Modern Symbolist catalogue

dreamsanddivinities

This catalogue was made by Liba WS for the Modern Symbolist Show hosted by Krab Jab Studios in Seattle in 2017. The show was curated by Krab Jab's Julie Baroh and Dreams and Divinities' Liba WS.

Modern Symbolists


image: Kim Evans

Front cover image: Roku Sasaki


Julie Baroh and Liba WS

Present

Modern Symbolists

KrabJab Studio

August 26th - November 5th 2017


INTRODUCTION

19th Century Symbolism drew its first true breath with the release of the French translation of the works of Edgar

Allen Poe in 1847, sparking the imagination of Charles Baudelaire, who went on to write the infamous Les Fleurs

du mal, a set of poetic prose that set the French literary scene on fire. It was only a matter of time before the fevered

visions of the writers would infect both composers of music and visual artists. Drawing from mythical mysteries and

the human inner world, the Symbolists sought to free themselves from the rigid constraints imposed by institutional

reason to connect with the natural flow of life, using unique combinations of language and visual symbols to convey

meaning. The result can be uplifting and melodical, or dark and brooding or a range of grays in between, often deeply

felt and indescribable.

Much has transpired since the first manifesto on Symbolism was created back in 1886 (and hence the movement was

labeled “Symbolist” from the previous label of “Decadent”), but the original intent has never left us. Officially freed of

constraint by all but the artist’s own boundaries, Symbolism has moved into the 21st Century as much a mysterious

creature as it was when it first blossomed. We are still fascinated by the veiled mechanics of the human mind, even as

we close the gaps in worldwide communication and culture. The more we know, the bigger the mystery grows. Our

symbolic vocabulary is a cacophony of meaning, richer than ever but more difficult for the artist to juggle. In some

ways, being a Symbolist now is more difficult than ever before. The artist must resist the temptation to repeat another

artist’s vision, but in the same vein, avoid appropriating cultures alien to his/her own, which can be difficult when one

finds their own culture old, mundane, shriveled. Artists of the 21st Century must dig even deeper, into the rich, fertile

soil of their psyches to harvest the cornucopia of what is the human spirit. Unfortunately, the majority of artists find

themselves hung up on which type of shovel to dig with. It is only a handful of creative people who move forward to

chip away at their inner world, thick with analogy, myth, knowledge and intuition.

Combined with truths, observations, cultural analogy and often a sense of humor, the modern Symbolists of today

force the rest of us to reflect inward, pick up our own spades and shovels and picks and dig a little ourselves.

Julie Baroh


Symbols offer a portal into a deeper understanding than words alone can. They make us think on an intuitive level.

Symbolism didn’t start in the 19th century and neither did it die after the movement faded away. Spiritual symbolism

has been around since we could draw. Paleolithic caves display our oldest art and these ancestors clearly made our

first symbolic representation. I am not referring to the representation of hunting scenes but rather the triskels,

spirals, animal spirits and alien looking figures which adorn our oldest earthen galleries. They tell the untold, hidden

story.

Great symbolists mark every artistic period but it wasn’t until the 19th century that a symbolist “movement “ was

formed. We can ask ourselves ‘what changed’? Perhaps it was the new world of industry, the disconnect from nature,

the big cities, the loss of community and the new religion of Newtonian science. Symbolists also complained about

the rigid banal representation in art of the time. There was a thirst for the spiritual, the occult, the hermetic secret

story of the soul that would reveal how to navigate this experience in grace, peace and passion.

The 19th century symbolist movement specifically referred to a spiritual symbolism. Their movement celebrated the

revival of the old mystery schools with a new and modern perception of ancient and universal messages. In 1886 the

French poet Jean Moréas’ created a symbolist manifesto and stated that a symbolist painting does not represent what

it is showing but rather what the subject makes us feel. In his first printing of the manifesto he said that symbolism

is the “enemy of teaching “ Moréas went onto explain how the symbol itself was subject to greater more “primordial

ideas”. The experience of these ideas being the main objective. The symbolist movement was inviting us into

presence, into direct connection with Spirit through symbolic exploration.

In today’s world, this is more relevant than ever. Our lack of profound intuition, connection and respect for Nature,

Spirit and community is destroying the Earth. Materialism, greed and consumerism have given us an escalation of

pollution, social disparity, and species extinctions. This of course means that there is still a true hunger for deeper

meaning, and harmony with community, Nature and Spirit. Symbolism never died; it just exploded out of the

stylistic boundaries of the 19th century. We find it today, alive with passion, colour and freshness digging deep into

the ancient mysteries as well as the presence of the moment.

