Shinro Ohtake, ‘Scrapbook #66’, 2010-2012. Mixed media artist book, 72 x 96 x 129 cm, 27.2 kg, 830 pages. Courtesy of the artist and Take Ninagawa, Tokyo
Retina (New Tong of Tangier I), 1992-93. Fly, plastic fly, oil, oil varnish, oil stick, wood glue, persimmon tannin, plastic resin, felt-tip pen, spray paint, putty, photograph, printed matter, cardboard, thin paper, paper, plastic sheet, cotton cloth, cotton thread, hemp cloth, wire, iron, plastic pipe, brass rivet, brass grommet, Japanese paper book, nail, leather, bulb socket, electric wire, wooden box, iron board, balsa, can, wood, wooden block, wooden shelf. 216 x 212 x 82 cm. Courtesy of the artist and Take Ninagawa, Tokyo.
Shinro Ohtake, ‘Retina (New Tong of Tangier I)’ (detail), 1992 – 93. 216 x 212 x 82 cm. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Japanese Comics’, 2000. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Radio Head Surfer’, 1994-95. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Time Memory 9, 2011. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Layers of Time Memory 2, 2013. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Frost #5’, 1989. Courtesy of the artist and Take Ninagawa, Tokyo
‘Scrapbook #66’, by Shinro Ohtake, 2010-2012. Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, Time Memory 28, 2014, Oil, acrylic, spray paint, tar, ink, pencil, glue, masking tape, cellophane tape, wrapping tape, aluminium foil tape, printed matter, cheesecloth, billboard paper, Japanese paper, rice paper, wrapping paper, wrapping foil, brown paper, cardboard on wooden board, 220.5 x 300.5 x 10.5 cm, Courtesy of the artist and Take Ninagawa, Tokyo
Shinro Ohtake, ‘Time Memory 28’ (detail), 2014. 220.5 x 300.5 x 10.5 cm. Courtesy of the artist and Take Ninagawa, Tokyo
“Wɖ an xtnsv, dvrs n iṇṿtv bodi v wrcs xiktd ovr ɖ past ʈrti yirz, Šinro Otace hz clirli pzišnd hmslf az wn v ɖ most impwtnt crietv fwsz in cntmprri Jaṗnīz āt. Otace’z ŕvra includz drōñ, pêstd wrcs, pêntñ, sculpčr n ftogṛfi, az wel az xperimntl myzic n vidioz, bt ɖ actiṿti v cutñ n pêstñ z clirli hiz most pârfl fwm v xprešn. Mč v hiz wrc utilîzz fând imijz n scraps dscādd fṛm ŕbn culčr n ɖ masmīdia, ofn wɖ refṛns t ɖ undrgrând myzic̦ulčr. In 1977, Otace bgan hiz ongowñ siriz v Scrapbcs, fr ẇč h z rnând n hz t dêt cmplitd mr ɖn sixti. Dy t ɖ ilabṛt prôses v mcñ ɖ Scrapbcs, č wn bcmz bʈ a pêntd n sculpčṛl entti. An xtnsv prezntešn v hiz Scrapbcs wz šôn jrñ ɖ 2013 Venis Bienāle.
Ɖ xibišn at Paṛsol ynit pṛvîdz impwtnt xpožr v Otace’z ŕli, rīsnt n ny wrcs. It fôc̣sz ptklrli on hiz Retina n Tîm̦emri siyriz, bt olso includz wrcs fṛm ɖ Frost n Sél siriz. Svṛl v Otace’z filmz, anɖr intgṛl pāt v hiz practis, wl olso b scrīnd jrñ ɖ xibišn.
Kretd bî Zība Āḍlan, Fândr/Drctr v Paṛsol ynit fândešn fr cntmprri āt, ɖs xibišn z Šinro Otace’z frst mêjr šo in a public Lundn instityšn. It z acumṗnid bî a fl-culr publicešn, includñ esez bî Māco Livñstn n Žŭlien Bizmŭʈ, n a rletd prôgram v edycešnl ivnts, famli wrcšops, a powtri wrcšop n an ātisțwc at ɖ Jpan Fândešn, Lundn.
