Alan Todd trained as a painter in 1960s London but has worked as much in three dimensions as he has in two with a body of work in steel in the 1980s, and stage set design over a thirty-year period with his own contemporary dance company. Humanity and the human condition have been constant subjects in painting, sculpture and the theatre in particular where he was able to manipulate forms in space and shape them with light. Using film in conjunction with moving dancers and locations such as an airport and a forest provided not just a backdrop but the opportunity to integrate moving choreographed forms into different environments.
This collection of figurative sculptures from the 1980s were maquettes for life-sized works in welded steel. The largest of the finished works was 3.5 metres high and completed in Adelaide for the 1986 Advertiser annual sculpture exhibition. Stylistically they derive from Armitage, Noguchi, Giacometti and Henry Moore [who lived down the road from me in Hertfordshire, England] who all used the human figure to express as much about humanity as individual emotion. These figures are optimistic in their belief that flight is possible even although grounded by the reality of gravity. They saw a brave new world emerging.
Amber Cronin is an emerging cross-disciplinary artist living and working on Kaurna Land. A recent graduate, her visual arts research is rooted in performative and sculptural gestures that engage the audience through the connection of memory, time and space.
Developed through a vocabulary of processes, forms emerge that reframe everyday actions as sites of ritual activity. Utilising elements of ceramics, textiles, performance, moulding and casting, Cronin’s studio experiments are gathered and displayed in combinations that facilitate meditations on connection and discovery.
The work investigates networks and systems of meaning through gestures. I am drawn to collecting natural objects, some of these experiments are an attempt to find a home for the quinces, seeds and stones that I feel compelled to collect. Atop folds of clay balancing on their plinths, the cast quinces are cradled safely, held in an indent. Each fold catches the precious fruit in a frozen moment of action. The divot shape influences the negative space below it– the action of one object coming into contact with another. The hollow of the interior, like the shape within the plinths, performs the same possibility of emptiness.
Barbara KRAJEWSKA was born -first time- in Poland and, then, the second time in France, when she discovered, in Paris, French civilisation. She lived in different countries but, feeling profoundly European, she belongs to French culture that she represents with her books and other writings. Artist painter, she exhibited many times in Paris, but also in New York, in London, in Switzerland, in Italy and in Australia. Barbara Krajewska is also an author. After completing her Ph.D. she published internationally four books and a number of articles devoted to French literature, French history, French society and also Napoleon and Dostoyevsky.
DAY DREAM, 2011
Barbara KRAJEWSKA abandoned her initial technique, water painting, to work exclusively with oil on canvas. Initially indifferent to abstract, she has turned to this expression recently, although her favourite subjects are portraits, nudes and landscapes in an attempt to destabilise formal vision of world and people through a personal vision of things and human beings. She is trying to dramatize banal situations or to exaggerate what’s singular in settings that are eternal rather than anecdotal, all seized in a line deliberately minimalist. The purpose is to visualise certain states of mind without the ambition to venture into innovative or trendy approaches with the intention to express spleen or to retain the instant through aesthetical sublimation and the intensity of a suggestion.
Bernadette completed a Bachelor Degree in Visual Arts and Design at Adelaide College of the Arts in 2017, majoring in painting. Since graduating she has continued to develop her oil painting skills in a variety of genres including portraiture, landscape and more recently abstraction.
A finalist in various art prizes, including the Adelaide Parklands Prize (2018) and the Kennedy Art Prize (2018/2019) Bernadette received the Helpmann Academy Emerging Artist Award at the Royal South Australian Society of Arts / SALA portrait Prize in 2019, a highlight of her career. Bernadette has exhibited regularly in both group and solo exhibitions.
It came to be II
I am excited to present this new body of work, for which I have explored my interest in the art of abstraction.
Responding to the unpredictable changes in 2020, my process also changed, delving into the use of gestural mark making, strong colours, shape and line.
Using spontaneity and inevitable risks during making, I have developed my ongoing fascination for the opportunities and limitations of oil paint.
Embedded in this work, is the importance of playfulness, excitement and fun.
Elisabeth Wojciak is an Adelaide based artist who works in the mediums of painting and drawing. She has a Bachelor of Visual Arts and Applied Design from the Adelaide College of the Arts. Since her studies, she has received several awards including the MinterEllison Lawyers Rising Star Award, Academic Achievement Award and the Art Stretchers Award for Highest Achievement in Painting. She has also been selected to exhibit in the Waterhouse Natural History Art Prize, represented ACArts Adelaide at PICA in Perth. Her work is now included in several national and international private collections.
