The Holy Art Magazine Issue 02

Page 1


Meet Stella Ampatzi

Stella Ampatzi, a visual artist with 38 film and TV credits. Notable works include The Golden Compass and King Kong, where her VFX teams won Oscars, as well as Troy, Harry Potter and the Prisoner of Azkaban, Mission Impossible 3, and Casino Royale Stella's contributions extend to Disney, Netflix, HBO, and Apple Plus Her exhibitions feature traditional media, photography, AI-generated images, and digital art, exploring human-AI relations and humanity's evolution in the digital age.

Artwork from Autonomic networks series, Lenticular print 40" x 40"

What initially drew you to visual effects and digital arts as a career path?

Since childhood, I've been a natural storyteller, always drawing, painting and enjoying anime movies and video games. After high school, I had to choose between studying traditional painting at a fine arts school or combining technology and art. My desire to merge multiple creative outlets and bring stories to life led me to pursue 3D animation and multimediay studies. This decision eventually led me to a career in visual effects for movies.

Having worked on both "Troy" and "Harry Potter and the Prisoner of Azkaban", can you share some of the challenges of bringing such fantasy worlds to life?

Working at Framestore CFC was an incredible experience. Bringing these fantasy worlds to life came with its own set of challenges, especially when it came to delivering extremely complex shots on a tight deadline. It was a blessing to work at such an established visual effects company where I could learn and grow while being part of a large team of highly skilled people who collaborated seamlessly. Each shot was like a new puzzle that needed solving, and there were moments when tasks seemed nearly impossible. However, thanks to the magic of great teamwork, every shot came together and looked fantastic. The collaboration across departments was key to achieving these stunning results and bringing these iconic stories to life.

Your work includes a blend of photography and digital painting. How do you balance realism with fantasy in your creations?

Balancing realism with fantasy in my creations requires a careful blend of photography and photorealistic digital painting. I find realistic shots more challenging than fantasy shots because the human eye is trained to recognize what's real and what's fake.

Recreating realistic environments such as a

1950s New York street or a face replacement demands meticulous attention to detail. The true measure of success on a realistic shot is if no one can tell that visual effects were used. This means that sometimes, my team and I know that a lot of the hard work we put into certain shots may go unnoticed, but it's all part of creating seamless visuals. In contrast, a battle in space allows for more creative freedom since there's less real-world reference for the viewer to compare against. My ultimate goal is to achieve a seamless blend between reality and imagination, creating visuals that are both captivating and believable.

You have moved from Athens to London and then to New York City; how have these moves influenced your artistic vision and work in visual effects?

My journey has taken me from Athens to London, and then to a range of cities including Mexico City, Wellington New Zealand, Prague, Los Angeles, Hong Kong, back to London, and finally to New York City. Living and working in such diverse cities and experiencing them as a local has profoundly shaped me as a person and as an artist. These moves expanded my artistic vision and allowed me to learn from different cultures and their unique approaches to art. By witnessing the everyday life and work of local artists, I gained new perspective that enriched my own work in visual arts. I've been living in New York City for the past 12 years, and I still act like a tourist every day, using my camera lenses to capture different sides of the city. It's one of the greatest cities I've lived in, and one of the toughest too, but there's inspiration in every corner of it.

You have contributed to multiple Oscarwinning projects, including "The Golden Compass" and "King Kong". How does it feel to see your work recognised on a global scale?

Working on these two Oscar-winning movies in visual effects was challenging and rewarding. On 'King Kong,' there were times

when I worked 100-120 hours per week, often pulling overnight shifts to finish shots and meet delivery deadlines. Despite the demanding schedule, the experience was incredibly fulfilling. Watching the final result in the movie theater alongside our wonderful team of 500 people and winning the Oscar for Best Visual Effects is exactly why we chose this career. It's an incredible feeling to see our hard work recognized on a global scale and to be part of projects that leave a lasting impact.

Your experience spans a wide range of film sets around the world. Could you share a memorable moment from one of these projects?

Working on set can be hectic, especially in bustling location like the busiest place on earth, and trying to hide an A-lister can be quite the challenge. One of the most memorable on-set experiences was a scene we shot in Italy for “Mission Impossible III” outside the Vatican. As you can imagine, it’s nearly impossible to block the streets and remove the people in that area, and the real challenge was shooting without passersby noticing Tom Cruise walking right next to them.

To create a distraction, we set up a fake fashion photoshoot on the next block from our real cameras and actors. We had a few hours to make this work before losing the natural sun light. This trick worked as it drew people's attention and allowed us to shoot the scenes with Tom just a few meters away without being noticed.

In 2012, you transitioned to working in New York City. How have the projects and collaborations there differed from your previous work in London and on international film sets?

When I moved to New York, I had a strong resume and plenty of experience, but landing my first job was more challenging than I expected. I had to establish a new network and acquire new skills, essentially starting from scratch and proving myself again. Given

New York's prominence in TV series production for streaming platforms, the quality of TV shows today must match that of movies, but on a tighter schedule.

Aside from film, you've showcased your artwork in various exhibitions! How does your approach differ when creating art for galleries as opposed to visual effects for movies?

When creating art for galleries, my approach is more personal and introspective compared to working on visual effects for movies. It’s a process that allows to dig deep to the subjects that are important to me and to fully express my own concepts and vision.

Creating my own art provides a break from the demands of professional projects and allows me to invest time and effort into my own unique ideas rather than those of a writer or director. This approach is healing and rejuvenating. Working with traditional media also helps me step away from the screen and engage in hands-on creation, offering a sense of digital decompression. I often combine traditional and digital media, incorporating my collection of paint strokes and photos into my visual effects work. This blend of techniques enhances my art and keeps my creativity flowing.

You have studied a broad range of topics, including 3D animation, photography, and visual language. How do you integrate new learning into your work?

The Academy of Motion Picture Arts and Sciences (AMPAS) mission is to advance the arts and sciences of motion pictures, although the scientific aspect is often overshadowed. As visual effects artists, our goal is to blend artistry and technical expertise to give ordinary humans superhero powers on screen and bring imaginative worlds to life. We rely on our artistic skills (photography, traditional paint, sketching) and also must stay current with cutting-edge software.

The journey from concept to realization can be fraught with challenges, as translating a vision into a visual image isn't always straightforward. Learning new tools is essential in navigating these challenges and solving the artist's puzzle.

