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The Woven Tale Press
Vol.III #7
EDITOR-IN-CHIEF: Sandra Tyler
Author of Blue Glass, a New York Times Notable Book of the Year, and After Lydia, both published by Harcourt Brace; awarded BA from Amherst College and MFA in Writing from Columbia University; professor of creative writing on both the undergraduate and graduate levels, including at Columbia University, (NY), Wesleyan University (CT), and Manhattanvill College, (NY); served as assistant editor at Ploughshares and The Paris Review literary magazines, and production freelancer for Glamour, Self, and Vogue magazines; freelance editor; Stony Brook University’s national annual fiction contest judge; a 2013 BlogHer.com Voices of the Year. http://www.awriterweavesatale.com
ASSOCIATE EDITOR: Michael Dickel, Ph.D.
A poet, fiction writer, essayist, photographer and digital artist, Dr. Dickel holds degrees in psychology, creative writing, and English literature. He has taught college, university writing and literature courses for nearly 25 years; served as the director of the Student Writing Center at the University of Minnesota and the Macalester Academic Excellence Center at Macalester College (St. Paul, MN). He co-edited Voices Israel Volume 36 (2010). His work has appeared in literary journals, anthologies, art books, and online for over 20 years, including in:THIS Literary Magazine, Eclectic Flash, Cartier Review, Pirene’s Fountain, Sketchbook, Emerging Visions Visionary Art eZine, and Poetry Midwest. His latest book of poems is Midwest / Mid-East: March 2012 Poetry Tour. http://michaeldickel.info
ARTS EDITORS: Seth Apter Mixed-media artist, instructor, author and designer. His artwork has been widely exhibited, and represented in numerous books, independent zines, and national magazines. He is the voice behind The Pulse, a series of international, collaborative projects, the basis of his two books The Pulse of Mixed Media: Secrets and Passions of 100 Artists Revealed and The Mixed-Media Artist: Art Tips, Tricks, Secrets and Dreams From Over 40 Amazing Artists, both published by North Light Books. He is the artist behind two workshop DVDs: Easy Mixed Media Surface Techniques and Easy Mixed Media Techniques for the Art Journal. http://www.sethapter.com Donald Kolberg Sculptor, painter, art marketer and writer. His artwork has been exhibited throughout the U.S. in museums and galleries with his current representation at the Parker Art Gallery in St. Simons, Ga. He has been featured in an NBC short documentary and numerous print and zine publications. He is founder of ArtCore an international newsletter, and continues to be active in art groups presenting classes on marketing and art techniques including workshops on creating Strappo’s, a dry transfer acrylic monotype. A graduate of California State University, Los Angeles, his master work was continued at Otis Art Institute. Additionally he produced Periscope Up an independent television production for a Pennsylvania PBS station. His artwork has been included in the publication ‘Sculpture and Design with Recycled Glass’. Additional artwork and information can be viewed at www.DonaldKolberg.com PHOTOGRAPHY EDITORS: Susan Tuttle Award winning iPhoneographer and DSLR photographer. She is the author of three instruction-based books (published in the US and abroad by F+W Media, North Light Books) on digital art with Photoshop, mobile photography and DSLR photography, and mixed-media art. Her fourth book, Art of Everyday Photography: Move Toward Manual and Make Creative Photos (about DSLR photography and mobile photography) was recently released by North Light Books and has been a best-seller in its category on Amazon. She is currently the Technical Advisor for Somerset Digital Studio Magazine. http:// susantuttlephotography.com Charlotte Thompson: Conceptual photographer and owner of Digital Art Transparency Overlays. Besides designing book covers, her works are in individual collections both in the U.S. and abroad, including Denmark, Sweden, Australia, and Korea. She has shown her photography at Photo Contemporary, OPF Gallery One, Raleigh Studios, and in a Hollywood exhibitions. http://www.opfgalleryone.com/artists/charlotte-thompson
Woven Tale Publishing Š copyright 2013
ISSN: 2333-2387
Editor’s Note: The Woven Tale Press is a monthly culling of the creative Web, exhibiting the artful and innovative. Enjoy here an eclectic mix of the literary, visual arts, photography, humorous, and offbeat. The Woven Tale Press mission is to grow Web traffic to noteworthy writers and artists–contributors are credited with interactive Urls. Click on an Url to learn more about a contributor.