In my work I strive to convey feelings of intimacy, longings and ambiguities of things unspoken, forgotten. I continue my attraction in themes of the female form, (self-) perception, and the connection between figurative and abstract /expressionist painting. My creative process is largely intuitive and through referencing to the figure I allow the painting to lead me and respond to the marks on the canvas. I use colour and expressive brushstrokes to develop language concerned with mood and content.
Firat Neziroglu was born in Izmir. He was invited to Oslo under the auspices of the Royal Norway Embassy and to Thailand for the birthday celebrations of the Queen of Thailand, where he wove a special cloth for her. He was elected as the brand ambassador to the Thai Kingdom. It became the cover of Christie’s, one of the most important auction houses in the world. He presented his ready-to-wear collection on the runway of New York Fashion Week.
As a new venture in Turkey he is using weaving as part of live performance accompanied by music on stage. He realises his dreams on stage with ModernDansLAB a classical ballet and contemporary dance ensemble.
… And still; unravelled, academician, thinker, dancer, and a weaver, while weaving all of these to each other…
Firat Neziroglu presents his weaving works using his traditional tapestry technique through a special and specific interpretation which he was developed with a modern approach.
His works reflect aspects of his daily life related through real life stories. Neziroglu not only use colours, tones and forms but also various traditional Anatolian weaving techniques and local fibres. He developed a new weaving technique which is accepted in the world of contemporary art. His work is included in university lectures around the world and has been the subject of a master’s thesis.
GENEVIEVE DE JONG
Always a maker, Genevieve de Jong graduated with a Bachelor of Visual Arts and Design, jewellery major, in 2014. For the last 6 years she has enjoyed working within the arts / ethical manufacturing jewellery industry while building up her arts practice.
Genevieve explores the interplay between jewellery and its wearer through the intimacy of jewellery making. Known to use a variety of materials more recently precious gem stones and metals have become an important aspect of her work.
Genevieve creates beautiful, handmade, one off sculptural pieces. Her ideas are often a response to themes of memory and imagery, or simply from the old treasures she finds while stomping around in the bush.
History has proven that “events” sear in our minds and then we forge ahead.
The age old art of jewellery making creates heirlooms with an emotional attachment. In response Jewellers are always critically thinking and agonising over the most minute of details, creating an intimacy between the maker, the jewellery and the wearer.
The designs of my body of work were inspired by my exchanges over the last year with colourful characters, then exploring the imaginary interplay between the jewellery and the person. The process of transferring my observations, misshaping the precious metals with my hands and adding natural gem stones, created strong, beautiful and whimsical jewellery, and I imagine the wearer adoring them.
There was no agonising over the concept and unapologetically I allowed my process to be a positive reaction to my exchanges, refusing to give the “event” any more energy.
This is what I needed to do….to forge ahead.
Georgina Mills is a locally and internationally trained sculptor who has recently returned from five years of study and tutoring at The Florence Academy of Art in Italy. Her practice explores the human condition through the representation of the figure and aspires to capture a transient moment that resonates viscerally with the viewer. Georgina is excited by the new challenge of extending her classical figurative training to incorporate contemporary Australian culture.
Desire for Desires
Desire for Desires is a figurative representation of a discontentment with life. The heaviness of the pose captures an intangible energy associated with dissatisfaction- a symptom usually experienced as part of a deeper underlying restlessness with self. Unwittingly, this realization can surface once the everyday stimulus of life has been removed, manifesting itself as boredom.
I am a South Australian Sculptor with young kids. I am acutely aware of the need for motorists to be vigilant around schools and areas where children are present. While caution signs assist to inform motorists they can be overlooked amongst other signage. I have designed these childlike sculptures to draw motorists’ attention, at a glance or via peripheral vision, to remind drivers to slow down.
