On Developing a Visual "Voice"

Here's what we'll be tackling during my next course at the Southwest School of Art. I think the class is full (whoppee!) or nearly so. However, I think this is such an important facet of our work as artists. Discovering our own certain and individual voices as artists is what can take us past our own limited view of our work and in new and exciting directions.

Here's one of the handouts I'll be doling our during the first session -- you're welcome to try out the ideas on your own!


It seems to me that there are several parts to this process, and several important approaches to this self discovery process.

Pure Form: I believe – and my belief is supported by more than 30 years of work with children in creative learning environments – that each of us is born with an innate preference/leaning toward a particular way of perceiving and giving form that is directly connected to what I (and my colleagues in this work) call the sensory alphabet. This vocabulary of non-verbal qualities – line, color, shape, space, light, texture, movement, sound and rhythm  -- is a way of thinking about and organizing one’s individual strengths of perception and invention. Looking at one’s preferences and natural tendencies through this lens serves as both a way to self discovery and as a bridge to understand other creative work. This vocabulary is not just an artistic one – it can hold as true to creative work in business as in design, in science as in art.  (This, by the way is what our new book, THE MISSING ALPHABET is all about.)

 Think about which  of these constructs is easiest for you to notice, to manipulate, to play with –is it pattern (rhythm) or texture or color? What did you love as a young child?  Which of these elements are most important to you in your home, your environment? What artists do you resonate to? Design exercises and experiences for yourself that feed your mind’s natural interests, or find teachers that share your sensibilities (look at their work and see what they say about it) who can provide classes that feed your perceptual strengths 

An understanding of your own creative style in terms of this vocabulary can be the starting place for finding your voice – and even help you find the best and strongest medium for work.  For example, if color is my strong suite, I might take time to do dye and discharge samples, study Albers and other colorist’s work, take photos exploring color themes, investigate watercolor and glazing, look at color as understood by chemists and physicists, etc. If movement is a strong suite, I might see how to incorporate moving elements in my textile work, take up techniques that use my body in strenuous and challenging fashion, look at how movement blurs an image and how to capture that sense with dyeing or printing, I might even want to dye fabrics and construct garments for dance performances or architectural installations with moving components.

Most of us have three or four of these strong suites that interact in interesting ways and can pose intriguing puzzles for our work. Tracking down your strongest perceptual elements is usually just a matter of paying attention to preference, to what you notice in a space, to the materials that call your name. Journaling about childhood preferences and doing detective work in your closet, your home, your memory bank can help you name your sensory strengths.

 Content and themes: Another part of personal voice has to do with content and subject matter –Many artists who are just starting out jump around from one topic to another, one genre to another and this is an important part of learning. Sooner or later though the time comes to get beyond the surface of a topic or interest, whether it is rural landscapes or flowers or political activism or portraiture. Committing to solving the same problem different ways has a real benefit In the process of finding one’s voice. How do you pick?  Start with something that holds some passion for you – something with enough personal interest that you might have a chance of making it interesting to someone else.

Sometimes the content of one’s work is directly related to “formal” interests (for example, an artist interested in rhythm, might find a study of African mudcloth patterns particularly inspiring and influential, or maybe exploring the visual idea of windows would appeal to an artist who likes spatial concepts.) For others, a theme or content is something important because of experience, story and memory – journaling can help you identify these kinds of themes.

Themes and content lead one to develop personal imagery, ways of handling materials and tools, narrative content sometimes.


Materials and media – Part of one’s voice has to do with the materials and media that are central to the form. Both experimentation and fluency play a role. Experimentation means taking the time and having the will to push a media or material beyond what you have seen others do with it. Fluency means playing with possibilities and with the borders between media, combining it with other materials and using new tools with the medium. Fluency also requires “just sticking to it” long enough to get beyond the first easy idea, and this I think is the dirty little secret behind developing facility and technical skills. A lot of artists want their first of something to be fabulous, but most of us who have stuck with it long enough know that expertise does clarify the voice. Experience with the technical handling of the media, the tools, the physical material of one’s art and craft means that the message becomes clear, the hand of the artist is consciously visible rather than intrusively visible. You’ve simply got to keep at it and the “it” has to be something you like enough to carry you over the drudge, slog and boring parts.