Born in 1955 in Tôcio, Šinro Otace z wn v Jpan’z līdñ n most iṇṿtv cntmprri ātists. Hiz practis xtndz fṛm ɖ criešn v vižl-āts projcts n ātistbcs t sând n ācitcčṛl projcts. Šinro Otace wz rīsntli awōdd wn v Jpan’z most prestijs āṭwōdz: Ɖ Êjnsi fr Culčṛl Aferz Ministr’z Awōd fr ɖ Fîn Āts 2013–2014.”
“Pạnirñ ātists fṛm acrs Yṛp, ɖ Americ̣z n Jpan r biyñ šôn at Têt St Îvz fr ɖ frst tîm in Ɖ Modn Lenz.
Ɖs z ɖ ljst dsple v fôṭgrafic wrcs evr t b xibitd at ɖ gaḷri. Lcñ at dveḷpmnts in inṭnašnl ftogṛfi fṛm ɖ 1920z t ɖ 1960z, ɖ xibišn uncuvrz ɖ sens v krioṣti n xperimntešn az ātists hānist ɖ mīdı̣m in ny wez.
Ftogṛfi wz yzd t xplor îdiyz v abstraẋn, dveḷpt in tandm wɖ ɖ imrjns v wîdr moḍnist lanĝjz acrs ɖ glôb. It olso demnstretd ɖ significns v a lôcl pspctv, az ātists cmbînd ɖ brwd inflụnsz v abstraẋn, cnstructvizm n sriylizm wɖ ɖer ôn contxts. Ɖr r imijz v rṛl landsceps, ōganic fwmešnz, man-md objcts n industrı̣l mtirı̣lz, az wel az v ŕbn ācitcčr.
Lūsli arenjd bî lcešn, Ɖ Modn Lenz ôpnz wɖ ftogṛfi n abstraẋn in Latin America: ācitcčr, lît n cnstructd fwmz undrpin wrcs bî ātists sč az Žraldo di Barŭs n Tomaz Fāc̣s in Bṛzil.
In subsiqnt gaḷriz, pêntñz n sculpčrz fṛm Britiš ātists in ɖ 1930z, includñ Pwl Naš, Ben Niclsn, Îvn Hičnz, Bābra Hepẉʈ n Henri Mur, xplor a mmnt in Britiš moḍnizm šêpt bî ɖ opozñ fwsz v pyr abstraẋn n sriylizm. Ɖz wrcs r šôn in rlešn t a fôṭgrafic sīqns md bî ācitect n dzînr Šālot Periã, ātist Fernã Ležé n ācitect Pier Žaneré, hu wr c̣laḅretñ in Paris in ɖ sem pirı̣d; ɖer wrc z ɖ rzult v a siriz v pfwmd wōcs in ẇč ɖe stêjd incântrz wɖ jı̣mtric fwmz in nêčr.
Ɖ imbresñ v ny tecnoḷjiz t rle ɖ fwml qoḷtiz v lît, spês n tôn wr sentṛl lesnz v ɖ Bâhâs in Jrṃni fṛm its ôpnñ in 1919.
Includñ rer fôtogramz, prints n filmfŭtij bî rnând tytrz Lasló Moholi-Noj n Valter Peterhanz alñ wɖ ɖer stydnts, ɖ xibišn cnsidrz hâ ɖ scūl inflụnst mîgṛnt moḍnist ftogṛfrs sč az Iweo Yaṃwaci fṛm Jpan n ɖ Hungẹrı̣n Ydit Cāras.
Ɖ Modn Lenz culminets wɖ ɖ wrc v Hari Caḷhn, wn v America’z most influenšl ftogṛfrz. Invîtd t tīč at Moholi-Noj’z Ny Bâhâs (Šicago Instityt v Dzîn), Caḷhn wrct īqli in blac n ẇît az wel az in culr, n wz ci t ɖ dveḷpmnt v fwml abstraẋn in pôstwor Americn ftogṛfi.”
“Hômtruɖs: Ftogṛfi, Muɖrhd n Îdntti priznts ɖ wrc v êt inṭnašnl ātists hu xplor ɖ complx n dmandñ xpirı̣ns v muɖrhd. Ɖ ātists drw on a wîd renj v inflụnsz, fṛm fašn n lîfstîl maġzīnz t fanṭsi n fiẋn, fṛm pêntñ n îc̣nogṛfi t vnaklr ftogṛfi, fṛm pfwmns n stêjd practisz t prîvt jrnlz n evrīde lîf.