Here I AM
My work as a sculptor has been based on the skills I acquired from my previous occupation as a sheet metal tradesman. I always appreciated the characteristics of metal, particularly its versatility and durability, but as an artist I am able to experiment, explore the boundaries and manipulate metal in a more creative fashion than ever before. The foundation for my art practice has also been enhanced with the completion of a Bachelor of Visual Arts and Applied Design. My practice is divided into three major areas: commissioned works, exhibitions and workshops. While I enjoy the freedom of exhibiting, it is the realm of public art that gives me the greatest satisfaction, allowing my works to be seen by a larger audience and sharing my vision with the whole community. Public pieces created within workshops reinforce this notion even further.
Hayal Incedogan is an artist and academician born in İzmir, a graduate Dokuz Eylül University Fine Arts Department specializing in painting is represented in collections worldwide including the United States, Germany, Finland, Spain, Hungary and the United Arab Emirates and has exhibited internationally as both an invited participant in projects as well as solo artist.
Exhibitions have included ‘The Last 60 Years of Contemporary Turkish Art’ in Osthaus Museum in Germany and an exhibition in Modern Hungarian Gallery in Hungary. Incedogan was cited as among the “40 remarkable artists in ‘Turkish Contemporary Art’ under the age of 40”.
As a multimedia artist developing interdisciplinary projects using painting, photography, light and sound, I utilise memory, particularly personal and social memory. Recollections and nostalgia are linked to classical and electronic music, literary texts and botany. “In the Shade of Time” kaleidoscopic photographed plant forms are presented as the continuity and infinity of nature and that sense of the infinite is heard in the repeated forms and phrases of the electronic soundtrack.
In my exhibition “Lilac Wine” I focused on the theme of love and brought together different works of art from oil paintings, photographs to neon installations and videos in a feminine sensibility, the presence of an emotional ‘climate’ change is unquestionably dominant.
The spineless cactus, named ‘Echeveria’ and a member of the ‘succulent’ family, plays the leading role in this climate as it stands out in this sudden and eerie ‘transition’ climate to which we are exposed through love. This succulent plant blossoms once a year and as it makes concessions to life and death, the pink-yellow and ingratiating flowers gain strength, nourish, cherish and bloom in the tormented semi-light and the wilful drought of love.
Completing a Bachelor of Visual Art and Design at Adelaide College of the Arts in 2017, Jemima is an emerging South Australian artist working primarily within jewellery and metal work.
Inspired by the storytelling ability of art and a profound love of the natural world, Jemima creates intricate, detail orientated pieces, which are often interspersed with aspects of traditional textile techniques in metal that allow flexibility and movement in her work.
Jemima was the recipient of Helpmann Academy’s Artist Residency at Sanskriti Kendra, New Delhi, India in 2018 and was awarded a Helpmann Academy grant in 2019.
As the wind swirled around me, I heard you whisper “its ok you are of me and I am part of you, that can never change, our connection is forever”
Reflective of the sentimental expression that is often linked to body adornment, each wearable artwork is inspired by a three year process of gathering memories through photography and the collection of natural objects or relics from the past that now can be carried with me.
Rather than reflecting on longing or grief for a lost part of the past, this introspective journey has become a celebration of appreciation, love, connection, identity, respect and gratitude for the gift of legacy in all its forms.
On completing my jewellery apprenticeship with Wendts in Adelaide I went to London to further my career. In London I worked for the contemporary jeweller Andrew Grima making one-off pieces, while studying in the evenings at the Sir John Cass School of Art. On my return to Australia I started my own practice based on my experiences overseas until being asked to head the first jewellery apprentice course in South Australia. This resulted in a 30-year career in education eventually becoming head of jewellery at the Adelaide College of the Arts. During this time my main emphasis was developing my student’s artistic development with the occasional commission mainly in institutional silverware.
On retirement my practice has broadened to encompass the tradition of silversmiths and jewellers in the creation of Objet D’Art. For this exhibition I based my pieces on my love and concern for the Australian landscape, the figurative work of the sculpture of Anthony Gormley, Alberto Giacometti and in traditional indigenous art forms especially the skeletal rock art of the Kimberly region.
Kylie Nichols is a Sculptor and Installation artist based in Adelaide, South Australia. Known for her organic forms and use of multiples, Nichols art practice explores human relationships with the natural world, often drawing parallels with everyday objects. The material process is essential to her art practice with a fascination with the dichotomy of liquid to solid states; casting and mould making are often employed.
Nichols has a Bachelor of Visual Arts and Design and was a recipient of a residency at the Pottery Workshop in Jingdezhen, China (Helpmann Academy) in 2019. Her work is held in numerous private collections.