To submit or become a Press member, go to: http://thewoventalepress.net
http://surrealdigitalart.com
3D Digital ART Art “I first began using computers to create art in the 1970s. As much as I’ve always loved painting, I was never able to fully realize my inner visions using paint and a brush. Initially my computer art was limited to 2D. But by 2000, I was creating a new 3D scene every few days, in the program Bryce. Bryce was not a program to create 3D models, but a 3D scene creation program, with built-in sun and clouds, and a library of models and textures. Bryce became my primary tool for creating 3D art. In 2004 I discovered VUE, a 3D landscaping tool much like Bryce. Unlike Bryce, VUE can handle scenes with millions of polygons, and render them far faster than Bryce could render a scene with only 10,000 polygons. The process I use to create a 3D scene begins with sketches. Once I have a scene, and using my available tools, I create and place models onto my own landscape, within VUE. I use the program Poser to create and pose humans and animals, which I then can import into VUE.” – Tom Repasky
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Another View
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w: Me, Myself, and I
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Checking
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g It Out
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Conve 7
ersion 8
Waiting for the 9
e Crumbs to Fall 10
http://www.colindardispoet.co.uk Comet Scraped, scored and scratched, minor vacuum of the sky crossed out with a memory of vapour, debris. The eye traces its sojourn as a child’s finger might read: linear, true, across one dimension. Against a madman’s mosaic of pinheads, she flies, a white dress just seen, echoing behind her. This dance is a slingshot, an arc from some pirouette lighting up the ballroom with finite geometry; and then, in a dusty flash, she goes, lost to another century. (Longlisted for the Allingham Arts Festival Poetry Prize 2014)
The Silence of the Peaceful Reader content with the words of a stranger blowing in the breeze. An array of backing vocalists enter to sing with the wind: the children of the city are discovering their Newfoundland, hurling themselves through streets with their haircuts and their labels and their crushing weight of baggage.
A cheer for the children! A cheer for the discovery! One big drunken chorus under one sky pushing themselves against the wind. Cheer for all the thunderous fools! Cheers for the thunder clap that snaps the hear Keep reading to fill in the gaps between the gales.
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rt!
Canvas for Dreaming Everyone is alone with the moon, conqueror of all landscapes, so that its singular voice may be heard across the world. In the desert, it whispers of survival. In the city, it speaks of escape. Inside jungles, it clears out your fear. Over oceans, it points you to home. Across fields, it tells of seeds to sow. Inside beds, it holds your hand and dreams with you, trusted companion.
Land
Come, lie down with the moon tonight; it can only reflect what you choose to shine upon it, your face suspended over its skyline.
I have taken my oars and struck a cross on your shore, content to call this home and never sail again.
There’s a treasure map drawn on your heart, marked with my ‘x’. I do not have to dig deep to see the sparkle; its wink of hello can be spied from adrift. It’s a young, vibrant beacon, a smiling siren, calling your ship into me.
From Left of Soul
Look, how you are luminescent.
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http://artbycanace.com
“F
or as long as I can remember, I’ve been
fascinated with old things, tarnished things, rusty things, things with a history. I’ve collected everything from rusty springs to dragonfly wings – products of our environment, the detritus of our world, and a treasure in their own right. My greatest joy is to create something with those treasures, to give them a new life and interpretation. – Canace
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Firebird
Plaster Abstract1
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Plaster Abstract 2
Listen to the Whispers
Home Pods 16
http://robert-maloney.com
Maloney’s
3D
ConstruCtions incorporate elements of the urban landscape, typography, topography and architecture. Many of his pieces straddle the line between a structure being torn down and a structure being erected. He likes to think of his work as a 21st century archeological dig, where decades of imagery and information accumulates, and deteriorates, at various stages of recognition. Maloney combines layers of paint, found and created textures, screenprinted patterns, digital elements and three-dimensional structures to create works that evoke the feeling of crumbling walls, discarded billboards and old warehouses.
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Presence/Absence Digital Photo of an Installation With Projection-Dimensions Variable
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Interiror Facade Approx. 24 x 24 x 4 inches
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Exhaust Approx. 7 x 12 x 3 inches
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Residual Individual Approx. 30 x 48 x 5i nches 21
Downtime Approx. 14 x 30 x 3 inches 22
http://artneelkanti.com
“Once the Clay goes into the furna
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ace, it’s all magic”
“O
nce the clay has dried, it
1000 to 1050 degrees centigrade. Glazes which melt at that vitrification temperature are applied. is bisque fired at
My glazes are combinations of different chemicals, ores and metal oxides. As with any recipe, they are mixed in perfect proportions, and are combined with water to achieve an exact consistency.
This mixture is
then applied to the sculpture for a desired effect.
Again the art piece goes into the furnace, fired so that the clay vitrifies. The glaze melts onto the clay. The desired color is achieved at a specific temperature, but there are so many variables, that once the clay goes into the furnace, it’s all magic. – Neelkanti Patekar
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http://jpharrington.blogspot.com
A Pact Between Lovers
H S A L F
A naked blob of mayonnaise, shaped like a ghost, rested in the corner of her lip. So did the leftover tension from their afternoon argument. The more they talked the more strained the words became, like water struggling to pass through a clogged pipe. He would apologize. It was his turn. That was the agreement.
The Intruder His cigar smelled like a decayed riverbank. A contradiction to the aromas surrounding the ethereal lake, its water reflecting the flora lining the shore. This was my safe place, the place where I could avoid his fists. But not today. He stood, faced me, coughed. An alarm told me to run. Instead, I waited. Hopeful.
