September 2012

Christine A. Tarantino - Hjuler BROTKATZE collaborations on exhibit at FzKKe Gallery, Germany, Sept. 1 - 30, 2012.

With the Blood of a Daylily - Poems & Drawings by the Homeless Poet by Christine A. Tarantino, published by Words of Light:

THESE HANDS PRAY FOR GERONIMO, a visual poem of American Indians, by Christine A. Tarantino, published by Words of Light:

Christine A. Tarantino's ECDYSIS, snake skin artist book exhibited with 99 other book artists in Italy, curated by Maddalena Castegnaro.

Christine A. Tarantino, Sign and Language Group Exhibit, Open Stal, The Netherlands.

Christine A. Tarantino series of 40,"Being Human"
published by Redfoxpress, Assembling Box #20,

RED LIPS - What is Your Version for Me? by Christine Tarantino is published by Words of Light now available in print or eBook formats. New version includes ALL 42 artists from 13 countries plus additional text and images by Christine Tarantino.

August internet art exhibit @ CHRISTINE TARANTINO
features artist STEVE RANDOM.

WORDS OF LIGHT BOOKS, Art Publications By
Contemporary Artists, new blog offering various format books
published by Christine A. Tarantino.

Christine A. Tarantino/Words of Light publishes THE
by Walter Festuccia.

Christine Tarantino, "Instant Person 1 & 2", self-portraits with Polaroid Camera for POLAROID MADNESS, project of Franticham, Ireland. On-line exhibit and exhibition Kassel, Germany during the DOCUMENTA 2012. "INSTANT PEOPLE"250 polaroid self-portraits by 175 artists from 22 countries.11.– 23. Juli 2012 Zur Eröffnung der Ausstellung am Mittwoch, dem 11. Juli 2012 ab 19 Uhr möchten wir Sie und Ihre Freunde herzlich in denKasseler KunstvereinWerner-Hilpert-Straße 2334117 Kassel, einladen.

Christine A. TARANTINO, "Ecdysis" artist book exhibited at Villa Excelsa, Sannicola, Italia. Curator, Maddalena Castegnaro
Opening night:

July internet art exhibit @ Christine Tarantino Collection features Anna Banana, Darlene Altschul, & John Mountain.

"THESE HANDS" call for entries, newest project from Christine TARANTINO.

June internet art exhibit @ Christine Tarantino Collection features Antoni Miró.

"Fear No NewNew Art" artist book published by Redfoxpress, Assembling Box #19, Ireland.

"E-mail Between the Artist & Her Lover" artist book exhibited Villa Giulia, Italia. Curator Marisa Cortese.

"WHO AM I?" artist book exhibited Mostra Internazionale, Italia. Curator Virginia Milici.

"RED LIPS of Christine Tarantino", art booklet by Bruno Chiarlone published in Italy.

May internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artist RYOSUKE COHEN.

Christine TARANTINO, "RED LIPS FOR DALAI LAMA" exhibition @ INviso, Padiglione TIBET, AssociazioneSal Viana frazione Saliana Pianello del Lario (CO)curated by Ruggero Maggi.

April internet art exhibit @ CHRISTINE TARANTINO COLLECTION features artists Daniel C. Boyer and Richard Canard.

Christine Tarantino, "NEWNEW ART Mono-Prints"
published in"Franticham's Fluxus Assembling Box Nr 18",
Redfoxpress, IRELAND.

DODODADIANI featured this month
in internet art exhibit at Christine Tarantino Collection. Dododadiani
internet art exhibit

RED LIPS Project: What is your
version for me? Send or RED LIPS, Box
121, Wendell, MA 01379 USA
"Sometimes I need red apple. Sometimes I need
redlips."-- Nam June Paik
Your RED LIPS art modification will yield
online documentation, maileddocumentation, and potential publication. Please
include a mailing address withyour submission.

Christine Tarantino, "Better Together: Harmony; Radiance; Consciousness; Evolution", International Mother Language Day Art Exhibit, Kathmandu, NEPAL, by invitation of Rafique Sulayman, Curator.

Christine Tarantino, "Flux-USA Gallery of Stars with Lucy Chew Intervention" exhibited in Group Show: Fluxfest Chicago 2012 (Chicago, USA) FROM THE ARCHIVE Mailart and Fluxus from the archives of Fluxus/St. Louis. Opening reception Chicago Art Institute, Joan Flasch Library.