Nostalgia / earthernware
My three works explore different aspects of how our worlds changed during this time:
‘Collective Memory’ is a term Historians refer to the way the public remembers an event or a period of time. Covid has touched as all. We are now a part of a generation that will carry a distinct identity forged by a shared experience of a profound event. The words imprinted are what got some of you through (provided during the latter half of 2019).
Peek (at someone or something)
- to be inside of something and take a look out. Our windows, or the images on our TV were our limited view of the outside world while we bunkered down in self isolation.
Nostalgia – It’s comforting to have a nostalgic feeling for the past that reminds us who we have been and who we really are.
Linda Lee is a visual artist currently working from Praxis Art Studios. She has a Bachelor degree In Secondary Art and Design Teaching and a Bachelor of Visual Arts and Design.
Depending on subject matter my work can be described as either utilizing a surreal, fantasy inspired approach or referencing a hard-edge pop style. More recently I have been manipulating original or iconic photographic imagery which leans towards more stylized imagery underpinned by strong colour theory considerations.
These artworks draw from personal links to memory, myth and evocative subjects/ objects. I use a combination of stylized elements and painting application. Shaped by my design background, they employ considerations of composition, contrast and color.
Meliesa Judge & Will Kuiper have been working together for over 25 years during which time they have established themselves amongst the foremost producers of contemporary figurative sculpture in Australia. Mary Ward, for the Loreto Schools in Australia, was Meliesa’s first nationwide commission. It took several years for the artists to bronze cast the entire edition of eight life-sized portraits at Liquid Metal Studios. Subsequent projects have honed her skills in historic interpretive portraiture.
Her most recent sculptures are Catherine MacAuley, Monte Sant Angelo College, North Sydney, 2018; Calvary Chapel artworks for the new Calvary Hospital, Adelaide, March 2020. Meliesa is a Churchill Fellow 2001.
“Attention is the rarest and purest form of generosity” Simone Weil
Nevin Guven is a Turkish artist who lives in Isparta and works as an Assistant Professor at Suleyman Demirel University for 23 years. She completed Bachelor of Painting at Dokuz Eylul University in 1987 and continued her academic studies at Anadolu University completing both Master’s Degree and Phd in 1996. She has had, and contributed to, solo and group exhibitions and symposiums in Turkey, Mexico, Japan, Poland, Macedonia, USA, France, Greece and Bulgaria.
at the age of life
In these times we live in today, every expression turns into a masquerade; therefore, by losing their credibility, the superficial perception becomes the rising values whereas it is actually “genuineness and authenticity” that humankind look for in their journey of life. The idea of a period of time in which people feel safe, fearless and joyful, is very serenely captivating and amusing. What I want is to create narrative paintings that will make unbearable aspects of life bearable and to enhance my hope by sharing and raising awareness for the conception of a pure and child hearted world.
Melbourne based artist Nurdan Aliyazicioglu has been honing her costume skills since 2011 but the passion of fabrics and clothing come from her childhood. After she graduated from a Stage Design Department of a Faculty of Arts in 2005, she worked at many costumes and set design jobs as a designer in Istanbul. In her decade-spanning practice she has begun cultivating this passion through wearable art and fabric sculpture.
Nurdan`s evolution into wearable art allows her to use her design skills for long-lived art creations for our daily lives. In that space, she does not separate the costumes from clothes nor from art.
my morning jackets
‘My Morning Jackets’ is a series of autobiographical wearable artworks. Each of the six jackets represents a particular era ruled by a specific emotion/motion, whereby they became a second skin that functioned to withstand the real-life experiences of vulnerability and introversion. Each jacket is both a trace back to its original atmosphere of feeling and the objectivity that results from travelling through distances of time.
They are made from used, upcycled and found materials.
These are the ‘everyday jackets’ we all wear, comforting blankets that reflect how we repeatedly gather, shed, create and re-create our own lives.
Olcay Ataseven completed the art education at Hacettepe University, lives in Isparta-Turkey and continues her art adventure there. On the other hand, she has been working as an academician at the Fine Arts Faculty of Suleyman Demirel University, since 2001. Currently, she prefers to embody her narrative style and concepts in visual plastic mediums such as sculpture, painting and drawing. The basic trajectory of her art is the single, plain, minimal forms that seek an answer to the mute but infinitely profound mystery of the monoliths, which carry an intertemporal message to humanity’s impasse of existence. Several of her sculptures of this mode have been installed in public places in some Turkish cities and a number of other works have been included in private collections.