Creative process – Finally, the entire process that you as an artist use to come up with and bring to life original work is part of your voice. No two people have identical creative processes. Some of us need lots of incubation and collection time. We want to look at other people’s work and make sketches. Other people need to amass piles of materials to dive into with no idea of the outcome; other artists are meticulous planners, with sketches and maquettes. Some need people around, music, noise and lots of feedback; other artists require long periods of solitude and silence. The more you know about and respect your own creative process, the clearer your voice will ring.

Knowing and respecting your creative process is again a matter of paying attention, of doing personal detective work through journaling, of metacognitive investigation—ie. thinking about thinking.


Subway Map Stringed Instrument

Too good not to share. Go to this link to hear the NYC subway appearing as a realtime stringed instrument --you can play along, too, by plucking the "strings." Another great fun way to play with Sensory Alphabet elements line and sound!

Imagine this as an inspiration for an art quilt or art cloth. Subways don't exist in reality in my part of the world, so they hold a certain grimy glamour for me. Ideas are everywhere. Awareness.


Sensory Alphabet Workshop in April

What is the Sensory Alphabet? And why do you wnat to know about it?

What -- see above and below for the nine elements. Why is a little trickier to answer, but for me, these 9 "viewpoints" have been the key to my creative work since I first learned my alphabet at age 12 in a children's theater program at Baylor University. They were -- and remeain -- my entry points into my own strongest kinds of imaginging. Knowing my alphabet is what helps me find my artistic and creative voice in any medium. The alphabet has served me as a writer, as a visutal artist, as a textile artist, as a designer of books, videos, and informational materials, as a journalist and as a museum designer.

Looks simple, looks artsy, but really what these ways of collecting, looking and giving form for me, and I think for others, is provide the path to find what I am best at doing, saying, making and percieving -- and that's whether I am starting a business, planting a garden, working an equation or making art. Maybe you'r e ready to dig deeper into your own strong suite, get off the "collect-another-technique" trail (as fun as that might be), and start making work that reflects your individual and unique perspective. To speak in your own voice as an artist.

Or maybe you are just ready for some play time outside your regular and expected directions, the well-trod road of expertise and self-expectations -- time to stretch into really different, though simple, materials and media.  Either way, you'll like this affordable and rejuvenating workshop I think!

The Sensory Alphabet workshop coming up in April at El Cielo is a short and intense two-days of looking at your own way of using this alphabet of perception. If you'd lilke to get started (or continue with conviction) your own path to your own best work, consider joining us at El Cielo on April 16 (optional evening potluck and sharing) 17-18. The details are in my workshop brochure (see sidebar and click on the link to download) or email me for an electronic brochure mailed to your very own computer!



El Cielo Workshops


The brochure's in the (e)mail; here's the scoop. I hope you can join me on one of these FUN adventures into your own creative process, the world of mixed media textiles and adventures in ideas (not to mention the beautiful setting here at El Cielo). Please register as soon as possible, hold your place with a $25 deposit, or pay in advance (3 weeks, please) to get a %10 discount.

Nurture your creativity as you come away from a weekend with renewed energy, new materials and techniques in surface design applicable to fiber, ceramics, jewelry, painting and mixed media work. Susie Monday leads artists’ retreats and workshops throughout the year at her studio near Pipe Creek, Texas, about an hour from downtown San Antonio. El Cielo Studio workshops are designed with the needs of the participants in mind; free time is scheduled throughout the weekend for reading, reflection and personal work in the studio. You are welcome to bring projects in process for Susie’s critique and for peer feedback in an environment of trust and respect. You’ll share meals, poetry and stories, music and advice for living an artist’s life. Enjoy the 25-mile vistas from the deck and strolls down the country roads. A spa and pool, and large screen media room are also available to participants. The fee for each workshop retreat is $165 for a 2-day event with $15 discount for early enrollment/payment. Comfortable accommodations and meals are available from $15 - $30 per workshop. Limited enrollment. Most supplies included. Call 210-643-2128 or email susiemonday@gmail.com



APRIL 16-18

(optional Fri. night potluck)

Discover your artist's path and creative strengths as you explore the Sensory Alphabet, the non-verbal vocabulary that each of us uses to take in the world around us, to play with ideas and to create form. In this workshop filled with multimedia experiments and investigations --  including drawing, sculpting, painting, moving, collage and photography -- you'll discover more about your strong suits as an artist and maker, and learn more about what cognitive scientists know about the ways our brains work and invent.