February online art exhibits from 'The Christine Tarantino Collection' features Guido Vermeulen and Gerson Wenglinski this month, both artists from Belgium.

Christine Tarantino, "RED-BERRY Series" published in "Franticham's Fluxus Assembling Box Nr 17", Redfoxpress, IRELAND.

FAX Exhibit, The DeVos Art Museum, Michigan, USA, curated by Ribas; organized by The Drawing Center and ICI, NYC. TARANTINO "I of the EYE-FAX", asemic writing series:

Wooden Postcard Exhibit, Stehekin Post Office, Stehekin, Washington, USA. Christine Tarantino work:

Christine Tarantino, "PhotoBooth" work published in new book, "Photobooth Performances" by Ginny Lloyd.

Christine Tarantino, Mail Art and Video Performance at Galleriea Terre Rare, Bologna, Italy, January 28 - February 8, 2012. Project of Maurizio Follin, Italia.

Christine Tarantino, RED LIPS for Dalai Lama, collage exhibited at Venice Biennial Tibet Pavilion – Palazzo delle Esposizioni Sala Nervi - Torino, project of Ruggero Maggi, Milan, Italy.

Christine Tarantino exhibited at Foundation IK New Year Celebration Exhibit "I WISH", The Netherlands, by invitation of Ko de Jonge.

The Christine Tarantino Collection, newest Christine Tarantino art blog started on January 1, 2012. Showcasing selected works from my 20 year collection of works on paper from artists around the globe.

Christine Tarantino-Hjuler BROTKATZE Collaboration exhibited at GALERIE "Offenes Atelier D.U. Design", Austria, Barbara Rapp, Curator.

Sunday, September 28, 2008

Fernando García Delgado, ARGENTINA

Christian Román, ARGENTINA

Jorge Ivan Restrepo, HONDURAS-COLUMBIA

Last Saturday 13th of September in Zonadearte we enjoyed the intriguing work of Jorge Restrepo (Colombia), with the sounds of Walter Suazo (Honduras)
Minimal work, dynamic and intriguing.
A work that allowed us to fly with our imagination, to play, to laugh and question ourselves, drink wine and eat bread, the bread that I made that same Saturday afternoon for the people attending the show. Round buns speckled with sunflower seeds. Thinking of suns, of circles, of the simplicity, the simplicity…
During the last week my friend Gabriel Sasiambarrena and I worked assembling the exhibition, trying to decipher codes and respect signals.
This work, complex at times, takes us to our childhood, we look at it and look again and by being simple it is complex.
We wetted our hands in the water and it still results in an everyday action, it is about simplicity, subtle.
The sound accompanying each black dot, the ones from the wall and the ones in the water. I walked in circles, looking, looking at it, my steps accompany the circles, they follow the sound, I take pictures, if it is simple, it is dynamic, it is complex.
Thank you Jorge, thank you Walter.
Thanks to my friend Gabriel, G.A.

By: Gabriela Alonso, Director, Zonadearte, Buenos Aires, Argentina

Bruno Chiarlone, ITALIA

Bruno sent a reference, 'Performance Blu Klein', which led me to the following(

Yves Klein. (French, 1928-1962). Blue Monochrome. 1961. Dry pigment in synthetic polymer medium on cotton over plywood, 6' 4 7/8" x 55 1/8" (195.1 x 140 cm). The Sidney and Harriet Janis Collection. © 2008 Artists Rights Society (ARS), New York / ADAGP, Paris