My artistic practice has been gathering expressive direction in which the psychological / spiritual effects of daily life, social and environmental problems, find their counterpart in color and form. The colors and shapes in my works are a reflection of a quest that tries to break through the depressive effect of the grey and black, via the light of yellow, which is a personal representation of the violations of human values and global environmental problems.
Olivia is a jeweller and taxidermy artist.
Her pieces have been described as a ‘modern fusion of taxidermy and jewellery’. She achieves this by moulding and casting precious metals from the bones of deceased animal and birds, creatively combining these pieces with flora, pearls and gemstones. Creating a juxtaposition, forcing people to observe the fragments of death while hopefully seeing the same natural beauty that she does.
Olivia has participated in multiple group shows and her jewellery is currently stocked in 3 states.
Taxidermy has inspired her to create unique wearable art, wall pieces and beautiful sculptural items. Olivia draws inspiration from the idea that her work may appeal to people who would normally be shocked by the ideas portrayed. She finds purpose in creating lasting objects inspired by nature and remnants left behind.
A Remanent Reminder / three chandeliers
Everything in life is temporary. Just as death marks the end of an old life, the decay and decomposition that soon follows will provide material for new life.
At the start of 2020 I was ready to move to London to follow my heart and pursue a career as an artist. However, the universe had other plans. Through the pandemic I found myself, along with many others in a state of mourning and loss and with feelings of despair and no direction. As time passed, just as the death of a creature helps form new life, I began to rebuild mine. Inspiration started to flow, and my artistic practice began to flourish.
These pieces are a reflection of the beauty and new life that has grown and will to continue to develop from the perceived rotting despair of 2020.
Ozlem Yeni is an international artist who now lives and works in Adelaide. She studied painting, completing a Bachelor of Fine Arts at the University of Suleyman Demirel in Turkey. Before becoming a full-time artist, she enjoyed an 18-year academic career as a lecturer in Theatre Stage Design Department at the University of Dokuz Eylul in Turkey, where she attained a Master’s Degree and PhD. She has had a number of solo and group exhibitions in Turkey, Japan, Albania and Australia. Ozlem Yeni’s paintings and clay works can be found in private collections in many countries.
Life is short, but I am tall and all
As an artist, I was both witness and participant to the profound changes of the last couple of months. The need to express the emotional and intellectual challenges in a time of confusion went hand in hand with the need to remember what we all went through. These series express the lows and highs of the emotional rollercoaster we have all experienced during these surreal times. The figure motifs in any of my works are not characterised by any particular gender, age, religion, nationality or skin colour. They are symbols of flawed humanity and as such are the products of sensual reflection. The ground or background represents ‘life’ but time and place do not exist in my paintings even though I am conveying the personal experience of a particular moment in time which links everyone…..
Adelaide-based artist Sally Goldsmith engages with traditional jewellery making techniques to create wearable pieces and small objects. Sally, who completed a Bachelor of Visual Arts and Design at Adelaide College of the Arts in 2016, employs a playful approach to silversmithing with observation, investigation and introspection the genesis of each nuanced work.
I love to push against the inherent boundaries and challenges of working with a material that is not easily wrought. Each work is an opportunity to refine the mercurial creative process; imagining, designing, making and solidifying a personal introspection into a tangible offering of self.
It seems that 2020 has raised more questions about life than it answered… How can we best withstand social isolation? Will life ever be “normal” again? How can we make our domestic world more joyful?
This collection of whimsical sculptures entitled Re-Imagining 2020 investigates the comfort and stability that our everyday domestic objects offer us. In reflecting the need for solidity and dependability when external life takes an unanticipated turn, they consider the power of the mind to uncover diverting worlds within our world and footholds to traverse a new reality.
Through traditional jewellery-making practices I have explored the need to divert, escape, entertain, distract, daydream and internally connect with a less chaotic existence.
Simone Linder-Patton is an emerging South Australian Ceramic Artist, graduating in 2017 with an Honours Degree in Visual Arts from Flinders University and Adelaide College of the Arts. Currently based in the JamFactory studios in Seppeltsfield.