Traditional tools such as drawing and painting can let the audience interpret the message into their own imagination, leave them room to adjust the shapes and colors according to their own experiences and the freedom to dream the world they see as their own a non objective form that sometimes is desirable. If I need to give the audience a complex idea the exact way I pictured it then computerized images and immersive arts shine, as they have the ability to transport the audience into these imaginary realms.

For instance, in one of my recent projects, I explored the theme of gaslighting in social media through image bombardment. To achieve this, I employed a wide array of tools, including a vast dataset comprising 10,000 photos—both real and synthetic. These images were meticulously curated and arranged to form a 3D sculpture resembling an atomic mushroom, serving as a powerful visual metaphor for the concept of gaslighting. In any case goal is to leverage any tools that enhance storytelling and bring emotions to life. Whether it's creating immersive experiences or utilizing cuttingedge technology, my focus is always on supporting the storyline and evoking a deep emotional response from the audience.

Lastly, your art explores Al relations using innovative technologies. Could you elaborate on how you envision the future of the industry with the evolving role of Al in creativity and visual effects?

The integration of AI in the realm of art and visual effects heralds a new era of creativity and innovation. The dynamic between humans and machines is a central theme in many of my art projects. The ongoing debate about whether AI will replace human jobs is complex. Personally, I view AI as a tool rather

than a threat. I believe job displacement will likely occur due to people trained in AI rather than solely by machines. While some jobs may vanish, new opportunities will arise, as is typical with tech evolution.

In visual effects, AI excels at generating novel concepts, yet it currently falls short when it comes to addressing specific client requirements and refinements. The future remains uncertain, and we must wait and observe. My ideal scenario involves an AI assistant handling mundane tasks, granting me the freedom to explore fresh ideas and concepts. The human brain’s creativity is unparalleled in its complexity and capability; while it can be mimicked to some extent, it cannot be fully replaced. Find out

more: @stellart_nyc
Photographed: Stella Ampatzi Artwork from Dysautonomic Networks series Mixed Media piece from the Dysautonomic Networks vs Autonomic networks series

Meet Kid Acne

Ed Bradbury, better known as Kid Acne, is an artist and emcee born in Malawi in 1978. He adopted his alias as a “spotty teenager” in the mid-1990s His early years were spent creating graffiti, self-publishing fanzines, and making experimental Hip-Hop often illustrating and printing record sleeves by hand. These activities helped develop his unique aesthetic, showcased in graphics, product designs, installations, animations, and silk screen editions As an emcee, Kid Acne has released six studio albums and toured Europe and North America, performing alongside notable acts at venues ranging from underground clubs to major festivals. A key figure in the international Street Art scene, he has painted murals worldwide and exhibited in top museums and galleries from Beijing to Paris. His art, which explores themes like typography, fantasy, mythology, and architecture, has featured in campaigns for leading brands, while he continues to paint slogans on Sheffield's backstreets

Photograph from the production of Eranu/Uvavu music video, by Searle Visual

Can you share how your early experiences with graffiti and self-publishing fanzines influenced your transition into a celebrated artist?

I discovered graffiti and fanzines in the early 90's when I was about 12. Both appealed to me as DIY youth movements and (ephemeral) forms of expression. I loved the immediacy of painting graffiti and preinternet, fanzines were an ideal way to share images and information about the culture. I made a graffiti fanzine for a few years but by the time I was 15, I started to feel disillusioned by how close minded and derivative the scene could be. Through my older brother, I was introduced to all kinds of other fanzines and underground comics. Rather than carve out my own lane in the graff scene, I made the transition to do something more personal and comic-based, incorporating my new found passion for screen printing and also became way more self-sufficient by producing the majority of the content myself (as opposed to relying on others for photos, artwork and interviews etc). This got me a bit of recognition outside of graffiti and also appealed to the more offkey graff heads too. Aside from plenty of knocks, bumps and detours along the way, it's been pretty much the same for the last 30 years. I wouldn't really consider myself as a celebrated artist as such, but I am genuinely grateful for the support I get.

How do you intertwine your passion for both visual art and hip-hop in your creative process, particularly when it comes to designing your own record sleeves?

I managed to make a mess of this for a while to be honest. Initially, I saw my art and music as two sides of the same coin, just different creative outlets to suit whatever mood I was in. Both were interchangeable and flip between the two without any real problem. I loved illustrating and hand-printing my own record sleeves. The artwork, the logos, the typography and the song titles were all just as important to me as the music and

sometimes even more so, it was the full package appealed to me, but as I started designing more record sleeves for other artists and labels, I also started losing confidence in my own releases and began either making less effort with them or second guessing everything, which looking back, was a real shame. I then separated the art and music completely, which was also a bad idea in hindsight. I felt I became a parody or caricature of myself as an emcee, so I kind of lost my way for a while and then gave up music altogether for a number of years. Since 2015 I've made a concerted effort to reconnect my art and music in a more forthright and meaningful way again. Essentially, going back to how I used to do it as a teenager, nurturing my passion for both outlets and creating work that I'm proud to stand behind.

How has growing up in the mid-90’s influenced both your musical and visual style?

The 90's was an excellent time to be a teenager in my opinion. Growing up in a small market town in the East Midlands, I was able to access amazing music via decent record shops in Leicester (the nearest city, half an hour away on the bus), pirate radio, mainstream radio, TV shows such as Dance Energy, The Chart Show and The Word and through my friends school and art college. I had a pretty eclectic taste so it was everything from hip-hop and hardcore rave and various grunge and guitar bands. I'd go to gigs, parties and festivals in the region and later club nights in Birmingham when I started designing flyers and posters. The visuals were an integral part of it for me. The record sleeves, band logos and T-shirts had a real impact, as well as a ton of graphics from the skate scene (especially brands like Insane and Death Box). Style mags were a big thing too. I'd shoplift a load of them each month for inspiration. And again, I was into underground comics and fanzines so I was paying attention to a lot of different stuff, which all informed my visual style. I feel it's present in my work even 30 years later, so

the 90's definitely had an impact on me. Same with the music, I'm essentially still making an adaptation of 90's hip-hop to this day, without it sounding too tragic or nostalgic I hope. The key is to put your own spin on it so it doesn't sound derivative. I think I've got the balance right.

In terms of subject matter, what themes do you frequently explore in your work, and what draws you to these topics?

