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SouthBay1 5 years ago. DiicKK 5 years ago. Thabread 5 years ago. DamianWX 5 years ago. Recognize a pornstar in this video? Rhyse Richards 6 videos Yes No. Keep me logged in Login. Open Gallery is showing work by Memphis artist Noah Miller, whose art is a self-analysis of the space and time we occupy.

David Lusk Gallery is exhibiting Outsider Artists: For more information, visit www. Gallery is featuring painter Melvin Toledo, whose work continues to focus on still life but has broadened to include figurative work in which he acknowledges the people and culture of his home country of Nicaragua.

Finnleys is hosting Sheila Ann Smith, who specializes in acrylic paintings of pets, people, and homes. Imaginebox Emporium is featuring the original illustrations created by Cory Basil for his young reader novel The Perils. Christopher Green is displaying his colorful encaustic paintings at Williamson County Visitor Center. Williamson County Archives is showcasing watercolors, drawings, and oil paintings by Barbara Blanks Bullard.

Saturday, July 8, from 6 until 10 p. In this series of new work, Sher mines the border between indoor and outdoor space with many of the drawings having a window-like presence, in the form of a square or rectangle, inserted in the picture. Southern Grist Brewery is displaying mixed-media paintings by Andrew. For updates, visit www. Saturday, July 15, from 6 until 9 p. Tour the non-traditional art spaces of Germantown to see an array of artworks by a variety of artists.

As you make your way through the neighborhood, stop at these key arts spots: Stay posted on event details at Facebook. Nashville is a great place and from what I gather has some powerful momentum in the arts and culture. My first piece was on the train tracks in Melbourne, Australia, which me and a couple of friends did in broad daylight with bucket paint and cheap spray cans from the two-dollar shop. Since then it has been a progression of different styles that has brought me to this point in my career.

Seen any cool art while here? I have seen some great mural works downtown also facilitated by Nashville Walls Project but mostly have just been working and focused on my task at hand.

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Can you tell me about Mr. Estes, the gentleman you painted on the silo? Estes has been part of this group for many years. To me he stands symbolic against the inevitable tide of gentrification. This is an issue that in some cases has left the underprivileged in worse positions, as developers and real estate agents move to capitalize on the Nashville housing boom.

I find the relationship between murals and gentrification conflicting, and in this work there is this conflicting yet harmonious composite of the two sides of social change. There is juxtaposition between a mural that discusses and commemorates the blue-collar demographic while at the same time being a powerful part of the change in the area.

This is a dialogue and talking point that I hope this mural can create. The composition of Mr. Estes and the children is intended to push the idea that this mural stands not for a single individual but the community as a whole. I will be working on a few projects around internationally and hopefully more in the USA in the future. Over the next few months I plan to work in Finland, Europe, and India before returning to Australia later this year.

When did you start painting graffiti? How long have you been painting murals? Often growing to a height over feet, the Ceiba pronounced SAYba can have buttress roots taller than a man, and the massive umbrella shape of its canopy is home to diverse species of birds, insects, and animals, while its base pools shelter tadpoles and other creatures—a reminder of the connectedness of all creation. It starts with Latin artists, but we want to expand to include artists from a diversity of cultures and age groups.

Through it all, Yances is taking the traditional art gallery concept and, like the great Ceiba tree, allowing it to expand, house, and connect a diversity of cultures and artistic voices. Adjacent to the fine art gallery is an Artisan Studio focusing on education, crafts, and emerging artists. This space currently features complex works of art by Piedad Camacho Ayala using figue rope and other natural fibers, as well as the artistic construction of guitars by Ricardo Sanchez Ricardo S.

The educational component of the gallery within this space offers kids an opportunity to explore the history of fiber, decorate ceramic vases with Aztec designs, or create mini guitars or their own fiber art. On Saturdays and Sundays 2 to 4 p. Ceiba Kids programs based on current exhibitions tumble into a large adjacent hallway, with educational activities led by Monica Reyna and Diane Janbakhsh who, with her husband, Mark, conceptualized and parented the exciting Plaza Mariachi complex on Nolensville Pike.

Upcoming exhibitions bring a diversity of cultural and artistic traditions beginning with Mexico. Lowly and commonplace, this five-and-dime-store writing instrument has long been the tool of choice for doodling daydreamers and pedestrian sketch artists.