Why? Smoke rose from the underbelly of the city. A bottle skittered across the deserted street, propelled by a wind full of empty promises and lack of action. Broken windows, smashed cars, an unresponsive body dangling from the window of a third-floor flat all revealed the consequences of delirious residents acting out of frustration and despair.
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Memories His opaque gaze drifted to the empty armchair, the one that she’d occupied since their children’s childhood, the one she preferred to any theater seat, the one purchased at Sears and Roebuck when it still offered its large, printed catalog, the one she’d reupholstered twice, the one where she fell asleep for the last time.
Best Friends Crouched in the crawl space behind the coat closet, I heard the experimental puppet in the kitchen. Tommy said it was lethal. Something crashed on the floor, perhaps the bowl I’d left next to the stove. I closed my eyes, saw broken faces, laughing, mocking. The door opened. I cried out. “Retard!” It was Tommy.
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N O I T C 30
http://www.opfgalleryone.com/artists/charlotte-thomp
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Sweet Mary Jane
pson
C
onceptual
I
mpressions
“I am fascinated with the
idea of multilayer visual art which I produce on a very modern level. I would like the viewer to come to his or her own conclusions when contemplating my photographs. I find in my own description that the work is highly charged with emotion, mystery–a haunting kind of allure and strongly suggestive.
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– Charlotte Thompson
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Dancing with Angels
Lydia
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Warrior 35
Sarah.Moon
Memories of Our Past
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http://www.lenazhenart.com
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Two Fa Mixed Media , Acrylic a
amilites and Ink on Black Paper
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The Birdman Mixed Media , Acrylic and Ink on Black Paper
Egypt Nights Mixed Media, Acrylic and Ink on Black Paper
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Blue Dreams Mixed Media, Acrylic and Ink on Black Papaer
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Time Travelling Mixed Media, Acrylic and ink on Black Paper
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http://raymondcmorris.com
Paper Cuts She snatched the wad of crumpled paper from the wastebasket and, with trembling hands, smoothed it as flat as she could. How could he have just thrown it away like that? It had taken her hours of meticulous work to get the wings just right, the individual feathers of folded edges nearly perfect. He was supposed to love it. She smoothed it out further, pressing hard against the soft paper. The wrinkles wouldn’t come out. How could she make something beautiful if the wrinkles wouldn’t come out? Harder. Her small fists pounded on the paper one second, then she worked individual creases with her scarred fingers. One wound—which would be another scar—was fresh, a cut from this particular piece of paper. She’d bled into the dark wood of his desk, but she hadn’t cared. “You were supposed to love it,” she muttered, rubbing the paper. It had been so elegant. A bird trapped in flight, just on the verge of taking to the sky—free. The way he made her feel. And she’d found it in the wastebasket, crumpled and tossed away like it was nothing more than trash. She almost hadn’t known what it was, and wouldn’t have found it at all if his wife hadn’t told her to empty the bin. She turned the paper over and attacked it from that side, pressing it into the polished surface of his desk. Almost like the way he’d pressed her into that same desktop not twenty-four hours ago, with whispers of his love and promises that were no more than her deluded dreams, apparently. Very well. He would treat her gift as garbage? Isabel sank down into his soft leather chair and bent over the paper. It was beyond repairing. Nothing beautiful could ever be crafted from something so flawed. That’s A
fine, though. There are other things to craft. She began to hum as her cross-hatched fingers went to work. A fold here, a drop of her own blood from the new paper cut there—thank the gods for that one sharp edge she’d found—and a few strands of his hair kept wound about her ring finger, kept for remembrance when he was away. She held one strand of the blonde hair back to re-wrap around her finger, for remembrance, as he was going to be away for a very, very long time.
Forbidden Fruit “Are you sure that’s what this is?” Aya asked, hunched over the small plant. Tari nodded and turned his head this way and that, scanning the barren horizon. “Gappa’s old book that they burned, remember? The one called ‘Rainforests.’ ” Aya reached out hesitantly, but stopped with her finger only a breath away from the small crystalline drops of… “Water from the air,” she whispered. “What do we do, Aya?” Tari sounded nervous, but she didn’t blame him. If word of this got out, it would undermine the Elders, even the very Gods. Water came from the Speaker, not from nature.
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http://www.wrenpanzella.com
Glass transfer painting
is a practice dating back to the Middle Ages, in which paint is applied directly to glass and viewed from the unpainted side
Minor Blues
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Nuages
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Speak No Evil
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Dream Mabo
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http://www.kuk-art.net
“
My sig
Wall Doesn’t Have Male Face Papier Mache, Oil
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primitivi you look supremat Malevich architec
In the Pursuit of Meaning Papier Mache, Oil
gnature style comes from icons, apart from
ism. That’s why my artwork has a healing effect, if k at it throughout time. I am inspired by the tist movement of Vasiliy Kandinsky and Kazimir h. You can also recognize suprematism in cture of Manhattan. - Nikolay Kuk
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Pilgrim with a Cross Papier Mache, Oil
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Pilgrim with a Cross (Back) Papier Mache, Oil
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Amphibian Papier Mache, Oil
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