In my art, I'm drawn to a lot of mythology, fantasy and folklore. I'm interested in alternate and pre-history. I'm also becoming more intrigued by spirituality so these are all things that are present in a lot of my illustration work, albeit quite subtly at times. I intend to explore these lines of inquiry more as I got stuck in a rut for a while. I've also been on a detour the last few years with my typographic work, so the characters have been on the back burner but I feel I'm ready to switch it up again. I'm not quite sure what attracts me to these themes, it's partly escapism I guess. Certain topics and ideas just speak to me and resonate with my sensibilities, so I tend to go with it and not think about it too much these days.

You have a particular printing. What draws and what challenges offer?

I love screen printing. process. Although, it challenging at times too. finished piece of work professional as you whichever outcome versatile medium but work. Going back to the as a teenager, I noticed skateboard graphics were was an aesthetic that other way so I knew I took an 8 week class I left school and have this into my studio wheatpastes to T-shirt and fine art editions printing. I love it.

Hauntology printing process

We loved your Eranu/Uvavu track and video, could you take us through the production of this video and the inspirations behind the lyrics?

Thank you. The video was made by Rob Searle. I'd seen a few other videos he'd done for Bill Shakes, Caneva and Alecs DeLarge so I asked him to do this one for me. I had the concept based on the first line of lyrics; "Hidden in plain sight, I'm rockin' the hi-vis" so I knew I wanted to be out painting in the street wearing a hi-vis jacket so it made sense for me to paint the song title, which I did in the same hand-style as on the album sleeve. It was cool painting this specific kind of lettering on a large scale as I'd not done that before. Rob came over from Leeds and filmed the whole process. We knew we didn't want a time-lapse thing and we knew we didn't want to reveal the final piece until later in the video, so Rob went to town on the edit, incorporating the kaleidoscope effects etc, which are also referenced in the lyrics. The performance shots help break it up too. I'm really happy with the end result. The hook is a sample from a 90's TV show called Shooting Stars. It doesn't really mean anything, but I felt it made sense amongst all the psychedelic and religious references somehow. I was reading a book called The Immortality Key around the time I wrote the track, so that inspired a lot of the wordplay and imagery in there too.

You’ve shared stages with acts across various venues. Could you share a standout moment or performance that resonates with you?

I've been fortunate to perform alongside a bunch of artists I admire, both from the UK and US rap scene. A show that really stands out to me though, was about 15 years ago on a boat in Lyon. I don't remember who else performed that night, but something about the energy made it so special. It was like walking on water, it felt so effortless and enjoyable, like an out of body experience. That feeling really stuck with me. I thought "Damn, I wish all gigs were this easy".

As a key figure in the Street Art movement, how do you see street art evolving, and what role do you believe it plays in today’s societal and cultural conversations?

That's a tough one. I feel like I have a love/hate relationship with Street Art. In the beginning, it was a real moment. I felt it was something exciting and different that needed to happen. Things were kind of stagnant in certain aspects of the graffiti scene whilst this new form of expression was bubbling away under the surface. It incorporated all these other elements I was also into, aesthetically. So, like the DIY fanzines, I was drawn to it and got involved. It felt fun, off-key and ironically, seemed to break more rules than graff because everyone was making it up as they went along and it was like, "anything goes".

There was a real international community and sense of connection and kinship with artists all over the world that had gravitated towards it. People were being innovative and experimental, but then inevitably, it blew up and became a whole other beast. Once the flood gates opened, everybody got involved without any attachment to the culture and the originators kind of dispersed. I backpedaled for a while and kind of understood why there are certain rules in graff. That's not to say there shouldn't be innovation and experimentation, but Street Art spawned so many charlatans that it was a real embarrassment to be associated with it for a while. The initial Street Art audience kind of got wise to the fact that a lot of it was derivative with no real substance and started looking at graff as something more authentic with a bit more depth. I feel it's kind of more balanced out these days. The wheat got separated from the chaff. The impact of Street Art is undeniable though, it's a huge, ever changing landscape that is capable of so much good, so on reflection, I'd say the positives outweigh the negatives. It's just cyclical.

Looking ahead, are there any new projects, collaborations, or artistic mediums you are particularly excited about exploring?

Moving forward, I intend to keep making art and music in whichever way feels meaningful and authentic. I've got a few projects on the go but nothing I can talk about just yet.


The name Maxim Bokser is almost legendary in the Russian contemporaryartcircle Thankstothetalentofawittycurator with an outstanding passion for visual arts, many artists gained recognition in contemporary art circles in Russia and abroad AlinaGlazoun,YuliaVergazova,AnastasiiaLevina,and manyothersmentionedthatbeingexhibitedbyMaximBokser became a groundbreaking moment in their careers Like many other art curators who started their careers in the 1990s, Bokserreliedonhistasteinartandfeelofthegutbecausethe field was not yet discovered as a professional occupation In the early stage of his professional development, he consulted some private collectors Later on, he started working on the stunningcuratorialselectionatElisiumGallery Thisexperience allowed Bokser to develop his recognizable style – a posh aesthetic with a slight dash of punk rock One of Bokser’s most intriguing projects was the “Flying Inn” Set in the heart of Moscow, this project was a testament to his innovative thinking Curating two parallel spaces simultaneously, he successfully introduced visitors to contemporary art in an outstanding and engaging way Bokser’s exhibit design move was a game-changer Using a metal string system to hang graphic art like musical sheets, he created a signature style that was instantly recognizable Thanks to the unique space and the author’s distinct touch, you could spot his shows on social media, even if you missed the opening The poetic solo show of Katerina Kovalyova, with her minimalistic graphic art, becametheopeningprojectofthespace

By introducing her art to the viewers, Bokser masterfully demonstrated that a curator with expertise in contemporary art could find subtle, elegant works that astonish all kinds of spectators In a retrospective exhibition of Pakhom, the curatordecidedtofocusontheartist’sarchive

a ya Izumrud) in the Flying Inn. 2019. Photo provided by curator Maxim Bokser.

