and how readily my imagery would be accepted. It was an unnerving path but now with 3 small children they tend to keep me busy enough so that the selfish, obsessive existence is no longer an option. Most of the work I do now is driven by commerce but when there is an opportunity to work on a more creative project its uplifting to have the boundaries removed. Creating great imagery is a team effort and a talented crew is vital. Their input removes any opportunity for creative blocks. From a psychological perspective, one of the greatest enemies of creativity is fear - fear of judgement from others, fear of failing etc. Scientists believe this is why children, who are yet to learn to fear such things, have such an easy relationship with creativity. How much of a role do you think fear plays in creativity? I’ve always been utterly stubborn about going in my own direction and I recognised from a young age that different is good. Art by committee never works.

musetouch 182

musetouch 183

To create something new takes a certain amount of courage but to not at least try and push the boundaries is just boring. I’m all for the mavericks of society who swim again the tide. Has fear - in any shape of form - held you back creatively in your career? If so, how have you overcome it? (one interviewee had a failure so colossal, he said nothing scared him after that because it could only ever get better!) I like the rush of being on a shoot. The pressure to create something wonderful in a limited amount of time. My shoots are costly and not having my own underwater studio I’m always in a hired pool and the clock is ticking. Fear? No I don’t think about work or commission with fear, its an adventure and an opportunity. Another popular belief is that creativity is something inherent to someone’s nature, an intrinsic skill some are born with, while others miss out. Do you believe this is true or do you think creativity can be nurtured and developed by anyone at any age? I’m on the nature rather than nurture camp with everything. Its rather predictable of me but I think people are wired from the start to be 80% of the person they turn out to be. The other 20% is nurture. I think this applies to creativity as well. Capture Mag

musetouch 184

musetouch 185

musetouch 186

musetouch 187

musetouch 188

musetouch 189

musetouch 190

musetouch 191

musetouch 192

musetouch 193

musetouch 194

musetouch 195

musetouch 196

musetouch 197

musetouch 198

musetouch 199

musetouch 200

musetouch 201

musetouch 202

musetouch 203

musetouch 204

musetouch 205

musetouch 206

musetouch 207

musetouch 208

musetouch 209

musetouch 210

musetouch 211

musetouch 212

musetouch 213

musetouch 214

musetouch 215

Margarita Georg “Through the process of painting, my concerns are based on endless variations of silence and absence, presented as a series of fragmented narrative. Each of my paintings are like fragments of an unknown story, like a film still, removed from the sequence of the entire film; the viewer is only presented with one frame in order to evaluate and comprehend the infinite possibility of narrative that surrounds each painting. I am interested in focusing attention on that which is not visible in the painting, that missing element of narrative that completes the story. I endeavour to paint the presence of absence.�

Margarita Georgiadis musetouch 216


The Presence of Absence

musetouch 217

musetouch 218

musetouch 219

musetouch 220

musetouch 221

musetouch 222

musetouch 223

musetouch 224

musetouch 225

musetouch 226

musetouch 227

musetouch 228

musetouch 229

musetouch 230

musetouch 231

musetouch 232

musetouch 233

musetouch 234

musetouch 235

musetouch 236

musetouch 237

musetouch 238

musetouch 239

musetouch 240

musetouch 241

musetouch 242

musetouch 243

musetouch 244

musetouch 245

musetouch 246

musetouch 247

Michael Taylor Tell us a little bit about yourself?