Not surprisingly, many critics have rejected this pen as being unworthy as a painterly medium. His numerous ink-on-paper drawings have transcended the static linearity of the ballpoint pen, creating works that are remarkable for their shading, nuance, and expression. His likenesses of Hollywood icons are especially appealing, since they readily call to mind familiar vintage black-andwhite publicity photos. Audrey Hepburn looks at the viewer with mouth wide open, as if a fan has unexpectedly entered her dressing room. Humphrey Bogart, pistol in hand, is partially framed by his own inky silhouette.

Yet it would be a mistake to dismiss these works as mere architectural sketches. In a interview with the online journal The Ballpointer, Poletaev noted that cities have their own history and rhythm of life. Other Paris drawings show cyclists and pedestrians seemingly on their way to work or the store. Poletaev reminds us of the pleasant routines of life that are too often taken for granted. Much the same way a great musical work balances sounds with silence, Poletaev uses the white of his paper to highlight images and create nuance.

His depiction of a New York City street in winter uses the whiteness of his paper to create the illusion of snow. The drill bit pokes into the wood swiftly, like a chicken pecking the earth in a quest for bugs. The process begins with a hefty stack of Spiegel and Montgomery Ward catalogs from the early half of the last century.

Bibb then points to another page torn from another publication. The saturated colors and composition are high in quality; it belies belief to think they simply form an ad and not a photograph hanging on some museum wall. And with the older stuff, you get the nicer paper. The backdrop might be an abstraction created with acrylic paint, drips sometimes oozing downward. The figures—nattily dressed men and women from the s, birds, antique cars—are affixed at staggered levels, giving the sense of a realm created in various planes. Bibb began his studies at Auburn University in industrial design, then switched to the art department, where he worked on his BFA in graphic design.

He graduated in and spent most of his career working in graphic design and on museum installations. His recent family tree also includes figures of law and order: His father was a judge, as were his grandfather and great-grandfather. Indeed, one could see that this particular Bibb would not be content buried in legal briefs. But he is perfectly content among the shelves filled with boxes, the contents of each one labeled with a variety of items meant for his art: The list goes on and on. The sight reminds one of another collage artist, Joseph Cornell, an American pioneer of assemblage art.

In his Queens, New York, home Cornell housed stacks of shoeboxes, each filled with categories of items that might find their way into one of his famous shadowboxes. As did the innovative artist from Queens, Bibb includes. Bibb is a natural heir of Cornell, who, despite exhibiting with the Surrealists, could not be easily categorized. As did Cornell, Bibb exhibits a fascination with birds, such as the swallows and quails he includes in some works. In one piece, Bibb created a bird from a side fin from a Cadillac, piano keys, and pieces of metal. The surface of the work reveals the back walls of the store, which appear to be wallpapered in an abstract print.

In the next plane float seed packets from Wayside flower catalogs from the s, 40s, and 50s. In one area, a chicken snipped from an old Spiegel catalog stands slightly taller than a young boy. Bibb plays with perspective and proportion in many of his works. At a certain point in the examination of an artwork so multilayered and complex, a viewer might think, What rabbit hole did this guy fall into?

Clearly, he fell down the right one. And when he came out, he brought with him the contents of a vast imagination. Each mural takes up a 4-foot by 8-foot blocked-in window on the building. HGN selected the five participating artists from a batch of applicants, with the goal of featuring a range of experience, unique points of view, and varying styles. By bringing various styles together, we were able to serve up a little something for everyone in the neighborhood. By celebrating the history that shaped Germantown, the project may be able to rekindle some of the spirit that helped form it.

Moore visited the school to talk about the importance of art and lead a drawing session. Credit cards also accepted. Delivery to Nashville available. The concept centered on breaking boundaries between art and guests, diners, and gallery visitors who pass freely through the hotel.

Artworks are not there to fall away as a design element; rather they command the hotel experience. Committed to connecting with the Nashville community, 21c hosts public talks and dedicated exhibition space for local artists. Downey heads the Elevate program in Nashville, which promotes significant art being made in Nashville. I thought this was a good presentation for the Nashville spaces. At any given time, Stites is working on twenty different shows around all of the seven 21c locations and is constantly looking for ways to strike curiosity with art and ideas.