The space was colored as a typical Moscow apartmentbuildingentrancewithsomeinformationon the walls The strings allowed the curator to play with at Moscow building managers create by announcementsonthewalls

Maxim Bokser decided that curating in h a few occasional shows abroad was too m That is when he moved his practice to ning a gallery space in this city ed an intention for an official relationship r spent summers in Riga and got withmanypeoplefromtheartsphereover Bokser was interested in creating a ngual space that would appeal to the rich Riga and highlight its open-minded

he carefully selects for the shows also he duality in cultural or linguistic aspects, branch of Bokser’s curatorial practice an development However, even the most y curators have favorite themes For the Cosmism It has been recurring in the actice several times This can only point to this curator is interested in those dreams pherslikeKonstantinTsiolkovsky,Vladimir and many others had Furthermore, unite their thoughts on the subjects with ryartproducedinthelastthreedecades

one curator can feast on the ideas of the d how they are linked to contemporaneity must-do to follow his practice wherever he moveit

Alina Glazoun’s solo show “All will Die and I am an Emerald” (Vse Umrut, Pakhom’s solo show “Bang! And Ready” (Khryas’! I Gotovo). 2019. Photo provided by curator Maxim Bokser.


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Marlene Dietrich: A Timeless Icon

Whose Legacy Continues to Enchant

Marlene Dietrich (1901–1992) was a German-born actress and singer whose career spanned from the 1910s to the 1980s. She gained international fame with her role in The Blue Angel (1930), leading to a successful Hollywood career with iconic films like Morocco and Shanghai Express Known for her glamorous and exotic persona, she became one of the highest-paid actresses of her era.

Dietrich's portrayal of Lola-Lola in "The Blue Angel" offered the world a glimpse into the allure of the Weimar-era cabaret scene, a world where sensuality danced hand in hand with wit and sophistication. Her performances were not just entertainment; they were artful expressions of a liberated woman who owned her sexuality and intellect with equal pride. Dietrich's audacious sexuality and insolent wit made her an enigma, a creature born not from mundane reality but from the most profound and vulnerable fantasies of her audience. Kenneth Tynan and Maurice Chevalier's observations about Dietrich's ambiguous

gender appeal and unmatched allure highlight how she was perceived as a trailblazer for both women and men. Dietrich embodied a persona that was both masculine and feminine, appealing broadly and challenging societal norms. Her choice of roles and personal style spoke volumes about her views on gender and freedom, making her a figure of empowerment and revolution. The transformation of Marlene Dietrich under Josef von Sternberg's vision is a testament to her commitment to her craft. The meticulous creation of the Dietrich image—a blend of glamor, sophistication, and a hint of mystery—was a lifelong project.

Her influence on fashion, favouring trousers and mannish costumes, paved the way for women to explore beyond traditional femininity without losing their allure. This "Dietrich silhouette" remains a symbol of elegance and strength.

Despite the varying success of her films with von Sternberg, Dietrich's favorite, "The Devil Is a Woman," symbolizes her complex relationship with her image and the roles she portrayed. Her contribution of the film to the Museum of Modern Art in New York ensures that her legacy continues to inspire and challenge perceptions of beauty, gender, and art.

Marlene Dietrich's life was a canvas of bold choices, both in her career and personal life. Her refusal to be confined by societal norms, combined with her extraordinary talent, created a legacy that endures. She was not just a movie star; she was a movement, a philosophy, and a beacon of liberation. In remembering Marlene Dietrich, we celebrate not only the eternal glamour she brought into the world but also the courage she embodied. Her life was a reminder that to be truly iconic, one must be willing to break barriers and challenge the status quo. Dietrich's legacy teaches us the importance of authenticity, the beauty of complexity, and the power of living one's truth.

As we reflect on her remarkable journey, Marlene Dietrich remains a beacon of timeless elegance and a pioneer of individual freedom. Her spirit invites us to dream, to dare, and to defy, making her memory not just a relic of the past but a guiding light for the future.

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Meet Clive Knights

Clive Knights, an accomplished architect and artist specialising in mixed media and monotype printmaking Holding degrees from Portsmouth Polytechnic and Cambridge University, he has taught architecture since 1984 and currently serves as a professor and director at Portland State University's School of Architecture. His work, which delves into the cultural meanings of architectural representation and phenomenology, has been published extensively and exhibited internationally, including at the Venice Biennale and the Royal Institute of British Architects Notable designs include the Christiane Millinger Oriental Rug Gallery and the Riverhouse on the Columbia River. His ongoing project, "Cycles and Horizons," explores the human condition through various artistic mediums

Clive Knight in his studio in Noyers, France, photographed by Ruth Kaplan

Welcome, Clive! To start off, could you share what initially drew you to the fields of arts and architecture, and how your educational journey has shaped your career?

I won my first drawing competition at the age of eight, a big sterling silver cup, at a local village festival in rural Kent, England. I loved to draw more than anything else as a child and though I learned to read at a very early age, so my Mum likes to remind me, I hated books all through school and only read what was absolutely necessary to get through classes. As a result, I performed miserably in most everything at high school but I am forever grateful to my insightful art teacher who could see where my passion lay, in drawing. Back then I drew a lot of surreal objects and interior settings and it was he who suggested applying to architecture school, I guess, seeing some promise in those crazy fantasies. To cut a long story short, in the 1980s I completed both undergraduate and graduate professional design degrees in architecture at Portsmouth Polytechnic, and then a Master of Philosophy degree in the history and theory of architecture at Cambridge University with the incredible professor Dalibor Vesely. Right after that I got my first full-time teaching position at Sheffield University and stuck it out there for six years until I emigrated to the USA on New Year’s Day 1995 to join the art school in Portland, Oregon. Frustrated by the anachronistic attitude to architectural education at Sheffield and their disinterest in innovative pedagogy, I had to find new pastures. Portland State University made me an offer I couldn’t refuse, to start a brand new architecture school, a dream proposition for any young, ambitious teacher. The summer before taking the job my partner and I drove across the full breadth of the States twice, east coast to west, then all the way back again, just to be sure we knew what we were getting into.I taught collage as part of my design studio pedagogy at Sheffield but moving to an art school opened up such creative freedom that I’ve been able to

nurture my love for the genre with increasing levels of intensity and focus over the years.

Your teaching career spans several decades, with a significant tenure at Portland State University. What motivates you to educate future architects, and what changes have you seen in architectural education over the years?

On the question of what motivates me to teach architecture I would ask the reader “Have you seen what architects produce lately?” Not many people actually pay attention to their architectural surroundings in their everyday life, but if they did they’d find various levels of banality generated predominantly by forces of expediency and technological convention.