MAY 7-9

(optional Fri. night potluck) How does an art quilt idea grow from nature’s inspiration? Learn two dimensional design skills as your take some of your favorite images from nature into your own art work. Explore surface design techniques that use the power of nature (sun, water, and rust) and explore several techniques that use your nature photos on the surface of fabric. Take home a journal quilt or small wood-frame quilt ready for stitching. ($10 additional supply fee if you wish to work on a wooden frame piece.)


JUNE 4-6

(optional Fri. night potluck)

Many artists have found inspiration in prehistoric and archetypal imagery from caves, cliffs and ancient ceramics. This is the first of a series of “creative study” workshops that will illuminate how you as an artist can take inspiration from the images and imagination of the past, while transforming the images into something uniquely your own. This workshop models a time-proven creative study process (based on that developed at Learning About Learning Educational Foundation and the Paul Baker Theatre) that can be adapted to many inspirational sources. We’ll go from collection through synthesis to creating, and explore textile and mixed media techniques that relate to the aesthetic and philosophical qualities and intent of the earliest art-makers. Explore some simple natural dyes; use handmade brushes as tools, make pigmented paints with ashes, earth, rust and minerals


“A workshop at Susie’s is always money well spent. I learned techniques I have read about but never tried ... I also now feel confident that I can make art quilts!” “This workshop was a fabulous, uplifting, nurturing environment to create in. The journaling was particularly helpful, I would definitely recommend it to a friend.” “This weekend was totally awesome! I am humbled by Susie’s talents, her teaching abilities and her hospitality. I will come back as often as possible.”

Susie Monday has taught creative process and art techniques to adults and children for more than 30 years. Her art is in numerous private and public collections around the world. She will be a featured artist on QUILTING ARTS TV in the new season starting June 2010. Susie is also the co-author of NEW WORLD KIDS; The Parents’ Guide to Creative Thinking.

For a free quarterly newsletter, email susiemonday@gmail.com www.susiemonday.com 210-643-2128 3532 Timbercreek Road Pipe Creek, TX 78063 Read Susie’s blog at http://susiemonday.squarespace.com

Are you interested in a custom designed workshop at El Cielo (minimum 5 participants) or on site for your guild or other group? Many of Susie’s workshops go on the road! Please write for available dates and fees.

If you wish to download a copy of this brochure, please see the sidebar for a link for downloading.

How to make an art quilt if you're me


Start with color.


I do this a lot. Over and over. Til its right from the beginning. And yes, the studio stays a mess til this part is done.

(and a bit of a notion of an idea, theme, relation to something earlier done)

Continue with shape and composition.

Work from strong suit to strong suit.

Keep it on the table until it's together enough to put on the wall.

(Where I am now.)

Pin up and look. Keep it up. (still to come)

This pomegranate virgin is in my heart, singing of abundance, life force, generousity of spirit. I am holding her in my heart right now.

What is your process? Where is your strong suit? Do you let yourself start there or try to follow someone else's formula for success. I think your main task as an artist is to discover those gifts, honor them, and let them lead your process. Don't believe other people's formulas. Maybe you try them out to see what works and not, but in the end, just as you stitch together your cloth, you stitch together your way  of working. It will be as unique and as personal and as much a part of your "voice" as any other aspect of visual style or content.

Back in (pre) History

Pat Schulz' photo of some of her circular "prehistory" inspirations

Prehistory, petroglyphs, pottery. All these earthy inspirations did just that --took a small and dedicated group of artist investigators into the past, with a process. This past weekend was the first of what I am calling a series of Make a Study workshops, each with the focus on a different period of art history as the "content" for learning a particular process of creative investigation, ie "making a study." The process takes participants through a procedure that marries content, form and individual interests and individuality strenghts.

Here's what we did (edited from the workshop handouts). I'll probably offer this one again sometime this year, as there was a lot of interest, but the date just didn't work for some and a couple of other participants dropped out due to illness. Pat and Cindy made the weekend a treat for me, and since the group was so small, I had more time to work alongside.