Gallery label text2006
Monochrome abstraction—the use of one color over an entire canvas—has been a strategy adopted by many painters wishing to challenge expectations of what an image can and should represent. Klein likened monochrome painting to an "open window to freedom." He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.
Monochrome abstraction—the use of one color over an entire canvas—has been a strategy adopted by many painters wishing to challenge expectations of what an image can and should represent. Klein likened monochrome painting to an "open window to freedom." He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.-->
Publication excerptThe Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 242
"Yves le monochrome," as Klein called himself, saw the monochrome painting as an "open window to freedom, as the possibility of being immersed in the immeasurable existence of color." Although he used a range of colors before concentrating on three—blue, gold, and a red he called Monopink—he is most associated with a blue he named International Klein Blue, which he arrived at by working with a chemist to develop a binding medium that could absorb pure color pigment without dimming its brilliant intensity. A student of Rosicrucianism and of Eastern religions, Klein entertained esoteric and spiritual ideas in which blue played a vital role as the color of infinity. Keenly aware that pigment is a substance of the earth, Klein also devised methods to make paintings using the other three elements—air (in the form of wind), water (in the form of rain), and fire.
And from Wikipedia:
The International Klein Blue (IKB) is a deep blue hue first mixed by the French artist Yves Klein.
International Klein Blue (or IKB as it is known in art circles) was developed by French artist Yves Klein as part of his search for colors which best represented the concepts he wished to convey as an artist. Although Klein had worked with blue extensively in his earlier career, it was not until 1958 that he used it as the central component of a piece (the color effectively becoming the art). Klein embarked on a series of monochromatic works using IKB as the central theme. These included performance art where Klein painted models' naked bodies and had them walk, roll and sprawl upon blank canvases as well as more conventional single-color canvases.
The secret of IKB's remarkable visual impact comes from its heavy reliance on Ultramarine, as well as Klein's often thick and textured application of paint to canvas.
IKB was developed by Klein and chemists to have the same color brightness and intensity as dry pigments, which it achieves by suspending dry pigment in a clear synthetic resin. This new medium was patented by Klein.
And from Tate online:
In 1947, Klein began making monochrome paintings, which he associated with freedom from ideas of representation or personal expression. A decade later, he developed his trademark, patented colour, International Klein Blue (IKB). This colour, he believed, had a quality close to pure space, and he associated it with immaterial values beyond what can be seen or touched. He described it as ‘a Blue in itself, disengaged from all functional justification’. Klein made around 200 monochrome paintings using IKB. He did not give titles to these works but, after his death, his widow assigned a number to each one.

Bruno Chiarlone, ITALIA

Scrive Mauro Risani:

Con l'aggiunta di Anna e Gioacchino le cose si complicano... però sto notando nel pezzo che mi avevi inviato la fondamentale notizia, abilmente dissimulata, che c'e' un quadro che non sappiamo che quadro sia... "ha lasciato il quadro di San Bonaventura et un altro di simil grandezza..." Un altro quadro... perchè non ha esplicitamente detto che quadro fosse? Cosa c'e' raffigurato in tale quadro? Dunque il quadro mancante finisce al convento. Il "sindaco apostolico" del convento vedo in un documento del 1786 che è Innocenzo CIRIA (che scommetto essere parente di Maria CIRIA, la moglie di Bartolomeo Rodino che nel testamento del 1755 regalano la cappella da finire ai Lubati per farla diventare di Sant'Anna). Poi Innocenzo Ciria nel 1789 fa testamento (rivoluzione francese) e nel 1793 prima che arrivino i francesi a Cairo muore (apertura del testamento e inventario). C'e' anche da dire che il nipote di Maria Ciria e Bartolomeo Rodino e' il famoso Bartolomeo "debole di spirito" che negli anni prima che arrivassero i francesi si voleva che abbracciasse la carriera ecclesiastica magari proprio in questo stesso convento dove questi Rodino avevano la tomba di famiglia detta anche "monumento di famiglia".Allego ritaglio del testamento.

Saturday, September 27, 2008

Bruno Chiarlone, ITALIA

Photograph of La Maddalena taken, by Bruno, through the keyhole at Chapel of the Magdalene.
Testamento del sig. Arciprete Carlo Lorenzo Lubati – 1742 – Cairo Montenotte
"(...) l'Arciprete ha raccomandato e raccomanda l’anima sua alla SS Trinità alla Vergine et a tutti i santi del cielo che intercederanno presso il Signore per la remissione delle sue colpe (…) vuole sia sepolto avanti l’altare maggiore di questa chiesa parrocchiale nel sito istesso dove era stato sepolto il fu arciprete Lubati di lui zio et antecessore (…)
Nella seconda pagina del testamento in ordine sono citati i seguenti santi:
Quindi il santo numero otto (numero base della mia ricerca su Luigi Baccino e il pittore Felice Serono) è sant’ANTONIO. Ho cercato una cappella cairese dedicata a questo santo ma non l’ho trovata. Poi ho riletto con più attenzine il testamento di don Carlo Lorenzo Lubati ed ho visto che il primo santo in realtà è GIOACCHINO, anche se la cappella è detta di Sant’ANNA, percui il numero otto è MADDALENA.
Stamattina sono andato alla cappella della Maddalena e dal buco della serratura ho fotografato il quadro che ti allego.
Il particolare interessante è la coppa verso la base del vecchio quadro che fu donato da don Carlo Lorenzo Lubati, morto a Cairo M. nel 1743.