Bookcase, 2023, Collage and Acrylic on cradled wood panel, 18" x 12"

Many people have forgotten that architecture is an art, in fact it’s the most public art, it’s also the art that lays down the configuration of space in which all the other arts can take place. Unfortunately, not only have the other arts been sequestered to specialist environments removed from everyday life (the gallery, the museum, the concert hall, the theatre, the movie house, and so on) but the arts, including architecture, have forgotten how to converse with each other out in the open, how to contribute to the enrichment of life in our cities, to civic space, through collaboration in engaging the common narratives of the communities in which it emerges.

Leading the architecture program and founding the School of Architecture are monumental achievements. Can you tell us about the vision you had for the program and how you navigated its evolution to gaining full professional accreditation?

Well, that is a very long and arduous story to recount. It began with my appointment at Portland State in 1994 under the auspices of an agreement to start a joint professional Master of Architecture program in Portland in partnership with the other university in Oregon (which shall remain nameless) that was already teaching architecture down the valley. After a year or two it became crystal clear that the other university, with its longestablished architecture program, had absolutely no intention of partnering with a fledgling program like ours at PSU, with our 3 faculty against their 30 or so faculty. So, we kicked them off our Portland campus and they dutifully spent the next decade maneuvering within state politics to make sure we were never given permission to start a Master’s program. A full inventory of the ugliness of humanity was directed toward us in many different forms of arrogance and derision that took us by surprise, so adamant were they that their monopoly on state funded architectural education would endure without competition. Nevertheless, we persevered by building up the reputation of our undergraduate architecture program (which they could not oppose since it did not need state approval) until in 2007 something quite miraculous happened.

Several leading figures in the upper administration at both institutions changed simultaneously, stars aligned for literally one year and permission for PSU to offer a Master’s program was unexpectedly not opposed. I, coincidentally, became Chair of the school that same year and off we went riding headfirst into the rigors of a five-year professional accreditation process.

Domus, 2023, Collage and Acrylic on cradled wood panel, 16" x 16" Urbis, 2023, Collage and Acrylic on cradled wood panel, 16" x 16"

Readers might not know but in the USA if graduates of any architecture program wish to become licensed architects they must study at a school accredited by the national professional accreditation body, NAAB. We commenced our Master of Architecture in 2009 and accomplished initial accreditation in 2012. Since then our students have become the most awarded of any institution in the American Institute of Architects consortium of Pacific Northwest Schools from Idaho to Hawaii in their annual student design awards, an achievement we are especially proud of as the youngest school in the region. We are now 12 faculty deep, we offer both a 2- and a 3-year M.Arch as well as 2 graduate certificates and we are one of the leading schools in the country practicing ‘public interest design’ for underserved, disadvantaged communities across the world.

As for the pedagogy of the school, it is heavily influenced by the phenomenological tradition in philosophy and so focuses less on the aesthetic of the architectural object and more on the human experience, including the embodiment and interpretation of cultural meaning in works of architecture. I hired all but one of the current faculty and aimed at gathering a team that was sensitive to the over-arching direction of the school while they each brought unique research and creative perspectives to the educational experience of our students. We are also quite adamantly and proudly a ‘thesis’ school which means that the final year of graduate study is dedicated to a student’s own creative agenda which we assist them in articulating and advise them as they execute it. This experience is invaluable in shaping the values that a graduate takes out into the world of practice with them, values pertaining to humanity that can sustain an ethics and a purpose beyond a mere functionary contribution to the commercial and expedient demands of most architectural firms.

Corpus, 2023, Collage and Acrylic on cradled wood panel, 16" x 16" Burgh, 2023, Collage and Acrylic on cradled wood panel, 36" x 36"

Your teaching areas are quite diverse, from history and theory to drawing and printmaking. How do you integrate these disciplines into a cohesive learning experience for your students?

Inventing pedagogy has been one of the continuing delights of a life in academia. Essentially, a good teaching scenario should aim for new ways of framing perduring cultural questions. A class syllabus should encourage a multiplicity of responses, to uncover and engage the plethora of nuances, bringing these to the foreground as inspiration for new figurations of language, whatever artful discipline one happens engaged in. So, these questions transcend particular arts, any particular language, are the source of our human need language, for expression, for the struggle communicate, to bring diverse perspectives to bear upon a common predicament –finite, a mortal human, in a world that eternal. The whole curriculum of the school architecture I founded is prompted series of pertinent cultural questions professors use to inspire and animate class syllabi, bringing these questions into design studio and seminar to incite unique creative response of each student. There is no rote learning, no defined methodology, in our school as these will creativity. I learned very early on in my education that the best way to learn how acquire any skill is to be grappling something that matters, that you care deeply about that it gives purpose meaning to the struggle in developing skill. For example, to draw for drawing’s to learn the skill alone, provokes a different attitude to the craft than drawing response to an ethical issue, or to dynamics of a human situation, in words to draw to communicate. The same, believe, is true for all modes of expression including those I have chosen to practice: collage, printmaking, architecture, writing. So, it is the common ground we as humans that provides the cohesion you mention in your question. My job, and that of my faculty colleagues, is to bring the

multiple and diverse imaginations of students and faculty alike simultaneously into open and dynamic interplay, the outcome of which can never be predicted. Here lies the sheer joy of the teacher as participant rather than as pedagogue.


Part 2 of Clive’s interview will be featured in ISSUE 03

Dining Table, 2023, Collage and Acrylic on cradled wood panel, 18" x 12"

Jordan Judd

SpringFever, 2023

Bisons Grip, Watercolor on Claybord

18x24 inch

$2,400 www janlowefineart com

Kitty Lakke



60 x 60 cm Print Fine Art Paper Hahnemühle

€400 Limited Edition of 5 @kitty lakke


Oil on panel


$10,000 @jordan judd art


Graphite, watercolor, and ink on watercolor paper 11" x 8 5" @rossycoco www roscoeduquetteart com

Jan Lowe Roscoe Duquette

140 x 85 cm


@woshiqianxixi www cicixixiqian com

28 x 28 x 2 cm @daneezip

YanDangNanXi Photo etching printed on Somerset velvet white
Stoneware Branko Mohorović-Ticić
media 280 x 300 cm 10 000€

£800 @chrisfclark

Leo Psaros


Painting, acrylic on canvas

16" x 20"


@psaros paints

Belinda Haikes

TheWest Photograph made with irradiated film of journey to Trinity test site

10" x 10"


Yuri Cho

SelfPortrait Painting, Acrylic on Canvas

50 x 50 cm


Paridhi Chawla

Mariana Demarco


Digital Painting

11” x 8.5”