Making a Study -- a creative process for artists and others

Whether one’s chosen topic or theme for a piece of work is assigned, chosen or commissioned, this process of “making a study” can yield satisfying, original and interesting work that reflects one’s personal style as an artist/creator. And the process pretty much stays the same whether the end product desired is a fiber art work, a traditional quilt, a painting, a poem, a play, a novel, perhaps even an innovative business! This set of procedures is open-ended and improvisational, but has a logical, linear set of “rules” that order the investigation/study. Each artist, sooner or later, develops her own way of making a study, and adapts these rules to her needs and desires, but the workshop this weekend will take us along one path though the study.

This workshop takes on a vast  “period” of creative endeavor -- that of humankind’s prehistoric, or pre -“civilization” expressions -- as rock paintings and carvings, “primitive”  clothing, textiles and pottery, in documentation and speculation of humans as creators in our most “native” state of culture. This is a huge area of inspiration for artists throughout the ages, and it remains a deep pool of connection to us as beings in nature, with nature and with our most simple tools and materials. It is the first of a series of workshops here at El Cielo where participants will engage their imaginations, hands and hearts with periods of art history (in this case pre-history, too).

Here's my inspiration table set up in the studio before the workshop. I like to think of the studio as a "theater for ideas," and try to design a stage set that sets the mood with all the Sensory Alphabet taken in to consideration.

NOVEMBER 6-8 (optional Friday night potluck and critique session)
Many artists have found inspiration in prehistoric and archetypal imagery from caves, cliffs and ancient ceramics. This is the first of a series of “creative study” workshops that will illuminate how you as an artist can take inspiration from the images and imagination of the past, while transforming the images into something uniquely your own. This workshop models a time-proven creative study process (based on that developed at Learning About Learning Educational Foundation and the Paul Baker Theatre)  that can be adapted to many inspirational sources. We’ll go from collection through synthesis to creating, and explore textile and mixed media techniques that relate to the aesthetic and philosophical qualities and intent of the earliest art-makers. Explore some simple natural dyes; use handmade brushes as tools, make pigmented paints with ashes, earth, rust and minerals.

9:00 - 12 noon  COLLECTING IDEAS
All of the activities for the morning are designed to take you through a variety of ways to collect ideas for later use in projects. You will collect far more ideas than you can use this weekend -- perhaps more than you can use ever! Don’t make judgements about your collections during this morning work. You will edit, refine and combine elements from your collections later. Try to keep your inner censor at bay when drawing, moving, thinking, writing, collaging. This is process, not product.
My collection wall of spiral ideas and images.
9- 10 Collecting from books, magazines and photos.
Go though any books, photos, magazines, etc that you see in the room, that you brought, even on the computer, if you want to google! Make copies on the copier of photos or illustrations that you find interesting or surprising or otherwise engaging that relate to our theme of prehistoric symbols, art, culture or creations. You can also make sketches of elements that you find and like  in the photos or books.Trust your instincts. Don’t try to make sense or order from what you are collecting. However, you are welcome to narrow your focus if that makes you more comfortable with the scope of our work. For example, you may just want to work with rock art images and symbols,  or totems and animal images, or you may want to focus on Meso-America or Native American images and culture, rather than the whole world of prehistory. If there is a particular aspect of this big topic that is particularly interesting to you, go with it -- but

10-10:15 Collecting with words
Spread out your collection of images. Write lists of words and phrases that come to you as you look at them. Think Sensory Alphabet; LINE, SHAPE, COLOR, TEXTURE, LIGHT, SPACE, RHYTHM, SOUND, COLOR. Be as specific and descriptive as you can. Again, don’t worry about making connections or making sense, go with the flow. Work quickly, easily.

10:15 to 11 Collecting objects and sketching
Look at the manmade and natural objects in the room. Thinking about the words you wrote, and the pictures you collect, select 10 or so objects that seem to have some kind of relationship to the other things you have collected (It doesn’t have to be a linear, logical connection!) SKETCH those objects. You do not have to make the sketches “realistic”, just capture the important lines, shapes, textures, rhythms, etc! Keep the 5 objects you find most interesting after doing the sketches. You may also want to take photos of these objects.

11 -- 11:30 Collecting outdoors
Take a walk around the property (watch for loose rocks, snakes, etc!) and take photos or make sketches of details, scenes, shapes, shadows, textures, colors, etc (the whole Sensory Alphabet again) that you think have a relationship to the theme we are exploring. Collect physical items that you might want to use. (Lots of bags and boxes are available). Take time to just sit in nature and imagine what it would have been like here as a human with out all our creature comforts and material goods.  Write words and phrases that come to you. Be attentive.