Friday, September 26, 2008

!!!100 SURPRISES!!!

Hoping to fill this with your surprises/secrets/oddities. Items can be open, folded or closed, as long as it fits into a compartment which measures 4 1/4L. x 5/8H. x 1 3/4D. inches(10.8 x 1.6 x 4.4cm). On-line documentation ( small poster/artistamp sheet to all participants. Ongoing until compartments fill.

Send to: Words of Light MAIL ART

100 Surprises

Box 121

Wendell MA 01379 USA

Wm. Gruters, USA

Tiziana Baracchi, ITALY

Thursday, September 25, 2008

Massimo Medolo, ITALIA

BAU Contenitore di Cultura Contemporanea
al Centro Luigi Pecci di Prato

ll Centro per l’arte contemporanea Luigi Pecci di Prato (CDI/Arti Visive, V.le della Repubblica 277) ospiterà Giovedì 2 Ottobre alle ore 17,00, nell’ambito del progetto del Sistema bibliotecario provinciale “Ottobre piovono libri: i luoghi della lettura”, una presentazione di BAU Contenitore di Cultura Contemporanea, originale periodico in edizione limitata prodotto dall’associazione culturale BAU di Viareggio.

Realizzato annualmente dal 2004, il Contenitore BAU è un cofanetto in cartone serigrafato che racchiude opere nel formato UniA4, in 150 copie numerate e firmate, realizzate con varie tecniche e supporti da autori attivi nelle più diverse discipline: pittura, scultura, fotografia, video, installazione, poesia, narrativa, musica, teatro, ecc. Nell’arco di cinque numeri, BAU ha coinvolto oltre trecento autori nazionali e internazionali, riscuotendo l’interesse di numerosi archivi, collezionisti, musei e istituzioni, dal Getty Research Institute di Los Angeles alla Tate Modern Library di Londra.

Ospiti speciali dell’incontro, coordinato da Antonino Bove e Vittore Baroni, sono Giorgio Maffei, tra i maggiori esperti in materia di libri d’artista e riviste d’arte contemporanea, autore di vari saggi sull’argomento, e Martino Oberto, maestro storico della verbovisualità e fondatore nel 1958 della seminale rivista di ricerca letteraria Ana Eccetera. Sono inoltre previsti brevi interventi performativi di autori partecipanti al recente n. 4+5 di BAU: Paolo Albani, Carlo Battisti, Daniele Poletti.
Ingresso libero

Gli autori di BAU 4+5: Paolo Albani, Fernando Andolcetti, Christian Balmier, Anna Banana, Mauro Baroni, Vittore Baroni, Carlo Battisti, John M. Bennett, Anna Boschi, Alessandro Botticelli, Antonino Bove, Luca Brocchini, Gianni Broi, Giuseppe Chiari, Cosimo Cimino, Kiddy Citny, Cobàs (Mario Carchini), Mario Commone, Carlo Marcello Conti, Francesco Conz, Gloria Corsini, G.Luca Cupisti, Daniel Daligand, Caterina Davinio, Jakob De Chirico, Paolo Della Bella, David Dellafiora, Chiara Diamantini, Lino Di Lallo, Gabriele Dini, Marcello Diotallevi, Ugo Dossi, Emily Joe, Fernanda Fedi, Laura Fiaschi, Luc Fierens, Nicola Frangione, Giuliano Galletta, Serena Gatti, Delio Gennai, Angelo Giannecchini, Emanuele Giannelli, Gino Gini, Latteria Giuffrè Pagano, Gumdesign, Elisabetta Gut, I Santini Del Prete, Emilio Isgrò, Marcello Jori, Bruno Larini, Alessio Larocchi, Luigi Lazzerini, Arturo Lini, Adolfo Lippi, Marco Maffei, Ruggero Maggi, Marcella Malfatti, Guglielmo Manenti, Stelio Maria Martini, Lorenzo Mazza, Sergio Mazzanti, Riccardo Mazzoni, Giancarlo Micheli, Monica Michelotti, Micrqcosmo, Enzo Minarelli, Angelina M. Moody, Emilio Morandi, Massimo Mori, Clemente Padin, Stefano Paolicchi, Vieri Parenti, Massimo Pasca, Mxm Pellegrinetti, Massimiliano Pelletti, Michele Perfetti, Mirco Piccioli, Franz Pichler, Lamberto Pignotti, Francesco Pirella, Daniele Poletti, Giorgio Poli, PaoloPratali & Alessia Berruti, Alessandro Ratti, Eraldo Ridi, Gian Paolo Roffi, Sabina Romanin, Agnese Sabato, Carla Sanguineti, Sarenco, Antonio Sassu, Antonella Serafini, Paolo Tesi, Elena Torre, Alessandro Traina, Claudio Tomei, Giovanna Ugolini, Liliana Ugolini, Alessandro Vezzosi, Emmett Williams.
Via Antonio Pucci 109
55049 Viareggio – Lu
tel. 0584 944546
hasEML = false;

