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By Allison Sommers, one of my favourite artists of the moment — dark, mysterious, and utterly beautiful drawings and paintings. I was at the Kendal Comic Festival over the weekend and bought a book from Tiny Pencil, which has Allison’s illustration on the cover and it is wonderful! Check out more of her work on Tumblr.
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"Janet, you know how much I love you. I look up to you as a big sister. And this book really, in my eyes, made me see myself as not just the one who went through my experience alone. Every time I would read a page in your book, it would be like a black and white scene of a movie in my head of my life, of something that you experienced that I’ve experienced in some way. It’s really hard for me to express myself to people when it comes to experiences that I had whether it be good or bad. And for you to have written a book about that is really a blessing. It’s like…this is like the ten commandments for us right now. Like literally. It speaks truth. And with truth comes freedom." - CeCe McDonald
Part of what Cece McDonald said to Janet Mock in regards to her important, exquisitely written, groundbreaking book about being a trans woman of colour, Redefining Realness: My Path to Womanhood, Identity, Love & So Much More. Quote is from The Barnard Center For Research on Women annual salon that featured several panelists.
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NoPlace, Tidens Krav, and UKS in Oslo, Norway
Per Kristian Nygård, Not Red But Green, at No Place Gallery
NoPlace is an artist run space organized by Jason Havneraas, Kristian Skylstad, Karen Nikgol, Hans Christian Skovholt, and Petter Buhagen. During Not Red But Green, Per Kristian Nygård constructed and grew an impressive, hilly landscape of grassy mounds, receding mysteriously into an interior room. By estimation, the lawn may have receded thirty feet or so, but illusion stretched this to visually harbor the scale of true hillsides, presenting the viewer with elvish wonderment about process as well as intention. Several small children in attendance had to be warded off from climbing onto the greenway, and this was no wonder, for there was an instinctual and inviting pull from the grass, making one want to depart from the conventions of art viewership. The grass sculpture was grown in entirety from seeds that had been planted two or two-and-a-half weeks earlier, and the mound formations brought to mind Icelandic lore of Huldufólk, or Hidden People, the mythical inhabitants of stones and mounds. I asked Kristian Nygård if there was a connection to this Icelandic lore of the land, and he said not in particular, and rather he’s engaging with what he described as “basic sculpture” (seeds and soil) and “just works in space. ” Simply put, he said he was “trying to make something that doesn’t make sense.” Kristian Nygård also described how undertaking these interior sculptures involve finding out particularities and the labor of becoming “your own assistant and a gardener.” A visceral connection to craft and an open sense of process took hold, eclipsing the end result of production or concept of object.