11:30 -- 12:00 (more-or-less) Arrange your collection in the studio, garage, porch or outdoors in a place that pleases you. There are lots of card tables in the garage to use if you wish. Make this like a mini-museum of your collection to share with the others. As you arrange things, you may see relationships. patterns, similarities or distinctions that are interesting. You can highlight these in your arrangements.

1:00 -- 4:00 PLAYING with IDEAS
The next stage of this process of making a study is to play with some/all of the ideas that you have collected. You can use everything or just a few narrowed down selections, but again, the idea is to approach your work with fun, ease and fluency, not judgement, perfectionism or a “race to the finish” mentality. You may go down a lot of “dead ends,” but something may come of one of these paths later in your creative work. The idea of this stage is to take one or more of the inklings into different media, materials, genres, and to look at how one or more of these ideas morph, combine, connect, etc. (PS this is where we sneaked in the rusting fabric, tinting with natural materials, experimenting with some different tools, etc).

1:00 - 1:30 Asking Questions
Choose  a few items, photos, sketches, phrases etc from your collection that are interesting to you. Make a list of as many questions as you possibly can think of in the time alloted about those items. (for example: Who made this design first? What was this early artist imaging when she/he drew this? What tools were used for this?...etc.)Just keep writing until time is called. Make up silly questions if that is all you can think of! You dont have to know th eanswers or even expect to find out the answers. The process of open-ended questioning can inspire amazing directions for creative work.

1:30 -- 2:30 Simplifying, Multiplying, Playing with Scale
Take as many images as you wish through these processes: (Susie will demo all first)
Cut black paper shapes inspired by the idea you collected. Paste it on white paper, Try the opposite -- white on black. Simplify with cutting  paper, and then try simplifying with a sketch or drawing. Which works best for you? Try using tracing paper to trace an image and simplify it. You can also use the computer if time allows, using photoshop and “stamp” filter.
 Reduce and/or enlarge a visual idea, symbol or sketch (you might need to simplify it first). How does the idea change? Use the copy machines or do so manually.
Collage multiples of an idea image. Use the copy machine, make a simple rubber stamp, eraser stamp or or foamy stamp. Use paper or fabric for your stamping multiples.
Cindy's dancing girl petroglyph stamp.

Pat's "modern petroglyphs" inspired by some of her image experiments.

2:30 - 4:00 Explore New Media: Photo Transfers with Polyester Plastic sheets and Polymer Medium.
Options: you can use a photo you took (or take now), a picture from a book or magazine, a sketch, a collage you make from multiple images that you have collected, A tracing of an illustration, etc. This can be a color or black and white or sepia image.

The Basics. 
You need polyester transparency sheets, available from art stores or online. These are designed for wet media and to be non-beading. Use a strip of painters or masking tape on the leading edge.
Experiment with different printer settings -- each gives different results.
Run the polyester sheet through the printer with your image or a computer sourced image. The image will be wet when it comes out of the machine
Turn the image face down on your fabric. (For permanence, fabric will need to be treated with bubble jet set or you will need to use the polymer medium with the image. Use your hand or a brayer to transfer the image to the cloth.
OPTIONS; Dampen the fabric first, with  foam brush or with a sprayer
Brush with polymer medium -- thick or thin -- first (this will need to be washed off the transparency sheet quickly) or after the image is transfered.
Brush with water to melt the image. Spray with water, mist or sprinkle
Overprint with screened image or stamps.

A polyester film transfer of some of my spiral image playtime.


9:00 -- 10:30 MORE Explore New Media: Screen printing with charcoal, spice powders, dyes watersoluble media. (We didn't get to all of this, just used charcoal and water soluble crayons) Demo by Susie, then work time with whichever media and images you wish to work with. Details about this process are in a previous post and will also appear in this next month's Quilting Arts magazine.

10:30 -- 4
Now’s the time to take all/some/a few/even just one of the ideas that you collected and played with and take it to a form. Since we’ve started with prehistory, I suggest that you work in a form that has some relationship to the period: doll, totem, petroglyph imagery, a cave wall in fabric, costume or mask.