Wednesday, September 24, 2008


Detail: Mail art contribution by Christine Tarantino.

Documentation for in the mirror mail art project from Francesca & Gabriele and Maria & Guido in Savona.

Florica Prevenda, ROMANIA

Tuesday, September 23, 2008

Clemente Padin, URUGUAY

dear friend
come to enjoy
the international encounter

caro amigo
venha prestigiar com sua presença
o encontro internacional
in the Culture House
no casarão da cultura
av. 3, n.° 568 – centro
rio claro sp
Rio Claro, Sao Paulo, Brazil
programação - programe:

26 de setembro, às 20:00 hrs
abertura das exposições - exposition:
(poemas visuais de clemente padín, hugo pontes, paulo bruscky, roberto keppler & silvio de gracia)
27 de setembro
hugo pontes / poços de caldas, mg
silvio de gracia / junín, argentina
roberto keppler / são paulo, sp
clemente padín / montevidéu, uruguai
17:00 hrs
paulo bruscky / recife, pe

03 de outubro, às 20:00 hrs
performances e conversa com o público
(artistas argentinos)

javier sobrino “PARALELISMO NÔMADE”, andrea cárdenas “ÊXODO DA COLMÉIA” & claudia ruiz herrera “DOSE 2010”

Richard Canard, USA

Bruno Chiarlone, ITALIA

Testa a uovo per Luc FIERENS - Belgio

Bruno Chiarlone, ITALIA


'IN TRENO X Y - Bruno Chiarlone'...

IN TRENO X Y - Bruno Chiarlone
Photo link:

About YPSILON - FLUXUS ITALIA - fattore Y...
cari amici artisti, siete benvenuti nel primo blog di fluxus - fattore Y. (è Bruno Chiarlone che vi parla)
34 membri
252 fotografie

Bruno Chiarlone, ITALIA

Bruno e Christine

vi mando una mia mappa di Rocchetta Dei Murales (la pianura lungo la Bormida) con intervento di Virtual Land ART.