Set agnst a bacdrop v inseṣ̌bl public aṗtît fr picčrz v ṣlbṛti mumz n bêbiz, ɖ ātists dpict fmiłr, n ls viẓbl, aspects v muɖrñ fṛm a dīpli prsnl pspctv. Pregnnsi, brʈ, ɖ ifct v bcmñ a muɖr on wn’z pṛfešnl îdntti; ɖ rlešnšp btwn jeṇrešnz v muɖrz; cmñ t trmz wɖ los, abandnmnt, n ɖ unflfild dzîr t bcm a muɖr r ol erı̣z xplord in ɖ xibišn. Inṭwivñ naṛtvz, čājd wɖ cnflictñ imošnz, pṛvîd an intiṃt, multīfasitd n uncnvnšnl vy v a ynivrsl xpirı̣ns.
Ātists’ Bîogṛfiz
Elina Broteṛs (b. 1972, Finḷnd)
Rīsnt xibišnz includ Luīziana Myziym v Modn Āt, Humlībîc, Denmāc; Bozar Palais des Beaux-Arts, Bruslz; Sāči Gaḷri, Lundn n Lianžu Ftogṛfīfestivl, Lianžu, Čîna. Awōdz includ ɖ Finiš Stêtprîz fr Ftogṛfi (2008) n ɖ Prix Niépce v Gens d’image, Frans (2005) amñ uɖrz. Š hz publišt for moṇgrafs.
Elinor C̣ruči (b. 1971, Izrel)
Xibišnz includ Ric̦o Maresca, Ny Ywc; Ggozı̣n Lundn; Edwin Hūc Gaḷri, Ny Ywc, n Jêmz Hîmn Gaḷri, Lundn. Awōdz includ ɖ Inṭnašnl Sentr v Ftogṛfi’z Infiṇtịwōd fr Yuñ Ftogṛfr (2001); ɖ Ggnhîm Felošp (2002) n Ny Ywc Fândešn fr ɖ Āts Felošp (2010).
Ana Casas Brôda (b. 1965, Spên)
Sns 2007 Casas Brôda hz dzînd public prôgramz at Centro de la Imagen, Mexico Siti. Š hz xibitd hr wrc in Spên, Ostria, Jrṃni n Mexico. La Fabrica publišt hr wrc Kinderwunsch in 2013 n it wl b xibitd in PHoto Espana in 2014.
Án Feslr (b. 1950, YSA)
Feslr hz pṛdyst ʈri filmz n ritn a nonfiẋn bc on adopšn, Ɖ Grlz Hu Went Awe. Awōdz includ ɖ prestijs Radclif Felošp at ɖ Radclif Instityt fr Advanst Studi, Hāṿd Ynivrsti.
Fred Hrnñ (b. 1966, Jrṃni)
Hrnñ’z wrc hz bn šôn at ftogṛfīfestivlz in Lîpzig, Wj, Câṇs n Āl. Xibišnz includ Gallery Brotfabrik, Brlin (2011); Museum Dieselkraftwerk, Cotḅs (2011) n Ātmyziym Wūhan, Čîna (2009). Awōdz includ ɖ Ātprîz fr Ftogṛfi fṛm ɖ Loto-Fândešn Brlin-Brandnbrg (2007).
Miaco Išiuči (b. 1947, Jpan)
Išiuči hz hd nymṛs sôlo xibišnz sns 1977, includñ at ɖ Našnl Myziym v Modn Āt in Tôcio. In 1979 š wun Jpan’z hîist awōd fr ftogṛfi, ɖ Cīmŭra Ihe. Hr wrc hz bn publišt in mr ɖn twenti moṇgrafs. Miaco Išiuči z ɖ winr v ɖ prestijs 2014 Haslblad Fândešn Inṭnašnl Awōd in Ftogṛfi.