Explaining her process, the curator says she begins by brainstorming how the works in the collection can combine to make a compelling. Stites particularly appreciates that the work the museum acquires provides cross-cultural exposure. That is the world that we live in. What is a current theme or idea that people would enjoy thinking about, learning about, talking about, arguing about. The expansive exhibition, featuring over works, unfolds with the very spirit of relevance, diversity, and globalism Stites seeks in her curatorial practice.

Focusing on the fluidity of information over time, the uncertainty that comes with technological advances, the effects of environmental degradation, the subjectivity of boundaries, and the unconstrained nature of imagination, she provides a range of exemplary artworks to consider. She promotes examination of human constructions, positing that the way we interpret our cultural expectations, personal identity, geography, and sources of truth may have a limited connection to. Including recurring references to common items such as books, maps, games, and videos, Stites captivates viewers immediately, and in doing so mediates hesitations to exploring the complex philosophical queries she inspires.

The exhibition also includes confounding works that require time and creativity on the part of the visitor to resolve. Video cameras record the action that occurs in the spaces physically blocked from view by the lobby walls, and projectors display that footage real-time onto the lobby walls. The voyeuristic aspect of the experience is enticing as one can imagine the dramatic changes the electronic eye captures as bustling business workers that populate the area during the day subside to the entertainment seekers who come out at night.

Miss the museum label and you may walk away unaware that what you thought was mundane was not. The submerged fruit forms a random arrangement as some float up to be stopped by a sheet of glass, and others are weighted down onto that same sheet of glass. The effect is offsetting and humorous. What am I looking at? Is it a mirror reflection? It was a way of visually enshrining someone as a wealthy person to now it being something we trust far less. In Funk and Wag he forms a sculptural assemblage with series of encyclopedias. Using a subtractive process, he carves out selections from.

Another classic subject, the portrait, is presented through a quizzical lens in the exhibition.

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The unexpected juxtapositions he creates relay new stories with new meanings unrelated to the intention of the original text. Paper maps are becoming artifacts now. Stites explains that the prominently placed circles in the composition present protest slogans that were used in Egypt at the beginning of the Arab Spring. Interactive artworks in this show encourage people to entangle themselves with the fluidity of reality. For example, Rafael Lozano-Hemmer has six cameras that scan constantly. The richness and variety of international artworks on exhibit and in the collection are promising signs that this new arts space will provide continued access to new compelling art in Nashville.

Once found, the computer begins combining the features of people standing before it. The mirrored backboard that gives the sense of playing against a real opponent becomes a humorous struggle of strategizing how to beat yourself. The restaurants in all of the 21cs contain curated rotating galleries. While some may find these a bizarre choice for a dining area, their. What is to come at 21c? The most important thing is to think about the art itself and how can we present art in a way that creates a compelling, articulate story that raises questions.

A Reality Show and Menagerie are on exhibit now at 21c. For more information, please visit www. Roxane Gay If you love sitting down to start a book and not lifting your head until you turn the last page, this is the novel for you— an addictive and utterly brilliant book about race, safety, and a vacation gone terribly wrong. We crown Do Not Become Alarmed the adrenalinepumping novel of the summer. In striking prose, Roxane Gay offers us a personal look into a crisis of her own childhood with searing honesty. Ultimately she teaches us how to treat ourselves and others with compassion. Anyone with a body should read this beautiful, heart-wrenching book.

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The first room of the gallery is named for the Wild Woman. Turner creates these with recycled materials like ribbon, quilts, yarn, and balled-up fabric that she dyes and paints. She scrunches, loops, and drapes these materials, transitioning them to brush strokes that lead the eye as if by a wild wind.

There is something dark and dangerous about these paintings, like they are just barely containing gusts of energy that twist and whirl within. The second room is devoted to The Mother, and the materials change. Turner uses charred branches, ashes, and resin to consider the rite of motherhood through metaphor.

In several wall pieces, she has suspended ribbon in resin to show the swelling potential of the womb, its arc of triumph, and the emptiness that follows. It holds the charred remains of sticks, set in pairs, like an offering. The third room is for The Elder, and though it seems the most organic evolution of the exhibition, it still surprises. Turner interviewed senior-aged women, asking what they learned from their mothers and their grandmothers. Another at years old is in five book clubs this year.