Bruno Chiarlone

Monday, September 22, 2008

Eduardo Calvo Sans, ARGENTINA
Lic Eduardo CALVO SANS

Fernando García Delgado, ARGENTINA

:::::::::::::::::::::::::::::::::::::::::::¡ V I V A L A T I P O G R A F I A !:::::::::::::::::::::::::::::::::::::::::::Exposición de obras gráficas de Juan Carlos RomeroINAUGURACION : jueves 25 de septiembre . 19 hs.en la Barraca VorticistaEstados Unidos 1614 . Barrio Montserrat, Buenos Aires::::::::::::::::::::::::::::::::::UN RELATO TIPOGRAFICOpor Claudia KozakExisten muchas formas de interrumpir el artefacto urbano. La interrupción tipográfica, entre otras variantes, puede darse de la mano del cartel o afiche que se presenta fuera de lugar. Ni señal de tránsito, ni afiche publicitario. En 1830 una joven neoyorkina –nos dice algún libro que se llamaba Martha Clemens, aunque su nombre poco importa– recortaba letras de volantes y carteles para reagruparlas en indecencias que le hicieron valer un proceso judicial. Más cerca, en la ciudad de Buenos Aires, alguien suele atar unos carteles artesanales realizados en cartulina (plastificada tal vez) al tronco de un árbol que a su vez soporta el peso de ser parada de colectivo; alguien más pega enormes letras blancas sobre negro en el lateral de un puente que atraviesa una avenida de tránsito rápido. En el medio de tan extenso abanico de tiempo y espacio, una lista de hitos reconocidos en la historia del arte sería posible de trazar. Incluiría géneros –poema tipográfico al aire libre, revistamural–, y movimientos (dada, poetismo, letrismo, entre otros). Pero se trataría también de la historia de un olvido: el del acontecimiento que contuvo a cada manifestación haciéndola parte de un relato más que de un manual de historia, el de la indiferencia de una mirada que en la mayoría de los casos, es probable, la rodeó ciegamente.Mirada indiferente y sobreexposición visual forman parte del mismo juego en la ciudad artefacto. Ya no miramos, no queremos mirar más, de tanto que se impone a la mirada. Y no creamos que esa invasión –o tal vez mejor: invisión– le pertenece sólo a la actualidad o le ha pertenecido a lo sumo al siglo XX. Desde que la tecnología de impresión de carteles lo permitió en el siglo XIX, hubo sobreabundancia de afiches publicitarios que llegaron a tapar las fachadas casi completas de las casas de las grandes urbes. Era más o menos frecuente en aquella época que los ilustradores de periódicos o revistas parodiaran semejante desajuste –ejemplo de 1836 tomado de Le Charivari, diario político ilustrado editado en Paris: un hombre que para salir de su casa tiene que rasgar el papel del afiche que le cierra el paso–. La diferencia que impone nuestra época, con todo, es que ya casi nadie toma la invisión cotidiana como objeto de parodia o de relato, a pesar de lo mucho que en apariencia se puedahablar del asunto. En líneas generales, simplemente, dejamos hacer. Y sin embargo, aquí estamos frente a los afiches de Juan Carlos Romero.Buenos Aires, septiembre de 2008. Convocados a reunirse luego de haber vivido separados más de cuatro décadas, los afiches de Juan Carlos Romero establecen un relato tipográfico que entrama nuestra historia violenta con la violencia del emplazamiento tecnológico que los reserva casi a objeto de anticuario. Una técnica ya casi en desuso, practicada por algunas pocas imprentas tipográficas que en épocas de offset y digitalización insisten en filiaciones anacrónicas, sirve de marco y puntal para una torsión del hábito urbano. Aunque se muestren encerrados, adentro, la vocación de estos afiches es el afuera y lo abierto. Hayan sido exhibidos en galerías o pegados en la calle, en realidad siempre apuntan al revés del ropaje urbano. Desde el afiche sindical que señala en su disposición poético-político-visual una AVANZADA del arte sobre la calle hasta la VIOLENCIA como sendero y muro contra el que nos topamos. Desde esas cuatro palabras quebradas –DESOCU, EXCLUS, MARGIN, EXTINC– que se vandando lugar unas a otras para construir el mapa de nuevas formas de desaparición hasta la incisiva repetición del TERROR. En sentido cronológico corresponden a producciones espaciadas en el tiempo; en su confluencia adensan la mirada sobre la visualidad urbana corriente. No estaría nada mal despertar una mañana con la ciudad empapelada de esta manera.:::::::::::::::::::::::::::::BARRACA VORTICISTAc/o Fernando García DelgadoEstados Unidos 1614Barrio Montserrat, Buenos AiresTe. 4304-8972

Paullimo/Pierpaolo, ITALIA

Theo Nelson, CANADA

Chevalier Daniel C. Boyer, USA

Sunday, September 21, 2008

Bruno Chiarlone, ITALIA

Bruno Chiarlone, ITALIA

Altro lavorretto con il tuo ramo di pino



Bruno Chiarlone, ITALIA

Bruno Chiarlone, ITALIA

Incrinatura intervention by Bruno Chiarlone on work by Christine Tarantino.

Grazie CHRISTINE per il tuo ramo di pino.

Ci sto lavorando,ti allego una piccola elaborazione,

Ciao!Bruno Chiarlone