© Gjertrud Hals

THE NET by Gjertrud Hals

Art

I was born in 1948, on Finnøy, an island with two hundred inhabitants. My family was living close to the factory where my father and grandfather were mechanics, making and installing engines for the fishing boats. During my childhood, there was an abundance of herring fishing going on every winter. The herring were caught in large nets and hauled up in smaller ones. When the weather was bad, the harbor was packed with boats, and big bunches of fishnets were hanging to be dried. Every summer holiday I spent with my grandparents, living on the tiny island Notholmen (not=net) on Hustadvika.

© Daniel Derderian

A VISUAL ESSAY ON OTHERNESS by Daniel Derderian

Art

I want to stay a little naïve and desperately in touch with my emotions rather than become anxious and angry. It’s not easy to understand society at this moment. It’s not easy to be reassured when “fake’ is a new derivative of reality. It’s not easy to trust people when power games go beyond understandable limits, and when polarization is more recognizable than union in diversity. It’s not easy to stay in touch with your own nature during a pandemic and other natural disasters… But I’m trying.

patrick-perkins-rAtADOlvcos-unsplash

GHOSTS OF OUR FORMER SELVES by Eric Chasalow

Art

The songs comprising my October 2020 release, Ghosts of Our Former Selves, including the two presented here, were deliberately composed in a confessional mode. They form a forty-minute sonic memoir that draws on everything I have spent my six-plus decades learning as a composer of contemporary classical music (especially computer music) with deep roots in jazz and popular music traditions.

© Linda Louis

FAMLY OF HUMANS by Linda Louis

Art

Famly of Humans seeks to illustrate how we all are equal, regardless of the color of our skin or the shape of our features. It begs acceptance of the idea that tolerance and respect without judgment can exist. By presenting a disparate population in microcosm where no one is prejudged and there is no exclusivity, Famly of Humans promotes the idea of diversity where we are all on equal footing, no one is marginalized, and social acceptance is the norm.

© Susan Luss

IN THE TIME OF NOW by Susan Luss

Art

For a long time, I have used my body in creation of my work. The landscapes/maps on canvas are distillations of my urban wanderings, both physical and psychological. The emergence of these public performances—I’ll call them “urban en plein air interventions”—have become imperative for my survival “in the time of now.”

© Enrique Enriquez

A BIRD by Enrique Enriquez

Art

It is important to make the distinction between the languages ​​of contemplation and those of action. The language of the birds is a contemplative language. It delivers its messages directly, the meaning of which disappears, it ceases to be understood, as soon the stimulus ends, that is, once the bird is silent. Contemplative languages ​​are languages ​​of direct experience, languages ​​of ’what is.’ The occurrence of such language is equivalent to that of dreams in the sense that it paralyzes the physical body while agitating the subtle core.

Juan Pablo Valdivieso artwork Bloom

BLOOM by Juan Pablo Valdivieso

Art

These abstract worlds are composed of undulations and vibrations that I define as beings. The cosmic forces that come together in the scenes find their impulse in the decomposition of modern dualism, in contemporary ways of relating to the world, and in a nature that does not faint in its eternal flourishing. In this way, Bloom emerges as a body of work in development, composed of small- and large-format artwork designed for both digital and analog media.

© Gala Garrido

THE BACCHAE: THE FEMINIZATION OF VIOLENCE by Gala Garrido

Art

From time immemorial, there have been crimes committed by women who were driven to pursue their own power. These transgressive crimes center on the tearing down of established systems. They make it possible for us to reflect upon the meaning of the offenders, sacrifice in Euripides’s Bacchae: offenders who, beyond their frantic alienation, rise, as Medea did, through a reflective process that leads to a destruction that does not horrify them and that few of them repent.

© Francesca Schwartz

CITY OF WOMEN by Francesca Schwartz

Art

City of Women is an encounter with the confusion about what happens to a woman’s body over her lifetime. We become divided subjects from the beginning — separated from the womb and ourselves in birth. Then the divided mind, now we become both subject and object, observer and the observed.