She spoke to a woman who escaped the Holocaust via Shanghai. Turner curated these stories into her work, creating sculptural and wall pieces that show her at the height of her powers. The Heirlooms are disarming, intimate, and strange, but the strength of their composition carries the weight like magic. I had to figure out how to visually talk about my own fertility, all the while thinking, Is it enough to make work about motherhood? How do I want to present it? Turner spoke to Nashville Arts Magazine about Tempest. I feel such a strong sense of sisterhood when I experience your work.

Tell me what inspired each series. My relationships with women have leapt off from making this work.


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In the Wild Woman series, the subject matter came from me riffing off famous literary heroines, creating new lives for them and looking at their impact on their own environment. The Mother series was the first time I made myself the subject of the work. But as an artist, you want everything to be hard.


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You want to get your ass kicked a little bit each time and be uncomfortable. Before making the work for The Elder, I interviewed women whom I did not know to collect wisdoms. I would say that in the majority of conversations, somebody was crying in the first couple of minutes.

You could sit down with a stranger and turn on a recording device and get to what matters. I love how you took on that challenge. What have you learned in this process? Your work needs to matter. My mom tends to the trees and gathers limbs that fall after a storm and wash up from the lake. She creates these massive hive-like, womb-like mounds of collected sticks.

They become charred nuggets. I wanted to consider fire less as a destructive force and more as a regenerative force. The bell and the burn pile need each other.

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After the birth or the fire happens, the bell is empty and the womb becomes this ghost. Life is out of it. The Mother series acts as a palette cleanser between these two visually dense series. Can you talk more about this work and how it came to be? The body of work is called Bells and Burn Piles.

Bell is a word that I use interchangeably for a vessel, a head, my sons, and a womb. A bell has the potential to make sound even in silence. If you think about system as heirloom, this was it for me. I partnered that moment, that rite of passage, with. What interests me is not the notion of death or destruction but of new beginnings.

In this show, they partner together and start to create relationships. Learn more at www. Come to the Frist to see amazing contemporary art now on display. Admission to all exhibits included in the Frist Summer Pass. From State of the Art: High-definition computer-animated video, 8 minutes, 46 seconds. As an educational travel tour of Europe, undertaken by young nobles often accompanied by an artist, the Grand Tour served to develop tastes and refine young minds through the temper of history. American Artists and the Legacy of the Grand Tour, — pays respect to these traditions, following the footsteps of American artists as they pursued the precedents of artists past, creating bodies of work that praised this legacy.

He believed that gothic architecture conveyed moral rectitude, and the vast cathedrals—built by generations over hundreds of years— stood as monuments to the vision of working together for something greater than oneself. Beside the sweeping buttresses are the notations of billboards, storefronts, and advertising signs. For a country poised on the rise of Dada, his carefully wrought stones and towers are his last bastions of true beauty, forming a dialogue with the past pitted against the relentless march of the present.

The struggle between past and present, ideal and real echoes in the luscious works of A. Webb renders the weight of the crowd and foliage in thick and dark lines. Light pours across the lines of balconies and buttresses, lifting them towards the viewer even as their occupants pin them down.

This attention to the past forms the basis of social commentary pulling through the exhibition. Estates in Nashville were decorated in prints done in such styles. For more information and summer visiting hours, view www. This rich heritage remains in the pottery-making centers of Atzompa, Oaxaca, and Metepec, as well as in the hands of Mexican artist Guadalupe Lanning Robinson, for whom stoneware pottery is a longtime love. Robinson, who was born in Mexico City, creates pottery adorned with hand-tooled designs made in geometric and organic patterns. The aesthetic seems familiar, as though it were inspired by the ancients.

While she works, two chatty cockatiels flit around in circles above a riot of unfinished clay pots waiting to be fired. It is one of many workspaces at Lowe Mill, a renovated textile mill where artists and other creative types do their thing. Cheery and easygoing, Robinson works in a flouncy, floral skirt that she made. As she puts it, everyone in Mexico sews. So she creates her skirts, as well as elaborate, colorful quilts that occupy a corner room in her studio. She often darts into this quilting room when she finds herself artistically stymied by a piece of pottery.