I am a 50 year old photographer, originally from near the beautiful North Coast of Ireland. How did you first get into photography? As a child I was fascinated by the patterns, shapes, colours and textures of light. At 15 years old I took my first 35mm film images using a newly-released manual Praktica MTL camera and shortly afterwards made my own little darkroom to begin learning skills from concept to final print. Though I use digital methods I still have a good darkroom and have explored alternative printmaking processes for many years. Did your early photographic goals include earning a living from photography, or did it start as a way to express yourself creatively? At 15 years old, it was all about creative expression (and still is), though I also loved drawing. Even though I have been full-time for 21 years, my art practice has always been present. What do you think is the most important factor in making a good photograph? Imagination. To pre-visualize and sketch images prior to their creation yet still remain open to the medium guiding you. Even “found� images must be filtered through personal vision. And about what is making a photographer a good one? A passion, sense for beauty, imagination, technique...? All these things are important. Skills such as : Concept/research/development/sketching; photographic techniques; printmaking; presentation. Truth, beauty and goodness exist in the fabric of everything. How does your profession as an artist influence your life? Art enriches everything. Life also enriches photography. Being open to learn and explore further are vitally important. Do you feel that you see things around you differently than others?

musetouch 248

The Light

musetouch 249

Yes. However, each person has a unique vantage point. There is transcendence in the everyday. Blake (and poets such as Seamus Heaney) knew this. I merely reveal in light and space what already exists. Your photographs are quite unique, especially your...I will call it “Dance with the Light”. Why that type of photography? Light itself is a subject. Previously, photography classifications were restricted only to subjects eg landscape, portraits etc. But the question I ask is: what if light itself is the subject ?! Could you share a favorite recent image and tell us a little of the back story behind it? It is “Light Trace 05”, Model: Laura Cherry, Light costumes and styling: Erina Kashihara, Hair: Charlie Manns (Electric Hairdressing), Assistance and studio in London: Jon Gray. I planned and shot a series of images in a London studio with Tokyo-based light artist/ fashion designer, Erina Kashihara. Having emailed Erina with my first series (Luminescence), she agreed to collaborate with me in London. The model (Laura Cherry) has a background in dance so moves very well. Light emitted from within clothing and accessories combined with directed movements clothe the model within traces of light. Advance planning laid the foundation but the work resulted from my response to the movement of light. How do you see yourself in the future? Exploring many more aspects of light via photography; learning many more new skills; ultimately collating all this into one unified (yet diverse) body of work. MS musetouch 250

musetouch 251

musetouch 252

musetouch 253

musetouch 254

musetouch 255

musetouch 256

musetouch 257

musetouch 258

musetouch 259

musetouch 260

musetouch 261

musetouch 262

musetouch 263

musetouch 264

musetouch 265

musetouch 266

musetouch 267

musetouch 268

musetouch 269

musetouch 270

musetouch 271

musetouch 272

musetouch 273

musetouch 274

musetouch 275

Bogdan Prystorm “I’m a member of the Union of Polish Art Photographers. I used to be a chairman of Warmia and Masuria Photographic Association. I live in the north of Poland, in a pretty town of Olsztyn. At present, i use computer methods to take photos with digital techniques only. Pictures that I create, are the extention of what I was doing earlier tradition using photographic methods.. The theme of my work is usually a man and his portrait. The method I use is a digital fotomontage. I treat my photos totally different from those created by techniques of photographic materials producers. I try to do every work with my own ‘particular method’.

Bogdan Prystorm musetouch 276


World of My Own

musetouch 277

musetouch 278

musetouch 279

musetouch 280

musetouch 281

musetouch 282

musetouch 283

musetouch 284

musetouch 285

musetouch 286

musetouch 287

musetouch 288

musetouch 289

musetouch 290

musetouch 291

musetouch 292

musetouch 293

musetouch 294

musetouch 295

musetouch 296

musetouch 297

musetouch 298

musetouch 299

musetouch 300

musetouch 301

musetouch 302

musetouch 303

musetouch 304

musetouch 305

musetouch 306

musetouch 307

musetouch 308

musetouch 309

Loui Jover

“Right now I like making ink drawings on adhered together sheets of vintage book paper, there is a fragility to these images that I find interesting (as if the wind may blow them away at any moment) and the hand drawn stark black lines against the intricate printed words of the book pages offer a strange fusion and depth that seems to give the images a kind of ‘meaning’ and back story, even though unconnected in a contrived way. I never pick the image for the pages or visa-versa they just collide as chance permits, any meaning they may have is purely created by the observer and their own imaginings.” Loui Jover musetouch 310