Modern symbolists do not unite around a specific style as our 19th century predecessors did. Rather we see

symbolism straddling many of the contemporary styles. Symbolic portrayal is seen in visionary art, lowbrow art,

outsider art, pop surrealism, surrealism, magic realism and even ‘contemporary art’. This wide range of styles which

embrace modern symbolism offers a certain anarchy, a freedom of choice that in earlier movements was not as

available. This is a double-edged sword. On one hand symbolists are not recognized as a movement due to the lack of

stylistic coherence. On the other hand, artists are not constrained by rules and regulations.

This show of symbolists brings together an eclectic group of artists, all with vision and our personal form of

symbolism. The common thread is found through the stylistic choice of the curators rather than a predesignated

style imposed by a movement. It is a fresh and deeply personal representation of Spirit.

Liba WS


Aloria Weaver

USA

An excerpt from METAPHORIC MIND: The Significance of a Symbolist Resurgence within

the Visionary and Fantastic Realist Art Movements of the 21st Century: Aloria Weaver.

The metaphoric mindset (the ability to think, act and perceive symbolically) is, in effect,

an extension of consciousness beyond normal sense perception, into multiple dimensions

of reality. Symbolic action, through art, reveals the imaginal realm, giving validation to

the diaphanous sphere of intuition and anchoring it in the physical dimension. Contrary

to positivistic thought, the imaginal realm (or the “Mundus Imaginalis”, as Henry Corbin

named it) is as real as, if not more real than, the material realm. It is the causal world from

which all perceptible sensory phenomena emerge. The metaphoric mode of thought and

perception grants us access to multidimensional cognizance.

If we are brave enough to traverse the threshold of the Mundus Imaginalis, to go beyond

material reality, we must first construct a bridge between these spheres. That bridge is

Art. We must seek out the hidden meaning in everything, peering past the veil of illusory

phenomena to the truth concealed at the heart of all things. It is impossible to overstate

the implications of engaging with art or reality in this way. The loss of ability to think and

perceive metaphorically or symbolically is a missing link in our ability to understand the

sophistication of ancient cultures and civilizations, for many of whom a glyphic language

and symbolic ritual were integrated parts of daily life.


«Integrity, Piercing

the Veil of

Obscuration»

Oil, 23.5 karat gold

on linen

22 x 28 inches


Carrie Ann Baade

USA

As a painter, I have discovered that no matter how personal I may be with my

symbolism, that life is an exquisite cliché which is universal. Sometimes I try to

see the world as it really is, yet I find that more than not my eyes, open or shut, are

seeing inward. The images in my mind are riddles that I answer through painting.

To create compositions where the image is at once the thing, and the thing it

stands in for, contains the capacity to go far beyond the picture plane, as the

image references a concept or ideas and acts as a signifier. This is a language but

also a conduit, an antennae, for meaning. When these paintings evoke, the object

becomes a door to other resonating meanings, emotions, and can be an invocation.

Symbolism is a method of speech, a language, a method of communication that

transmits as it transmutes. Within this method is the heart of storytelling.


«Security»

Oil on panel

9 x 12 inches


David Heskin

USA

A Pagan Romance, a burning love between humanity and nature; an unlit flame upon which the spark

of inspiration illuminates a hidden gateway to a state of re-enchantment.

This particular pagan romance, this love affair with the raw materials from which paintings

are constructed, requires a cultivation of awe and timeless patience to behold the evolutionary crest of

nature becoming art.

This inner pilgrimage, where artifacts are first imagined then made real, commences with the

offering of the sacred blood and bones of Nature.

More than the illusion of images painted on flat surfaces, it is the orientation and deeds of the

artist that light the way to the distant shores.

What message is fundamentally vibrationally transmitted through a work of art?

Perhaps only Kronos knows the difference between the surface art of convenience

contrasted with the oceanic depth of the art of the natural philosopher, whose impulsion toward a

magical plane of existence leads directly into a vast forum of practical and impractical actions in the

here and now.

To enter a state of enchantment is a constantly available option, one that requires a state change

from the pervasive conditioning of culture. Exploring the love of the dream is to willingly engage with

the living myth through a sacrifice of modernity and the payment of our undivided attention.