But Robinson is talented, immensely so, and for. That has a negative connotation. But it does take a lot of time. This motif was inspired by the emerging intensity of her daughter at the age of nine. Thoughts of Mexico are never far from her work. Such events comprise her sole distribution channel. Robinson landed in Huntsville in with her husband, an Alabama native she met in Mexico City. Then she divulges her motive for making such exquisite, time-consuming art. There are a lot of bad pots out there.

I want to produce something that is lasting. And that is a challenge. Now, after more than thirty years, Robinson has continuously produced her distinctive pottery that is mostly wheel-thrown and crafted impeccably. Her multi-layered process begins with various colors of clay that she mixes herself and then alters.

Robinson also creates her own glazes, which she applies after an initial bisque firing to the interiors and exteriors of small pieces, such as mugs and salt cellars, but only to the interiors of her larger art pieces. The final step is firing each piece a second time at 2, degrees Fahrenheit. Robinson often builds up texture by adding layers of clay to surface areas. And she covers her works with incised designs that she creates with needles of various sizes.

Her plan was to open a massage center in East Nashville. Liv Body Bar on Main Street. She spends her days now at home in East Nashville, in a somewhat cramped studio, working on projects that synthesize different new media, most recently through her work as artist-in-residence at an unlikely learning center: One recent sunny morning, on the patio at Barista Parlor, she revealed the results of her explorations. Ciuffo seems to be in a state of perpetual enthusiasm.

That, however, is understandable. I started experimenting and seeing all the fantastic things I could do to create my own world. These led her to connect with Kit Parker, professor of bioengineering and applied physics at Harvard and a friend of Nashville gallery owner Susan Tinney. Veils can be symbols of oppression or they can be sensual. But the slide projector died, so I had to digitally scan those slides to get the imagery you see now.

Groups of 10 or more call State of the Art: Discovering American Art Now, an ambitiously comprehensive sampling of contemporary art from across the United States. This seemingly small insight from Scala, aside from liberating the visitor to wander at her own pace, is arguably one of the most important clues to understanding the layered effect of State of the Art.

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Originally co-curated in by Don Bacigalupi and Chad Alligood for the Crystal Bridges Museum of American Art in Bentonville, Arkansas, State of the Art is the final product of hours upon hours of travel and research and approximately one thousand artist visits coast to coast. The novelty of medium contrasted with the familiarity of subject matter for many pieces vastly occupies the mind, conveying a fullness of space and experience.

Selections from Joel S. It would be a peaceful vision of reeds. Perhaps more than anything in State of the Art, what hits home for me are works that address issues of poverty, immigration, and race. Artists addressing these issues do not happen to be from Nashville, yet these are front of mind for many Americans, here as elsewhere. Kim Cadmus Owens, Smoke and Mirrors: Foreclosure, USA series California, , comprising four photographs that document abandoned office interiors in the wake of the housing crisis of In the section Self, Family, and Community, we are grounded by the deeper, more intimate connections of childhood, heritage, and spirituality.

The cultural diversity of the American people-scape. The missed opportunity represented by thousands of losing lottery tickets is redeemed through the beautiful geometric pattern they create, reminiscent of an Islamic prayer rug invoking self-reflection and contemplation. The exhibition was intended to convey the breadth, quality, and generous spirit of much of the art being made across the country in recent years.

Owens transports us from physical to virtual reality by incorporating the appearance of digital glitches in her cityscape painting, much like when a computer or phone screen freezes, calling into question the reliability of technology. With their decorative floral elements invasively removed, three teacups are devoid of their original utilitarian purpose and therefore useless. There is news of terrorist attacks in London, investigations in the White House, and the U.

The Predators won last night and tied up the series against the Penguins. I find those questions hard to answer. I have to search for the right answer. On the surface, my work is sweet, playful, and whimsical. My end goal is to create a world the child has constructed through limitless imagination, where the conclusions they draw and decisions they make are entirely their own. A toy ship lost at sea must be the result of a giant sea creature lurking in the depths below. The best way to light up the night is by gathering fireflies to guide your way home. Lions should be set free.

It occurs to me that these are exactly the things that are influencing and inspiring my work. As I worry about the state of our country, our environment, and humanity, it is heartening to look at children, my child, as our future. Their fearlessness, innocence, and imagination are inspiring. They have the power to care for our environment, love without bias, and make decisions for themselves.