Rebecca Lascano


Digital Photograph

30 x 20 cm

$25 @maamind

www behance net/marianabrandal

QuestionsofNobody, 2021-2023

Mixed media, oil and Xerox transfers on canvas

48” x 60”


@rebecca lascanos art

40 x 30 cm


@irfan ajvaziart

www irfanajvazi com


Steel, wood, wax



@yucen echo liu

Demi cocquyt

80 x 100 cm

@atelier cocquyt demi


Digital painting

22" x 40"


@kaydidthis kaydidthis

Corrine Felicia Warner

Balance, 2023

Acrylic and Pen

A4 framed original and A1 framed print available to purchase (A4 original £95/A1 print £195)


Sunsetbytheocean Oil on canvas

Shinjae Kim Sebastien


Lamp (Lighting design), waste duct pipe and in waste

180mm*180mm*450mm(h) @shinjaekeem

Celu Ferreira

Painting, Colour Pencil on Paper

43.2cm x 35.5cm




30 x 30 5000 @sandbiofashion

Karen Henry


Bronze sculpture on stone base

28cm x 28cm x 17cm



Voodoo universmirror

Meet Dr. Arty Ficial

Dr Arty Ficial is an artist at the forefront of innovation, dedicated to exploring the intersection of technology and creativity. With a visionary approach, Dr. Arty Ficial bridges the gap between these two dynamic fields, pioneering new ways to harness technological advancements to unlock boundless creative potential

What initially drew you to become an artist, and how did you get started?

I have always been drawn to the world of art, finding inspiration in the beauty of everyday life and the endless possibilities of creativity. My journey as an artist began with a deep passion for expressing emotions and stories through my artwork.

Can you describe your artistic style or the themes you explore in your work? Are there any particular artists or art movements that influence your work?

My artistic style is characterized by vibrant colors, whimsical details, and a sense of wonder.

I love exploring themes of community, diversity, and the magic of urban landscapes in my work. Artists like Hundertwasser and the Art Nouveau movement have influenced my style with their use of organic shapes and bold colors.

What mediums do you prefer to work with, and why?

I prefer to work with digital tools and software to create my illustrations. The digital medium allows me to experiment freely, manipulate colors and shapes with ease, and bring my imaginative cities to life in a way that traditional mediums cannot.

NY NY NY, Illustration, 40" x 32", £200

Are there any projects or collaborations you're particularly excited about right now?

I am particularly excited about a collaboration with a local community center to create a mural that celebrates the spirit of unity and togetherness. It's a project that combines my love for art with a desire to make a positive impact in the community.

Are there any specific challenges you face as an artist, and how do you overcome them?

One of the challenges I face as an artist is the lack of insulation from external distractions and criticisms. To overcome this, I focus on staying true to my creative vision and seeking inspiration from within, allowing my art to speak for itself.

Can you share a memorable moment or experience from your artistic journey so far?

A memorable moment from my artistic journey was when a viewer approached me at an exhibition and shared how my artwork evoked a sense of nostalgia and joy in them. It was a heartwarming experience to connect with someone through my art level.

Do you have any rituals help you get into a creative mindset?

To get into a creative mindset, day with a cup of tea and reflection. I also find inspiration music, and exploring new my imagination and creativity.

What's the most unexpected inspiration you've ever art?

The most unexpected source had for a piece of art was with a street performer who their travels and adventures. sparked a series of illustrations the essence of wanderlust and exploration.

What role does technology play in your art? Are there any emerging trends or technologies in the art world that excite or concern you?

Technology plays a significant role in my art, enabling me to push the boundaries of creativity and bring my visions to life in new and exciting ways. I'm excited about the potential of digital tools and software to revolutionize the art world, offering endless possibilities for artists to innovate and express themselves.

Are there any particular themes or issues you're eager to explore in your future work?

In my future work, I am eager to explore themes of sustainability, urban development, and the harmony between nature and civilization. I believe art has the power to inspire change and provoke thought, and I'm excited to delve into these important issues through my colorful and imaginative illustrations.

Find out more: @dr.artyficial

Castle town, Illustration, 40" x 27", £200


Traditional drawing, photography and digital design on matte poster paper

24" x 36"



Sophia Rose Byrne


Paint Marker on Cardboard Paper

70 x 50 cm

£1250 @ asit9


PortraitofSydBarrett, 2022

Digital art painting



www beggarsbanquet company site


Spray paint, oil pen, house paint, on canvas

48” x 36”



Nathan Doty Dominik Schubert, ASIT 9
Archive Painting, Oil on Canvas 150 x 80 cm 600$ Arina Lukasheva
FrozenMoments Photography - DSLR Canon Camera 12 x 18 inches $250 @mica lens 120 x 90 cm £4444 Marlene Jorge EverythingisOKAY, 2023 Digital Art 3000 x 3000 $600 @marlenejorgeartist www artistmarlenejorge com
Michelle Robello


TIknowwhoIam, 2022

Painting, oil and acrylic painting, frame version

16 x 20 print in frame

£200 @jasitupart

Karen Safer

Aala Oni


Painting - Oil, Oil Pastels, Gold Leaf on Linen

60" x 72"

£12,500 @aalaonistudio www aalaoni com


artfocusin com
Photo Mix Media 30" x 40"
@kjsafer2 www
$1 100 @t a t y x www tatianacarvalho com

WavingGoodbye Oil on canvas 100 x 70 cm @robertstarmach


Mixed Media: Acrylic & Pigment Ink on Aluminum

20" x 30" $2500 @njwarddesign www nancyjoward com

Shura Kish

Nancy Jo Ward
985 @shura kish www shurakish myportfolio com Ayo’lamide
Oil and Acrylic on Canvas 59 x 83 cm £2,250 @adesola ayoolamide

Antonella Ronja Bråten


Painting, oil on canvas

60 x 75 cm



Nitay Domingos

20 x 20 cm


@robra art


Digital drawing professional printing

200 00




Mixed media (amethyst, citrine, Murano glass, freshwater pearls, fabric, photo frame, dollhouse miniatures, wood, acrylic paint, custom wood frame with museum glass)

9.75" x 14" x 4"


@vc artworks

www viviancavalieri com

Untitled Painting, Oil on Wood Board Vivian Cavalieri

Sara Catherine

Sofie Verbiest


Digital painting print under acrylic glass

36" x 24"