Redeeming the melancholy emptiness of nostalgia with creative action, the Symbolist

keeps the altar candle lit through concentration, knowingly imbuing the materials of the trade with a

sacredness they already contain.

When is a door not a door?

When it is a gateway...

when the artist passes through it,

returning with a torch light fashioned solely from pigment bound with dreams.


«Pagan Romance»

Oil & egg tempera on panel

16x24 inches


Erich Moffit

USA

My work references a hierarchy of symbols, in a continuous attempt to bridge the gap

between personal truth and universal experience. The vocabulary of talismans and

totems, staged in emblematic milieus, is meant to evoke a self-contained dreamlike

narrative through which viewer is pursued by reflected light and shadows. Here, primal

forces of desire and despair ripple under the surface of innocently benign lifeforms,

pantomiming an Ideal of seamless life, celebrating itself.

My painting, “Merciful Release” deals with the cathartic end of emotional and

metaphysical paralysis in the form of the golden cage, the mask, and the overbearing

ruins of a lost culture. At the foot of broken stairs, with his back to the garden gate, a

gilded hero stands with his hand open in acceptance. The bird in his chest has escaped

the dark ruins of his heart, into the sunlight. Gold leaf peels from his mask, revealing the

tarnished metal underneath. As the statue is reclaimed by the leaves of grass, his spirit

ascends, and both are free.


«Merciful Release»

Acrylic on panel

9.75 x 16 inches


Graszka Paulska

Poland

Symbolism represents the subconscious and the spiritual to me.

It is the door wherein we enter into the incomprehensible, unattainable yet

intuitive world. It is here that we explore the mysteries of the human psyche; the

state associated with the soul.


«The Truth Will Always Be»

Oil on wood / 16 x 17 inches


Gromyko Semper

Philippines

Symbols are like words. We arrange them interchangeably to convey our thoughts, emotions,

hopes, dreams, and aspirations. The same hold true with Symbolist Art. It is this and more. Whilst

words have the power to “inspire and create”, symbols, when used in Art gives us something

more…something deeper than the written word. A symbolist uses Symbols to convey something

transcendent, something that fathoms deeper realms of existences.

A Symbolist is a gardener of exotic plants, each with a different bloom and foliage that exudes a sense

of marvel and inspiration. They create worlds beyond worlds, and beings imbued with Spirit and Love.

They are the antithesis of contemporary artistic explorations which succumb into the negative aspects

of the Psyche.

The Symbolist is like a shaman, a Healer, a Visionary, a Mystic Prophet revealing something that can

unite humans to free ourselves from greed, power, war, and inequality. They preserves and conserve

what is vital, that which is creative, the side of us that is transcendentally Spiritual, that which makes

us humans.


«A Nameless

Monument for

the Fallen Ones»

Ink, acrylic,

distemper

on canvas

18x24 inches


Jason Mowry

USA

Humans have and continue to be

symbol making beings. We need

symbols to understand and tap into

what is outside the realm of our tactile

understanding. Early Symbolists were

influenced by the literature of the time

and took their inspiration from many

of the deeper truths shared by the

authors and poets of the period. Using

symbolic narratives and allegorical

material taken from both the ancient

and the modern I hope to create

imagery that lends itself to the same

humanist truths. Truths that the early

Symbolist authors persevered in many

of their works.


«The Sphinx, the Substance and the Dreamer»

Watercolor and gouache

14 x 16 inches


Julie Baroh

USA

Little Grandma

Many years back, I came across a photograph taken in the early

1930s of a tiny woman in her nineties carefully making her way

down the path of a grand old mansion. Widowed, she wore

traditional black. Deeply Catholic, she was making her weekly

pilgrimage to morning mass.

This woman was my Great, great, great grandmother Elizabeth,

nicknamed by her grandchildren “Little Grandma”.

I have been absolutely enchanted by this little figure with the Mona

Lisa smile, and have drawn, etched and painted her many times. In

this particular painting, I spent literally years building up the image,

then scraping it back down with the palette knife, over and over,

unsatisfied, until she finally came alive, sparkling, magical, reaching

out to imbue me with her lifetime of wisdom if only I would stop

and listen.

I take the concept of Symbolism to the very core of my existence.