It is this pureness in the face of adversity that I try and convey in my images. I want an emotional reaction to my work, whether it makes you happy for the courage of youth or sad and sentimental for the innocence and memory that still live in you as the viewer. Their minds and their future are wide open, and that is a wonderful thing. In , she had little choice but to join a sister here who had come as a refugee. An actor by training, she would never have been allowed to explore visual art in her home country, where vocation is strictly regimented based on formal degrees.

As she became rooted in the American South and established financially, she developed an artistic yearning that drew her toward painting. But starting relatively late in life and without institutional backing, she found it difficult to find a home for her work. But I continued doing it because I love it. I took a leap of faith and opened my gallery.

Her work deviates from abstract to impressionistic to surreal. I am united by an underlying idea rather than a subject or style. I use different methods to bring the ideas about emotions. But at least I tried. My curiosity is my leading quality. Olga Alexeeva, artist and owner, is available for commissioned works for home and business Art classes by Olga are conducted weekly.

In a weekend trip you can take in a lot.

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Wing in picturesque Eden Park. American museum premiere at the Cincinnati Art Museum through November 5. Painter Frank Duveneck — trained there, then became an influential teacher and ultimately its president. Their works and others are on display at Cincinnati Art Galleries, E. Sixth Street, through June The Art Academy, offering six B. The heart of Over-the-Rhine is Washington Park, dating from , today featuring verdant vistas, fountains, a public green, a playground, and a dog park. It has its own underground garage.

Its next-door neighbor is the Contemporary Arts Center 44 E. Sixth Street , a startlingly contemporary building designed by the late Zaha Hadid, a Pritzker Prize winner and the first woman to design a major art museum in the United States. To travel to numerous art attractions, step onto the newly launched streetcar the Cincinnati Bell Connector with several stops on Walnut Street along its 3.

The continued on page It subsequently was home to the legendary political family that included a president, a Supreme Court justice, and a U. Art collectors Charles and Anna Taft furnished it with paintings, ceramics, and art from around the world. It features powerful historic displays as well as art focused on broader issues of freedom and justice. The Journey to Ubuntu, an exhibit commemorating the life and legacy of former South African President Nelson Mandela through photography by Matthew Willman is currently on view.

All along the streetcar route, keep an eye out for murals adorning downtown walls. Talented young artists work under the auspices of ArtWorks, a nonprofit offering teens summer employment while beautifying the city. More than murals can be found on walls across Greater Cincinnati, including nearly twenty in the downtown area. Walking tours are available. Cincinnati Opera, and Cincinnati Ballet. The streetcar strikes north for a few more blocks to loop around historic Findlay Market, dating from , the oldest continuously operating public market in Ohio.

A unique stop for art lovers is the new home of Rookwood Pottery, with roots in the 19th century when Maria Longworth launched a studio in that made award-winning art pottery and ceramic tiles that still grace many a Cincinnati fireplace. Also worth a visit: The piece, completed last year using a millimeter Bolex camera, is a woozy compilation of the street lights and neon signs, offering a sensational, overwhelming, and sometimes tense take on a night spent exploring the strip.

It will premiere at the Nashville Film Festival this month. All of my projects are concerned with a spirit of inquiry into the deep nature of film, of substance, of luminosity, and shadow. He moved back in and started teaching film classes at Vanderbilt University. He is also working on several other projects that confront Nashville as a character, including a film installation, Future Tense, that focuses on the plethora of construction cranes downtown. During Frist First Friday on July 28, Warren will screen some of his 16 mm films and answer questions.

StarShield lives in Murfreesboro where she tutors, teaches English, and writes and performs her poetry at the occasional open mic night.

Service With a Smile (Bill & Andrea Bondage Adventures) Service With a Smile (Bill & Andrea Bondage Adventures)
Service With a Smile (Bill & Andrea Bondage Adventures) Service With a Smile (Bill & Andrea Bondage Adventures)
Service With a Smile (Bill & Andrea Bondage Adventures) Service With a Smile (Bill & Andrea Bondage Adventures)
Service With a Smile (Bill & Andrea Bondage Adventures) Service With a Smile (Bill & Andrea Bondage Adventures)
Service With a Smile (Bill & Andrea Bondage Adventures) Service With a Smile (Bill & Andrea Bondage Adventures)
Service With a Smile (Bill & Andrea Bondage Adventures) Service With a Smile (Bill & Andrea Bondage Adventures)

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