@sara catherine art

www saracatherineart com

Digital painting

50 x 70 cm




Painting, oil on panel

18 x 13 cm


@sofieverbiest www sofieverbiest com



Digital photography

27,4 x 39 cm


@barely project

Rebekka Dabolina


Watercolour on paper

36 x 51 cm


www rebekkadabolina com

Hsinyu Lu


Oil on Canvas



WeUsedTo Painting, Acrylic and mixed media on canvas

90 x 90 cm



www stellaguanart com

Stella Guan


Acrylic Canvas Framed 35" × 37"

I@Fo3creations www Fo3creations com

ThickerThanWater Photography 12" x 12" $332 @ i bl Avian Noble
Princess karibo Thesecretsofthemoon Digital art
d ints and Pens, Metallic Ink, Gold Leaf on s
16" x
$250 @princess kay Fo3creations(Polosunn,

Daniela Valerio

HaveYouSeenMe? Photography, 35 mm film 16" x 24" $500 @bbad dogg www karsonselah myportfolio com
Karson Selah
Don’tyouwantmebaby Intermedia Video 1200$ @bunidunni www dunibunni univer se
Zicheng LittleBoywithhisDragonFriend Computer Animation 3840 x 2160 Pixel 100$ @zzzzhangzc www zhangmurmur com MemoriesfromHome Plexiglass and Wool 30” x 22”x 19” $3000 @annanoelart
Anna Noel

Barbara Keim

Ethan Lam


Digital print

9" x 16"


www digitalillustrationbybarbara weebly com


Painting, Acrylic on Canvas

30 x 40 cm

£500 @lamsperspective

Melissa Waters


Acrylic and mixed media on paper

57 x 38 cm



www melissawaters-artist com


Tropical Alpaca

I am a full time Energy Analyst and part time illustrator. I draw my doubts, concerns, and any thoughts that I had. Most of them are about equality, environmental issues, mental health, women empowerment, and justice. I channel all concerns that I find during my full time work when I draw. By doing this, I feel the silence and the breath of many things surrounding me although I draw in my living room most of the time.


collection, 2022, Digital painting, 2048 x 2048px, $35 (printable)

Hanna iublinskaya

she stands at the dawn of her artistic journey, Hanna Liubinskaya makes a bold entrance with her minimalist series of works. Her latest endeavor, "Vandal News," from 2024, employs mixed media to launch a provocative riposte to what she deems an 'era of bad news.'

Liubinskaya doesn't just paint over pages; she paints over malaise of contemporary media, each brushstroke a question aimed at the apathetic consumer.

"ON S'EN FOUT?" – a phrase scrawled across the headlines world events – isn't merely a statement; it's a challenge. implores the viewer to consider the numbing effect of constant negativity. With "C'EST LA VIE" and "VIVA LA VIDA," Liubinskaya juxtaposes resignation with a call to celebrate life, hinting at a complex duality within our grasp of global narratives.

"Vandal News," Liubinskaya doesn't just vandalize the newsprint; she reclaims it, urging a re-engagement with world around us. Through her work, Liubinskaya asks to confront our own indifference. In the era of scrolling past tragedies, her art refuses to be scrolled past. It demands a pause, a reflection, perhaps even a change of heart.

Each piece serves as a visual interruption, a graffiti of the mind that transforms the way we perceive the daily digest headlines. It's a reminder that behind every article, there's a story that deserves more than a fleeting glance. With Liubinskaya's work, the conversation is just beginning, and it starts with a question: Do we truly care?

Derya Ocean

Shiritaki ChatGPT Painting, Gouache on Canvas 60cm x 90cm 650 @shiritaki Simba1708 Gracefull spraypaint, acrylics 240 x 210 cm 5950$ @simba1708
BeeTheIllustrator.917 Drivethroughtime Digital collage piece with a digital painted background 42 x 59 4 cm £400 @beetheillustrator.917
In the Afterglow: Starry Eyed Watercolor and chalk pastel on vellum paper
in x 29 in $500
art Hunter Henotic

Elena Vasylets


Acrylic paint on canvas



@vasillenka art


Neon Spray paint/ Oil paint markers/ LED lights/ Glow n the dark blacklight



@talento creations



Acrylic & gold foil leaf on canvas

18" x 24”


@javi theartist

javigallery com

Evelin Hutton




29 7 x 42 cm




Painting acrylic on painting board

60cm x 40cm


Digital, and digital print

Various sizes for digital, A4 - A3 frame physical £100 @marie harwood design


Acrylic on Cotton Canvas

18 x 24 x 1 inches

$295 @belovedartbypaul www belovedartbypaul com


acrylic on canvas with acrylic gold color

100 cm x 100 cm x 4,5 cm



Beloved Art by Paul

Leigh Witherell

“Art is not what you see, but what you make others see.” Edgar Degas Painting in the melancholic style is a captivating and emotive genre that evokes a sense of sadness and introspection. This artistic approach often utilizes muted colors, somber tones, and shadowy imagery to convey a somber mood and introspection. Artists who delve into this style explore themes such as loss, solitude, longing, and the transient nature of life. From the brushstrokes to the subject matter, every element in these paintings is carefully crafted to evoke a deep emotional response from the viewer. The melancholic style serves as a powerful medium for artists to express their innermost thoughts and feelings, creating a profound connection between the artwork and its audience. This is where award winning artist Leigh Witherell lives. Her understanding of vulnerability is a powerful therapeutic tool that informs her artistic practice. She specializes in having the ability to show what is raw emotional response in her compositions. For Leigh, this process mirrors grief, a central experience in her life following the loss of her daughter Amanda in a tragic automobile accident in April 2021.

Art has long been recognized as a powerful form of therapy, enabling individuals to express and process complex emotions. Through melancholic compositions, artists delve into the depths of their souls, unveiling raw and authentic emotions. By embracing sadness, artists create a safe space to confront and release their inner turmoil. These compositions convey a profound sense of vulnerability and invite viewers to connect on a deeply emotional level. The brushstrokes, color palettes, and textures reflect the artist's state of mind, allowing for a cathartic experience. Art as therapy not only offers solace to the creator but also resonates with audiences, fostering empathy and understanding in a world where emotions are often suppressed. Leigh creates art in observance of her daughter’s wishes and memory while also seeking to spark conversations that acknowledge the isolating process grieving parents must go through and how art is a powerful tool to reframe pain.