It’s a story with a million narratives, a song with a million

melodies. When I paint my grandmother, its not just mine, it’s THE

Grandmother, the Crone, the Fairy Godmother. She’s the keeper of

the family lore, the diviner of wisdom, the storyteller, the comforter.


«Little

Grandma»

Oil on canvas

22 x 32 inches


Kim Evans

Australia

For me, symbols are another language. They are ‘visual voices’ that communicate more than their

singular image self. Symbols are messengers of feeling, meaning, stories, enigmas and insights,

that are at times a little Sphinx-like in their offerings of puzzles for us to solve. They are lively,

not static and they have an evocative aura that can touch us deeply. I feel that energy of symbols,

archetypes, fantastic beings and layered realms, bring timeless elements to artworks similar to

the other-worlds of dream life, and as an artist, I find I am drawn to heart-centered connections

offered in the language of symbols. I know I have found them when they inspire and peak my

imagination. And when they are present, this enables me to communicate more in an artwork

than I could by representing the world of literal matter only. I am reminded that symbols invoke

spirit and create a space to perceive the numinous and marvelous, as it is the symbol that can

breathe magical life into matter.

Carl Jung wrote of the importance of acknowledging and accepting our dream life, our symbols

and what they tell us about ourselves. It is in this unconscious territory that symbols are at their

purest, they originate from and through us. I feel–regardless of liking what we see or not in the

shadows and light of our dream world–if we separate ourselves from our dualities, from our roots

in nature, our instinctual and animal nature, from our wisdom of soul, from our natural symbolic

life, we miss half of who we are. If we live without connection, appreciation and respect of our

symbolic life and nature, as individuals and collectively, we are out of balance. And in doing so,

perhaps we suffer the same disconnection with our external world. Perhaps we are missing seeing

and feeling the divine, the marvelous, the magic, wonder and beauty in our totality and in the

world around us, as it exists.

“As a plant produces its flower, so the psyche creates its symbols.” - Carl Jung.


«Lantern»

Acrylic on Fabriano Cotton Paper / 6.7 X 6.5 inches


Liba WS

France

Symbol, symbol on my page,

open up my heart.

Lead me to my higher self,

I’m ready to depart.

Incite my curiosity,

excite my hidden drive.

I am ready to explore

the secrets of the hive.

Symbol, symbol in my heart,

lift off the deep dark veil.

Hoist the masts of my good will

and lets prepare to sail.

Timeless symbol guide me true,

over oceans vast and deep.

Transcendant currents bring me home,

with peace and grace I weep

For here I am and always was

and for ever will be Here

The voyage was a great mirage

to make it very clear

that all is I and I am all

and Love is what

I hold dear.


«Sacred Deer»

Oil on canvas / diameter 23.5 inches


Maj Askew

USA

I consider my work to have very Symbolist intentions. My figures are often tasked with conveying the

emotional weight of a greater idea or narrative through iconographic or gestural elements. I gravitate

towards the human figure and a heavy use of archetypes because I believe that the truest way to strike

a resonant chord is to use the kind of visual nomenclature we all innately share. I think there is a good

middle ground between the transient cultural norms of today and enduring, vetted paradigms which

both acknowledges the former and references the latter.

For this particular painting, I knew I wanted to focus on the olive tree as a metaphor for two different

kinds of enlightenment.

The cultivation of the olive was life-changing for bronze-age cultures. Oil burns more cleanly and

with purer light than animal fat, or tallow, candles, which are smoky and dim. This first type of

enlightenment is about surpassing our lower selves and bringing clearer light into our minds. Moving

from the base of the figure up, the animal pelt, representing base nature, is clutched at, but then

superseded by an anointing of oil across the third eye, a traditional act of ritual cleansing. The olive

branches are a halo of peace, bearing fruit.

This painting also has a double reading. As olive oil became more widely available, people had more

daylight hours, and were able to use their time to read and study in addition to working outdoors. This

is the literal power of light achieving enlightenment through tangible study and human work. Moving

up the figure as a totem once again, the pelt, worn as a garment, becomes dominance over animals,

mastery of agriculture. The laurels denote both triumph and academic enlightenment.

This painting is a celebration of the enlightenment of the human spirit, and all the roads it comes by.