Cêti Muri (b. 1974, YSA)
Xibišnz includ Čašama Gaḷri, Ny Ywc (2013); Hômfrunt Gaḷri, Ny Ywc (2011) n ɖ Inṭnašnl Sentr fr Ftogṛfi, Ny Ywc (2008). Awōdz includ Ny Ywc Stêt Rezidntsgrant fr Xḷns in Ftogṛfi (1996); ɖ Robin Fwbz Mmwrı̣l Ftogṛfịwōd (1997); ɖ Bari Cown Awōd fr Xḷns in Āt (2000) n a Ny Ywc Fândešn fr ɖ Āts grant in 2012. A moṇgraf v hr wrc z publišt bî Dêlît Bcs.
Hana Pts (b. 1987, Ostria)
Xibišnz includ Pavlovz Dog Gaḷri, Brlin; Vêcnt Gaḷriz, Ostria n Kunsthalle Wien, Ostria. In 2012, š wz šwtlistd fr Hyéres Cntmprri Ftogṛfīprîz n 1000 Wrdz Ftogṛfịwōd, n nominetd az wn t woč bî Britiš Jrnl v Ftogṛfi.
Acnolijmnts
Hômtruɖz: Ftogṛfi, Muɖrhd n Îdntti z kretd bî Sūzn Brît n z a Ftogṛfrz’ Gaḷri turñexibišn. Ɖ orijinl xibišn hz bn modifîd fr prezntešn at Belfast Xpozd. Ɖ xibišn z ṣpwtd bî Ātscaunsl Nwɖn Îrlnd, Belfast Sitīcaunsl n Dpātmnt v Sošl Dveḷpmnt.”
Installation View, Yayoi Kusama, Pumpkins, Garden, Victoria Miro, 16 Wharf Road, London N1 7RW, 2014
Pumpkin (M), 2014 Bronze, 195 x 180 x 180 cm, 47 1/4 x 70 7/8 x 70 7/8 in
Installation View, Yayoi Kusama, Pumpkins, Gallery I, Victoria Miro, 16 Wharf Road, London N1 7RW, 2014
Installation View, Yayoi Kusama, Pumpkins, Gallery I, Victoria Miro, 16 Wharf Road, London N1 7RW, 2014
Installation View, Yayoi Kusama, Pumpkins, Garden, Victoria Miro, 16 Wharf Road, London N1 7RW, 2014
Pumpkin (L), 2014 Bronze, 220 x 260 x 260 cm, 86 5/8 x 102 3/8 x 102 3/8 in
Installation View, Yayoi Kusama, Pumpkins, Garden, Victoria Miro, 16 Wharf Road, London N1 7RW, 2014
Pumpkin (S), 2014 Bronze, 110 x 120 x 120 cm, 43 1/4 x 47 1/4 x 47 1/4 in
Installation View, Yayoi Kusama, Pumpkins, Gallery I, Victoria Miro, 16 Wharf Road, London N1 7RW, 2014
“Victoria Miro z dlîtd t priznt a ny bodi v sculpčrz bî Jaṗnīz ātist Yayý Csama dedicetd t hr îconic dpiẋn v pumpcinz.
Ɖ xibišn cmprîzz a mêjr ny siriz v bronzsculpčrz on dsple in ɖ gaḷri’z ynīc wōtrgādn. Ɖ bronzpumpcinz hv bn tu yirz in ɖ mcñ n māc ɖ frst tîm ɖ ātist hz wrct wɖ bronz on sč a lj scêl.
Sns hr ŕliist fwṃtv yirz, in a famli hu md ɖer livñ cultivetñ plantsīdz, Csama hz bn fasinetd bî ɖ načṛl wrld. Š hz olwz hd an afiṇti wɖ nêčr, ptklrli vejitl n flwṛl lîf, bt ɖ pumpcin cntinyz t okpî a spešl plês in hr îc̣nogṛfi n z a mtif š hz rtrnd t rpitdli ʈrt hr c̣rir.