Influenced by her English heritage and the cultural landscape of Australia and China, Simone’s hand-built pieces investigate relationships between people and everyday objects.
Her current work examines the impact of world events on the human psyche.
Don’t Touch! - A Hard Pill to Swallow
Tactile interactions – the essence of human contact – has been identified as a major source of transmission of Coronavirus.
As a response, the worlds’ populations have had to fundamentally change social behaviours. Handshakes replaced by fist bumps and elbow rubbing. Reassuring hugs are now a distant memory.
Considering our daily interactions with ceramic objects and the materiality of clay in my practice has led me to question the impact of these changes on the human psyche and our future well-being.
We may survive this pandemic but at what cost?
Stella Vänskä is a contemporary jeweller and metalwork artist. She completed the Bachelor of Visual Arts and Design (Jewellery) from ACArts in 2017, and in 2019, she was awarded the Helpmann Academy artist residency at Sanskriti Kendra, New Delhi.
With a background in fashion design, Stella is inspired by patterns found in construction sites, scaffolding and power pylons to create large scale forms that fit around the body.
Stella is interested how our history, culture and surroundings can be interpreted into jewellery and sculptures. She enjoys working with sheet steel as the medium can be readily coloured and shaped into three-dimensional forms.
Computer screens, like the carved lattice-work stone screens of northern India, allow communication without physical connection. Intricately patterned jaali screens form a barrier between inner and outer worlds, allowing us to see out, without being seen. Geometric motifs encourage inner contemplation through tessellated patterns. Screens form a barrier across a portal, whether a window or the internet.
These works are based on self-reflection and connection to the sacred. They reflect on the duality of life, juxtaposing light and shadow, public and private, the seen and the unseen, self-worship versus the self-absorbed.
Introspection inspires us to contemplate and connect to the divine within.
Tom Borgas is an Adelaide-based visual artist working from a sculptural foundation across multiple platforms including gallery and project work, public sculpture, festival interventions, performance and education. Borgas’ work has been shown at galleries and venues across Australia. His practice has also been supported through organisations including the Australia Council for the Arts, Arts South Australia, NAVA, Guildhouse and The Helpmann Academy. In 2020 he was awarded the Unitcare Digital Art Award as part of SALA Festival and is a finalist in both the Waterhouse Natural History Prize and Heysen Prize for Landscape.
Developed through an oscillation between digital and analogue processes my work is an investigation of the space between image and object, virtual and physical, maker and viewer. This suite of works manifests the immaterial colours and structural motifs of computer generated forms as artefacts to be viewed IRL (in real life).
Steven Cybulka has focused his practice on large scale public artworks and site-specific interventions in gallery spaces. In 2014 the Adelaide Festival Centre commissioned Changing Spaces, and in 2015 the Adelaide City Council commissioned Transition…109, an interactive sculpture installed at the Ergo Apartments. In 2016 Steven was commissioned to create a large-scale site responsive sculpture to act as the framework for the prestigious Primavera: Young Australian Artists exhibition at the Museum of Contemporary Art, Sydney.
Cybulka has an intimate understanding of the power of the built environment and its ability to impact how we experience and respond to the world around us. Having spent a decade working in the building industry, he now employs this knowledge in the construction of sculptural works, installations and public art that explore ways in which to disrupt space, and the effects these disruptions have on our understanding of space and place.
Non Orthogonal Offcuts
Non Orthogonal Offcuts has been created using materials salvaged from the numerous building jobs I undertook during the COVID-19 pandemic. My work explores the barriers we erect in our minds, and the walls we build in the physical world, and how these structures operate to shape our lives and relationships.
Will Kuiper is best known for the sculpture of Malcolm Blight for Adelaide Oval. Will’s design captured the singular style of Malcolm’s long-kick, but also demanded a complex engineering solution as the entire sculpture is canter-levered back from the single point of contact, as the heel of the striding foot hits the ground.
Will runs a specialist bronze foundry, Liquid Metal Studios, in collaboration with Meliesa Judge. The combination of the sculptors’ modelling and design skills with mastery of the bronze casting methodology, enables a confluence between inspiration and technique. The distinctive possibilities of the process also inform and extend the sculptor’s approach.
Time Cycles - Still watch
Unless the past and the future are made part of the present by both memory and intention, there is, in human terms, no road, and nowhere to go.
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