«Olive over

Tallow»

Oil and digital

on panel

11 x 14 inches


Martin Stensaas

USA

One of the many reasons why I do

art is because I believe that is time

to rescue the symbolic from the

overflow of age of information. The

act of creating fantastic or surreal

imagery is not escapism, but a way

to process our life experiences

through the lenses of not only a

beautiful, but also powerful visual

system. I believe this perspective

rescues the beauty of the tragic and

the profane. This is the peacock’s

tail, the Cauda Pavonis of the

alchemist, the moment our eyes

are open and we see the colors of

the world, to find meaning and

purpose in each step of our lives.


«Nymph in a

California

Landscape»

Oil on canvas

32 x 42 inches


Mark E Nelson

USA

The Goddess drawings are my personal interpretation of many myths, folklore, nature, and beliefs.

Several of my influences are Joseph Campbell, Marija Gimbutas, Buffy Johnson and further readings

about other myths from around the world. They can be broken down into three series: Broken Angels,

Medusa, and Headdress.

Metis is tied to the Greek word for female knowledge and in some speculation also to Medusa. Who was

the Goddess of life and death before being transformed later into in one of the Gorgon sisters. Broken

Angels relates to Meso-America beliefs that woman mated with jaguar to create man. The things we

carry with us is the start of the Headdress drawings.

Animals of the Goddess take on different attributes depending on the cultures, beliefs, of observation

and importance in that world. The horned toad has been known to tell you which way to go on your

journey. Salmon and horses have been used as images or symbols of fertility. Patterns, shapes, forms,

statues, and animals embody other strengths or weaknesses in relation to the Goddess.

As an image maker, all these elements can help create a richness of symbols to give each piece of

artwork its own meaning. The models bring another layer of symbols to the work. There are a lot of

personal symbols that tell stories in these drawing. Some are obvious, others are not. I talk about some

and not others. I like to give the viewer some room to interoperate in their own way and hopefully feel

the respect that I have for nature and the Goddess.


«Veil of Medusa»

Black and white

prisma pencil,

coloured in

Photoshop

12 x 19 inches


Michel Bassot

France

The painter is only a privileged intermediary for angels to transmit information which guide us

to the revealed (not found) knowledge of the world. It is through symbols that the facets which

shape our universe are exposed. We must remain humble and accept that if, at times, our

angels are absent, at other times they fill us with unknown revelations and teach us. If we are

not the tool of the artisan then there is no work realized! But if the angel holds our hand, then

the noumenal world will reveal itself on the canvas.

Who does the painting?

The Angel of course!

Thus, when we look at a painting or a work of art, usually we do not see the artist’s knowhow,

the virtuosity of the painter or the address of the sculptor, we do not see his culture, his

erudition. We don’t even see his transmitted message or the knowledge he offers to teach us.

Instead we become aware of the revelation of another realm where the mysteries of the world

are gathered. It is here that an Angel offers to guide our hand in order to reveal the future, to

expose our destiny and unveil the path that our future is leading us on.


«Petite Porte Induite»

(Little induced

portal)

Oil on canvas

8 x 12 inches


Oliver Benson

USA

I’ve read that the term «symbol» was originally the name for any object broken

into two so that the two parts could serve as signs of recognition when rejoined. I

think this idea succinctly describes my feeling about imagery or «symbolism» in

painting.

The artist creates some thing which finds it’s missing half in the mind of the

viewer. If the work is successful the meeting is reciprocal- in the work of art the

mind of the viewer finds it’s own missing parts. Reunited, the work and the mind

are again complete.


«Lady Revelation»

Acrylic on masonite

11.5 x 14 inches


Reiko Murakami

JAPAN

From time to time, there’s something I want to say, but I struggle to put my

emotions in words. The state swallows me, makes my throat hurt, and leaves me

speechless. My work is an attempt to express this nameless force in the hope of

making connections with people who have experienced something similar and

can relate to my painting.


Resonance ll, Decay

18 x 24 inches

Digital with ink


Rhonda Libbey

USA

Many

of us have more in common

than we may realize. These similarities can

flow so deep and unnoticed that even the rhythm of our

heart can effect how we perceive time and movement in our

world. In a way such uncelebrated things about the business of living

become unspoken truths.

For me symbolism presents a way that I can explore unifying

experiences in the hope that we can connect and expand our

definition of what is ‘like us’. I believe if we can find more

compassion for each other then perhaps someday our

circle of it can expand to include our entire

world and and every living thing.