Find out more: @leighsartfl

Yaming Zhu

Faiza Bilgrami



Hide Ceramic mural 102 x 82cm
$20000 www zhuyaming artron
Digital art
29.7 x 21.01 cm www artstation com/dianatsareva
paints, marker, wood work, found metal objects and screen printing on canvas
£450 @frbilgrami
8" x 8"

Angelina Bakh


Digital photography


@salad of thoughts

Vanessa Bajrami


Painting, Watercolour on Canvas



An Jin Kyeong

Theinnerandouterworld, 2020

Painting on korean paper

100 x 83 3 cm

€200 @dkswlsrud2

Diamond Jones


Oil Pastel, Grease Marker on Canvas

30" x 40"



Rachael Mooney

Nahoko Komatsu O

Mixed media on canvas

101 x 152 x 4 cm

Price on request

@rachaelmooney art


SimpleSpace–AstraCarta–Resonance Oil, urushi, and egg tempera on canvas fabric

117 x 185 cm



www nahokokomatsuo com

Anastasia Voltchok


Digital Painting

29 x 20 cm



www chelseamacdermott2c4 myportfolio com/work


Painting, oil on canvas

50 x 30 cm


www voltchokarts com

Paul Hartel

From New York, now living in Ireland, I paint and draw in neo-expressionist and art brut styles with mixed media including oil, acrylic, oil stick and pastels, and charcoal. I believe in art for art’s sake and the veracity of spontaneity with influences that include DeKooning, Kline, Twombly, Clemente and Wool. I think of my work as celebrating the spirit of the ‘inner child’ through an improvisationally eviscerated energy.

I feel this expressive energy retained in the strokes, lines, forms and colours encompassing their fleeting application, yet everlasting presence. Experimenting with a variety of tools and techniques, I believe my work yields a spontaneous truth, not to be mitigated by hesitation. I subscribe to a raw sense of urgency I feel parallels the excitement of life and all its accompanying intellectual, emotional and existential vicissitudes.

Find out more: @lphartel16

Schisme Familial, 2024, Mixed Media on canvas, 32" x 36" , £840
14 x 14 $580
blue rabbit
JanuaryPineapple Acrylic on canvas 80 x 120 cm 8800€
Tatiana An
@tatianaanart www tatianaan com



70 x 90 cm


@naturopathe anaisglinne www mapeinturequantique-fushigina com

Kate Peel

50 x 70 cm 2500€ @joantharrats


Giclee Digital Print

50 x 50 cm

£180 @katepeelart

Oils on canvas

56 x 42 x 6 cm

£3000 @mossy frog studios

Joan Tharrats Posturing Oil on canvas Emma Pewsey AFellowTraveller, 2022

Eva f Azia Maria Sammartano

Acrylic, acrylic marker and spray paint on canvas 75 x 115 cm

fi Paper

martano pixpa com/about

Ava Marinos


, 2023

Acrylic, glitter, metallic paint on wood @avamarinates www avamarinos com

Gillian Hoogendijk Checkmate

Paul Grégoire


Acrylic on Poplar Wood

60 x 60 x 1.5cm

£600 @lovismoos

www lovismoos ch

Milena Quattrocchi


Digitized drawings 16" x 20"

@paul gregoire artiste

www paulgregoire quebec

Pinta Bicho @ pintabicho

Composition140124 03, 2023

Red Ink and Indian ink on Fine art paper 180 gr/m2

210 x 297 mm (A4)

350 - CHF

www kanulart design


Painting, Watercolor on Paper Archival Ink

7.5'' x 4.8'' ( per page) 4" x 4.5" (per image)

$150 ( Digital Compilation) $240 ( Originals ) @pintabicho


Studio Jil Anders


Metallic Photo Print Behind Acrylic Glass

40 x 60 cm


@studiojilanders www studiojilanders com

Jennet Annayeva


Painting, Watercolour on Paper

£2000 @silvernraven www artfinder com/artist/silvernraven


100 x 70 x 5 cm

500€ @shipleyartworks

Alena Ogden

DREAM. Digital art

42" x 59 4"

500$ @alena ogden art


Painting, Alcohol ink on synthetic paper

12" x 12"


@katybishop art

www katybishop art

Max Ph.V


Photography, digital art 19" x 16" v

hui Zheng
Katy Bishop


Edison William

RomanticStreet, 2023

Acrylic on Canvas

60 x 75 cm

Price on Request @shelinakhimji www shelinakhimji wixsite com/sksart

Parisa Azizi


Photographic Collage

36" x 48"

$3600 @edisonwilliam www edisonwilliam com


Acrylic, Metallic Paints and Pens, Metallic Ink, Gold Leaf on Canvas

24” x 24”

£1500 @yasmincreations

Anum Hashmi


Photograph on paper

100 x 100 cm

£1500 @ anumhashmi

Miralls, 2024

Painting, Gouache on Paper

29,7 x 42 cm (without the frame)

1150€ (framed)


Viviane Verbrugge


Pen with Amber Ink on art paper

29 7 x 21 cm



www nouveau-studio uk

Vincentia Anthony


Oil on canvas

230 x 140 cm




Painting, Acrylic on canvas

90 x 120 cm


@abstract by ese

Nur Valls


Lewis V. Pell


Printmaking (Screenprint / drypoint)

11" x 14"

150 aed @ fzzzi

Laura Stewart DeRosa


Painting, Acrylic on Canvas

18" x 24"

$500 @pelllewis


Painting, Oil on Panel

11" x 14"

$4000 @lstewartderosaart www lstewartderosa com

Monigotes Digital 40x50 cm

600 @tita pinta www titapinta com



Mixed Media

27" x 28"



Mariam olubunmi

Burnt papers and Acrylic on canvas

74"x 59"


@mariam olubunmi

Designer Philly


Framed - Digital Print

50 x 70 cm



Berta Martinez Portraitoflizzo

Marguerite Copeland Deona Lizette

12 x 36

$2,000 @margueriteclaudetteart www margueriteclaudetteart space

90 x 60 x 2 cm

$1 500 (shipping & taxes excluded)

@lengart s www lengart com

12" x 12"

$600 @lizettestudio art www deonalizette com

ParisRumSkorLighting, 2023

Acrylic on Canvas

30" x 40"

@Mosperceived @Fo3creations

Painting, Acrylic on canvas
Oil on Wood Panel

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