Ɖ plant apirz in sm v hr pêntñz n wrcs on pêpr az ŕli az 1948. Aftr hr rtrn fṛm Ny Ywc t Jpan in ɖ 1970z š rīdiscuvrd ɖ ʈīm, n bgan mcñ sirı̣l wrcs dpictñ ɖ pumpcin in verı̣s mīdia: pêntñz, prints, sculpčr, insṭlešn n invîrnmntl wrcs. Š hz md tîni pumpcinz no bgr ɖn a cīrñ, n monymntl pumpcinz ɖt dwōf ɖ vywr wɖ ɖer scêl. Š hz plêst pumpcinz in boxstrucčrz n in mirŗūmz, n yzd ɖ dstnctv nobli paṭnñ v ɖer scinz az inspirešn fr hr ynīc dotpatnd pêntñz n txtîlz. In 1993 pumpcinz fwmd pāt v hr prezntešn in ɖ Jaṗnīz Pviłn at ɖ Venis Bienāle. In 1994 hr îconic xtirı̣r sculpčr v a lj yelo n blac pumpcin wz saitd at ɖ Benese Ātsait Naošīma, an îḷnd in Jpan’z inḷnd sì dedicetd t dspleyñ āt wɖn nêčr.
Ɖ ātist hz a stroñ prsnl îdntificešn wɖ ɖ pumpcin, n hz dscrîbd hr imijz v ɖm az a fwm v slfpwtričr. Š admîrz pumpcinz fr ɖer hādiṇs n evrīde qoḷti, az wel az fr ɖer ynīc n plizñ fizicl qoḷtiz. Š hz ritn:
Pumpcinhed wz an epiʈet yzd t dsparij ugli, igṇṛnt men, n ɖ frêz Pt îz n a nôz on a pumpcin ivoct a puji n uṇtractv wmn. It sīmz ɖt pumpcinz d nt inspîr mč rspct. Bt I wz inčantd bî ɖer čāmñ n winsm fwm. Ẇt apild t m most wz ɖ pumpcin’z jenṛs unpritnšsṇs. Ɖt n its solid spiričl bês. (Yayý Csama, Infiṇtīnet: Ɖ Ōṭbîogṛfi v Yayý Csama, trnz. Ralf MCāʈi, Lundn 2011, p.76).
Ɖ xibišn z acumṗnid bî a fŭli iḷstretd caṭlog wɖ txt bî Gilda Wiłmz.
Csama’z wrc z cuṛntli ɖ subjct v ʈri mêjr inṭnašnl myziymexibišnz. Yayý Csama: A Drīm I Dremt z a sôlo xibišn v ovr 100 rīsnt wrcs travlñ ʈru Eža, frst dspled at ɖ Dêgu Ātmyziym in C̣rīa, folod bî ɖ Myziym v Cntmprri Āt, Šañhî, ɖen Sôl Ātșentr. It wl tur ʈru 2015 t venyz includñ ɖ Gâšŭñ Myziym v Fîn Āt; ɖ Našnl Tîwan Myziym v Fîn Āts, Tîčŭñ, n ɖ Našnl Gaḷri v Modn Āt, Ny Deli.
Yayý Csama: Infiṇt Obsešn turz Sentṛl n Sâʈ America ʈrt 2015. Cnsistñ v ovr 100 wrcs crietd btwn 1950 n 2013, ɖ xibišn ôpnd in June 2013 at Malba – Fndaʈion Costntīni, Bweṇs Ẹriz – setñ a ny rec̣ḍtndns fr ɖ myziym – n ɖen travld t ɖ Sentru Clṭral Bancu du Bṛzil, Hiu di Žneru; ɖ Sentru Clṭral Bancu du Bṛzil, Bṛzilia, n ɖ Institutu Tomi Otace, Sâ Pâlu, n rīsntli ôpnd at ɖ Mzeo Tmîo Āte Cntmṗranio, Mexico Siti.
Travlñ t verı̣s venyz in Jpan, ɖ tur v Yayý Csama: Itrṇti v Itrnl Itrṇti bgan in Jaňri 2012. In 2014 ɖ xibišn travld t ɖ Cntmprri Ātmyziym, Cŭmmoto n ɖ Acŭta Senšu Myziym v Āt n ôpnz ɖs munʈ at ɖ Matsūẓcaia Myziym, Îči.”
INFINITY-DOTS [KPX], 2014 Acrylic on canvas 130.3 x 97 cm 51 1/4 x 38 1/4 in (KUSA 952). Courtesy Yayoi Kusama Studio Inc., Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London.
PUMPKIN [KUER], 2013 Acrylic on canvas 130.3 x 162 cm 51 1/4 x 63 3/4 in (KUSA 944).