Art, Cartoon, Thought

musetouch 311

musetouch 312

musetouch 313

musetouch 314

musetouch 315

musetouch 316

musetouch 317

musetouch 318

musetouch 319

musetouch 320

musetouch 321

musetouch 322

musetouch 323

musetouch 324

musetouch 325 musetouch 326

musetouch 327

musetouch 328

musetouch 329

musetouch 330

musetouch 331

musetouch 332

musetouch 333

musetouch 334

musetouch 335

musetouch 336

musetouch 337

musetouch 338

musetouch 339

musetouch 340

musetouch 341

Ilse Moore

“I am a photographer, living and working in Johannesburg, South Africa, and have started shooting underwater about three years ago. While my underwater photography often involves commercial, bridal and fashion shoots, my conceptual work speaks of a subconscious denial of reality. I believe that photography as a medium lends a kind of realism to these ‘fantasies’, allowing it to exist in closer relationship to the viewer. Regardless of who or what I’m shooting, there remains very little control underwater. I can always expect something magical to happen, not only due to the weightlessness and freedom, but it feels like being in another world where I have my own creative playground. It is very challenging, but I find it extremely exciting at the same time due to the unpredictability. I can manipulate any particular set to achieve what I initially envisioned, but the unplanned visuals that happen under the surface often determine the direction I take the shoot as it constantly changes and forms new meanings. I wouldn’t like to remove this aspect of my shooting, the surprise of the change appeals too much to me. I used to work a lot with the concept of flight, which more and more made me consider going underwater with my shoots. Water is symbolic of so many things including life, transformation and change, so with that being very much in line with the concepts I was working on, I decided to start experimenting underwater. I immediately fell in love with it and now can’t wait to get underwater between other shoots. I’ve also been very fortunate to work with some amazing South African and international designers, models, artists and magazine editors.” Ilse Moore musetouch 342

Subconscious Denial of Reality

musetouch 343

musetouch 344

musetouch 345

musetouch 346

musetouch 347

musetouch 348

musetouch 349

musetouch 350

musetouch 351

musetouch 352

musetouch 353

musetouch 354

musetouch 355

musetouch 356

musetouch 357

musetouch 358

musetouch 359

musetouch 360

musetouch 361

musetouch 362

musetouch 363

musetouch 364

musetouch 365

musetouch 366

musetouch 367 musetouch 368

musetouch 369

musetouch 370

musetouch 371

musetouch 372

musetouch 373

musetouch 374

musetouch 375

musetouch 376

musetouch 377

musetouch 378

musetouch 379

musetouch 380

musetouch 381

musetouch 382

musetouch 383

musetouch 384

musetouch 385

Michal Zahorna Michal Zahornacky was born in 1988 in Povazska Bystrica where he also currently lives and works. He bought his first camera in 2010 and since 2011 he is active in the world of photography. You can find his work on slovak as well as on foreign web portals, which are dedicated to photography. His favourite focus of activity is black and white photography. You can find a lot of emotions in his portraits, usually showed in depressive atmosphere. The light and the darkness play the main role and create the spirit of the picture. He focuses on capturing the world of human and the space around... in the same time Michal invites the viewer to listen to the silence of the world and a man. musetouch 386


Listen to the Silence

musetouch 387

musetouch 388

musetouch 389

musetouch 390

musetouch 391

musetouch 392

musetouch 393

musetouch 394

musetouch 395

musetouch 396

musetouch 397

musetouch 398

musetouch 399

musetouch 400

musetouch 401

musetouch 402

musetouch 403

musetouch 404

musetouch 405

musetouch 406

musetouch 407

musetouch 408

musetouch 409

musetouch 410

musetouch 411

musetouch 412

musetouch 413

musetouch 414

musetouch 415

musetouch 416

musetouch 417

musetouch 418

musetouch 419

musetouch 420

musetouch 421

musetouch 422

musetouch 423

Musetouch issue 27