Obviously, this post is overkill with the detail, but I confess to having a lot in my sights today -- I am both trying for some R&R from the weekend (though I admit it was so much fun I don't really need down time!), and trying to think a bit about the end of year, and next year's goals. The holiday season gets so busy, I have a hard time getting in enough reflection time in December. I also seem to be somewhat in a tiny lull after so much work getting it together (and apart) from the quilt festival.

One of the shortcomings I see in my process of work is a certain lack of  "sticktoitiveness." So I am setting some things in motion that will give me some repeatable touchstones for work -- a quilt challenge with 12 others that lasts two years (good grief). And if I'm not too late to join up, setting one major annual goal for Oct - Oct 2010 (ok starting a month late) with the SAQA Visioning process. I hope to hear if I'm in on that one by the end of the day. If I don't get into the formal process, I will try to do it on my own.

And, along with those, getting myself back to the blog on a really regular basis. Yes, you have heard this before from me (and how many countless others whose blogs sit withering on the vine), but this time I MEAN IT.  And those two other commitments will I hope keep me honest and give me a lot of new ideas and processes, successes and challenges to include on these virtual pages.

P.S. The next process oriented workshop is the first weekend of December. Here are the details!

DEC. 4-6
(optional Friday night potluck and critique session) Continue the season of Dias de los Muertos by creating a memorial altar to a person, to a personally potent memory (or past life of your own), even to a summer vacation! Learn to transfer photos onto a number of interesting surfaces including plastic, metal and fiber; add words, names and text with resist crayons; microwave dye custom fabrics, and embellish your textile and mixed media altar with all manner of beads, trinkets and meaning-full treasures. $150, (Additional $10 fee for wooden altar frame.)

Email me directly or through the form on the sidebar if you are interested. I'll send details about the rooms still available (free to $30) and other details.

Space in Spaces - photos from summer travels

Bus and street reflections, St. Petersburg

SPACE is one of big time favorites.  I work from and within spaces whether I am working on an art quilt, art cloth or, wearing one of my other hats, as a museum and exhibit designer.  As a textile artist, I like working with unusual spaces, and often my work is shaped or irregular, simply because that seems much more interesting to me than a rectangle or square. It may be one of the reasons I like textile arts in general -- the spacial use and ideas are much more diverse than that of the space of a painting -- which is all created by illusion of depth of field -- the one kind of space I'm NOT that interested in.

Here are a few of the photos from this summer's Scandinavian travels that have particularly strong use of SPACE. (This is part of a series of nine photo collections that record different aspects of the Sensory Alphabet -- a tool I use for organizing images, working creatively and collecting input and organizing new ideas.

The British Museum with Kings Crossing in the background

Arcade, St. Petersburg

Berlin, Memorial to the Murdered Jews of Europe



Church on Spilled Blood, St. Petersburg

Light, illuminating new ideas

Sometime around midnight, somewhere in the Baltic SeaPerhaps the most stunning and interesting photographs from my recent travels in Scandinavia were those with strong LIGHT content -- not only because photography is all about light, but because the quality of those 20 plus hour days of daylight were so potently active as to our psychic relationship to the space and time. Daytime has a much more expansive meaning when the sun "goes down" at about 11:30 pm and rises at 3 am, and truely, it never is really dark. The white nights of Russia, Finland, Sweden certainly color the activity and spirit of the places. Even though we were ship-bound in the evenings and nights due to our sailing schedule, it was easy to see that the lives of all the ports went on way into the wee hours. There were truely more hours in the day to do things and in general, people seemed intent upon enjoyment of all the pleasures of daylight. Guess it shapes your summer when you know 18 hours plus of dark is coming all too soon!

Linda in a Light exhbit at the Design Museum in CopenhagenConservatory at the Sculpture Museum, Glyptotek, in Copenhagen. Along the River Neva, St. Petersburg White Nights

More from the ship


Back on Travel: Line Photos

Carved type from the V&A, London

Now that business is posted (if you missed the latest on the workshop front, either download or go back a day for details) I want to continue my posts of photos from the summer's wonderful journey through Scandinavia. I'm posting these by Sensory Alphabet category --just for fun, and because this blog serves me as a kind of collection jar for memorie, studio actions, future ideas and playdates with ideas.

So today's idea is LINE. Here are some of the photos I took that jumped out of iphoto:

Potsdamplatz, Berlin

Stockholm horizonVasa rigging, StockholmRepainting the line

Bridge between Sweden and Denmark

Tallinn street scene

The line the wall made, Berlin