«Burning Heart»

Oil and gold leaf

5 x 7 inches


Roku Sasaki

Japan

It is time for Visionary art to take its

place in art history. Visionary art is a

meaningful genealogy of symbolism.

Symbolism in the 19th century

occurred as a reaction to the cold and

scientific debut to the industrial age.

It used ideas to build illusions in the

way that Borges did with his writing.

Symbolism represents the natural world

with a beautiful lie. It illustrates the

vision of psychedelic consciousness

by using classical techniques. It is

a primitive instinct taking on the

decorative form of symbolism.


«Pandora»

Oil and tempera on canvas

31.5 × 26 inches


Samuel Araya

Paraguay

One of the

many reasons why I do art is because

I believe that it is time to rescue the symbolic from the

overflow of age of information. The act of creating fantastic or surreal

imagery is not escapism, but a way to process our life experiences through

the lenses of not only a beautiful, but also powerful visual system. I believe

this perspective rescues the beauty of the tragic and the profane. This is the

peacock’s tail, the Cauda Pavonis of the alchemist, the moment our eyes

are open and we see the colors of the world, to find meaning

and purpose in each step of our lives.


«Portrait of a

Black Magician»

Acrylic, oil,

collage on board

12 x 16 inches


Timea Tallian

England

Symbolism for me is a subject close to home, touching the core. Emotion or the

inner world is like an invisible painting medium. As in Pygmalion´s famous myth,

the artist brings life into the work through a mixture unique, honest and personal

feelings – painful in their intensity. The heart bursts open und reveals itself through

the creation.

It doesn`t matter if it is painting, writing, gardening, cooking, sewing, carving or

doing any kind of handy craft with devotion. If it is done with a honest open heart, I

am convinced that Magic can happen and “the thing” becomes alive.

In Nature Spirit, I made use of natural materials such as leaves and twigs, which

I have collected in places where nature embraced me strongly and deeply: my

childhood forest in Vienna, Hampstead Heath in London and Torri in the Italian

Alps.


«Nature Spirit»

Pencil & pastel on

airbrush collage

20 x 27.5 inches


Vladimir Ovtcharov

USA

As an artist I

like to use different symbols in my paintings

. Symbols are telling a whole story by using just a single image,and

this is the beauty of it! Using symbols we can tell stories that can’t be seen

directly and make viewers to think and imagine and make their own story

when looking at the paintings!


«To Care For»

Acrylic & goldleaf on wood

11 x 14 inches

«The Bee Queen»

Acrylic & goldleaf on wood

14 x 18 inches


Yoann Lossel

France

Symbolism allows

us to transform an image

into more than an image. I have

the feeling that it communicates

with something deep and ancient that

we have in common. The myths evolve,

keeping their roots transmitted by the

symbolisms of each period. By using a

symbol, it tells us something of its

origins, of an ancient time.


«Heorot»

Graphite,

hydrangeas petals,

gold, silver and

copper leaf on Arches

paper

12 x 14 inches


Yuko Ishii

Japan

The core of my creative passion has been always ‘healing’ since I started my

career as a full-time artist in 2004. My healing pyramid is simply art that is born

out of my pure creativity. The process of creating art is also meditation that is

healing for me. Thus, what my specific intention of the healing pyramid is to share

unconditional love, peace and harmony with those people who need some gentle

healing energy through art in their everyday life.

At the spiritual level the pyramid is a symbol for the integration of self and soul.

In dreams the pyramid can stand for the death, but it also contains rebirth. When

I meditate by interacting with the healing pyramid, I sense that the pyramid

is becoming a kind of cosmic antenna that tunes into vast energy sources and

generates a certain frequency. In the air around and within the healing pyramid,

the received energy transmutes itself into a magnetic field. My alpha waves become

much stronger and meditation becomes deeper so that I may even be able to access

Akashic Records and achieve a higher state of consciousness.

The healing pyramid acts on the spiritual level, and also on the emotional level to

release negative feelings and to enhance positive energy. I believe everyone has a

psychic ability to unlock the secret codes of the universe, and we have a power to

heal ourselves alone.


«Healing Pyramid»

Mixed media assemblage

24 x 8 x 8 inches


copyright 2017, All rights reserved

Liba WS

A Dreams and Divinities book for Krab Jab Studio

www.dreamsanddivinities.com


KrabJab Studio

5628 Airport Way S #150, Seattle,

WA 98108, USA

+1 206-707-9311

www.krabjabstudio.com


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