Nelson Mandela Keyboard Portraits by Guy Whitby
“I hate myself for scrolling past things I care deeply about
out of fear that I will be unfollowed if I share them.
I don’t want to glance at your name on my chat
sixteen times in a minute, waiting for you to answer
my message. I don’t want to fear that you dislike me
because you saw my message and didn’t reply.
I don’t want to delete a photo if it doesn’t get enough likes.
I don’t want to worry about “cool” or “popularity”
or anything that is happening on a screen, but I do.
I care too deeply about the world I have created in my head
and how people I have never met, and likely never will, see me.
If I delete my blog, will a large part of my personality disappear too?
I want to be known as more than a collection of selfies
of my good side and things I like, so hi, how are you?
Truth: I have lived in twelve houses and still haven’t found “home.”
Truth: I have stacks of books I’ve collected at used bookstores
across the state, but choose watching T.V. over reading them.
Truth: I thought my friend’s nail biting habit was disgusting
when we were thirteen. Now it’s mine. Truth: my type is “more interested in smoking a cigarette than kissing.” Truth: I am married to nostalgia, sorry if you’re trying to get with me.
Truth: It’s nice to finally meet.”
Rebecca Reeve - Marjory’s World (I and II)
"The miracle of light pours over the green and brown expanse of saw grass and of water, shining and slowly moving, the grass and the water that is the meaning and the central fact of the Everglades. It is a river of grass." — Marjory Stoneman Douglas
Marjory’s World is a series made during my AIME residency in the Everglades in December 2012. It draws inspiration from a practice in late 1800s Holland, where-by during the wake of the deceased, it was customary to cover all the mirrors, landscape paintings and portraits in the home with cloths. It was believed this would make it easier for the soul to Leave the body and subdue any temptations to stay in this world.
The ritual seemed, by extension, to be a confirmation of the deeply moving experience that one often feels in the natural environment, and thus provided me a Literal and contextual frame within which to shoot the Everglades. The curtains, all purchased from Goodwill and Salvation Army stores in south Florida, represent a ‘social fabric’ with a history already attached to them. In our increasingly urban existence that ever distances us from the wilderness experience, the drapes serve as visual connectors to the familiar. “
You’ve provided outstanding company, alcoholic beverages and nothing short of love.
I’m so grateful for you.
“…compassion isn’t a sign of weakness, but a mark of civilization.”
Amie Dicke’s Sand Abrasions