Pumpkin. 2014. Photo: Victoria Miro Gallery
Yayoi Kusama photographed in Japan Photo: NORIKO TAKASUGI
“Ɖs mêjr grūpexibišn mācñ ɖ Sentīṇri v ɖ Frst Wrldwor xplorz hâ ātists hv cmynicetd ɖ impact v militri conflict on ɖ bodi, mînd, invîrnmnt n hymn sensz btwn 1914 n 2014.
Ɖ šo xaminz hâ ātists fṛm 1914 onwdz dpictd ɖ devstetñ impact v ny militri tecnoḷjiz yṭlîzd in a senčri v conflict bginñ wɖ ɖ Frst Wrldwor. It brñz tgɖr wrc fṛm a renj v līdñ ātists includñ Henri Lam, CRW Nevinsn, Pwl Naš, Oto Dix, Nansi Spero, Ričd Mos, Omer Fast n fīčrz wrcs bî ɖ hībacūša, svîvrz v ɖ atomic bom dropt on Hirošima, ẇč wr crietd in ɖ 1970z n r biyñ šôn in ɖ YC fr ɖ frst tîm.
Fumiko Ya: Hospital. 1973-74. (Hiroshima Peace Memorial Museum)
Yoshiko Michitsuji, aged 48 at the time of drawing. I ran towards my house through a sea of flames (Hibakusha Works: Hiroshima Peace Memorial Museum)
Kichisuke Yoshimura, 75 at time of drawing. Riverbank near Hiroshima Railway Station. Their clothes ripped to shreds. Their skin hanging down. 1973-74 (Hibakusha Works: Hiroshima Peace Memorial Museum)
Masahiko Nakata, age 72 at the time of drawing. Bloated bodies in the river over Yokogawa Bridge, 1973-74 (Hibakusha Works: Hiroshima Peace Memorial Museum)
Gisaku Tanaka aged 72 at the time of drawing. Lights blinking on in the atomic desert (Hibakusha Works: Hiroshima Peace Memorial Museum)
Ɖ Frst Wrldwor involvd a pṛfând rīcnfiğrešn v senṣri xpirı̣ns n pspšn ʈru ɖ invnšn v devstetñ militri tecnoḷjiz, ẇč dstrŷd hymn lîvz n oltrd ɖ invîrnmnt bynd recgnišn. Its leġsi hz cntinyd n ivolvd ʈru īvn mr radicl fwmz v dstruẋn ovr ɖ last hundṛd yirz. Ʈrt ɖ senčri, ātists hv strugld t undrstand ɖ tru ifct v modn tecṇlojicl warfér. Ẇl militri n pres ftogṛfi hv brwt a ny c̣paṣti t coldli dokyment sč līʈl dsplez, ātists fând a dfṛnt we v siyñ.
Mančestr Ātgaḷri hz a našnli impwtnt c̣lẋn v āt v ɖ Frst Wrldwor, ẇč wz asmbld bî its frst drctr, Loṛns Hêẉd. Têcñ ɖs rič c̣lẋn az ɖ stātñpŷnt, ɖs šo includz historic n cntmprri āt fṛm ɖ YC, Jrṃni, Frans, Iṭli, ɖ Neɖrḷndz, ɖ Ynîtd Stêts, Caṇda, Jpan, Vietnam, Ny Zīḷnd, Aljiria, Îrḷnd, Iran, Izrel n Paḷstîn.
![INFINITY-DOTS [KPX], 2014 Acrylic on canvas 130.3 x 97 cm 51 1/4 x 38 1/4 in (KUSA 952). Courtesy Yayoi Kusama Studio Inc., Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London.](https://i0.wp.com/ashortspell.com/wp-content/uploads/2014/11/2014-10-08-2_kusa952_infinitydotskpx_2014rz-thumb.jpg?w=319&h=431&ssl=1)
![PUMPKIN [KUER], 2013 Acrylic on canvas 130.3 x 162 cm 51 1/4 x 63 3/4 in (KUSA 944).](https://i0.wp.com/ashortspell.com/wp-content/uploads/2014/11/2014-10-08-3_kusa944_pumpkinkuer_rz-thumb.jpg?w=401&h=323&ssl=1)
