ISSUE 29September 2014

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FounderMark Doyle

Editor - tribe magazineEmma Scott Sub EditorRosemary Long EditorsPeter GriffithsDani ParrySam RoweDan McClusky Fashion EditorStacie Clark Creative Writing EditorRichard Thomas

ContributorHelen Moore

CorrespondentsNatalie Wetzel - USASarah Ahmad - IndiaChristine Platt - Canada WritersGlyn DaviesAimee Dewar

Marketing and PRSteve Clement-LargeRebecca Sharpe Email: [firstname]@tribemagazine.org Submit Worksubmit@tribemagazine.org Contact Uscontact@tribemagazine.org

tribe is an international creative digital publishing platform.'An Index Of Possibilities'

www.tribemagazine.org

 youtube.com/tribezine

 ISSN: 2050-2352 (c) 2014 tribe

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Artists have given permission for their work to be displayed in tribe

magazine. No part of this publication may be reproduced without the

permission of the copyright holder(s)

If you would like to contribute art or articles to tribe magazine, then please

send us an outline of your article to our main contact email. If you would

like to submit your artwork, then please send us up to 8 samples of your

work to: submit@tribemagazine.org

 

We have a rolling submissions policy and accept work at all times and

throughout the year. Further details can be found on the contact section of

our main website, or by emailing us at: contact@tribemagazine.org

 

tribe is committed to working with creative organisations and individuals,

to help promote awareness of their work, to promote best practice and

collaborative working. If you would like to work with tribe then please

contact us, we would love to make a connection.

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Gabriel Folligabrielfolli.wix.com/gabriel-folli

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The All Nations Bar

By W. Jack Savage

It was freezing cold outside and we were drinking in what we called the All-Nations Bar. We got talkin’ to this black fella who you could tell was a bit older then he looked. We were hearing about the old days and it bein’ real cold. So cold that if you found a place with a pot belly stove you just stayed there all the time. There was a kid, he told us. He couldn’t even remember how he got there or who he was with. Didn’t know his name either but he was small enough to get between the stove and the corner. People started calling him ”Sit-behind-the-stove.” “Hey”, they’d say, “sit-behind-the-stove, what’s your name boy?” He didn’t know it so that became his name: Ole-sit-behind-the-stove. We had a couple more drinks and headed out. On the way home Jesse said…”That was him; that was “Sit-behind-the-stove.” It could have been, I suppose.

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Silvere Jarrossonwww.silvere.fr

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Recently public campaigns for awareness about mental health have been launched across Canada. Six-time Olympic medalist in cycling and speed-skating, Clara Hughes, took an epic ride across the country this year discussing mental health in small communities along her road in an attempt to raise awareness and reduce the stigma. Major corporations have also started adding mental health awareness campaigns to their rosters of human resources initiatives. Art institutions and galleries have also lately been launching a plethora of exhibitions on the topic. While helping to raise awareness around mental health as a universal aspect of the human condition worth investing in, these large, public presentations of mental health in the artworld could be problematic as some posit arts professionals as therapists. Can art be successfully employed as a formal tool for gaining and maintaining mental health?  

Two of the recent major exhibitions in Toronto have had art therapy not just as a topic, but as an aim. At the PowerPlant gallery, the internationally acclaimed work Sanatorium by artist Pedro Reyes was exhibited alongside several other psychologically themed pieces.  In Sanatorium the artist essentially engages visitors as patients of a sanitorium undergoing therapeutic treatments to help with the difficulties of urban living. Whilst the project brings attention to the challenges most people experience living in cities today, the “treatments” set-up a medical atmosphere without any actual medical professionals. Engaging visitors in typical therapeutic techniques without any properly trained practitioners is a dangerous project, as participants could enter fraught territory without a guide to ensure their safe passage. The installation could have commented on the field of mental health, but instead it appeared to be borrowing from the field with potentially dangerous consequences. Additionally, this artwork seems to reinforce the notion that to approach mental health requires medical attention, instead of the reality of trained therapists and social workers who often help people gain and maintain a healthy mental state than medical doctors.

The Potential of Art and Therapy

Christine Platt

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Another exhibition which is traveling around the globe and landed recently at the Art Gallery of Ontario was Art as Therapy curated by philosopher Alain de Botton and John Armstrong. This exhibition posits that viewers can approach certain artworks as therapeutic tools if guided to do so. As a general premise their idea has legs. There are trained art therapists who do enhance their practice through the use of art, whether it be guiding users to create or helping them to reflect on artists’ creations in relation to themselves. However, here again we have untrained individuals attempting to borrow from a complex field to create a program of therapy in an atmosphere that has no regulation or protection in place for the participants. Additionally in this exhibition participants encounter cure-alls, which again reminds one of the medicalized version of therapy in which a magic pill will fix your problems. In fact, while mental health practitioners employ

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general concepts in their work, they do so in a highly personalized fashion as each human mind requires this individual attention. Art therapists in Canada must now have not only a certification in art therapy (two year program), but also a full degree in psychology. These legal requirements illustrate the importance of engaging with trained therapists when in the field of art and any field for that matter. The fact that we have regulated, trained art therapists does show, however, that art can indeed be therapeutic. Traditionally art therapy involved engaging participants in creating art. Artists have arguably been creating art as their own, personal therapy for millennia. Local artist Janieta Eyre explores and works through her life’s trauma partially by creating art with a successful market following her. I too explore psychological topics through art in series on topics such as Rorschach Tests (Inkblot tests) and exploring psychological complexes. Viewing and relating to an artist’s psychological journey or reflecting on psychological history and concepts are generally safe and interesting approaches to mental health in the arts. The makers and exhibitors have expertise in this style of approach, and they encourage viewers to reflect on the importance of mental health without attempting to “fix” the viewer in the process. Just as with literature, viewing individual artworks can help us to reflect on wider phenomena as well as personal

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realities. In a recent exhibition of works by Francis Bacon and Henry Moore at the Art Gallery of Ontario, text panels pointed out how the artists employed art to deal with the trials and tribulations of their personal lives and their difficult living environment through World War II. Further exploration of this theme through the exhibition texts could have brought wider positive attention to art’s therapeutic applications, without endangering the visitors’ own psychological well-being. Clearly the intentions and communications of the purpose of a piece of art or an arts-related activity play a large role in the level of safety and the potential for positive impacts. Another area where art and therapy have been crossing lately is art collecting. Therapists and medical institutions collect and show art to enhance the overall environment for their users and patients. Organizations like the Art for Healing Foundation in Canada have been working with hospitals to collect art to specifically enhance the healing of their environment. Hospitals also collect art to enhance learning in their environment. Arts professionals have a role to play here as they can help mental health practitioners discover artists, learn about artworks on multiple levels and gain access to artworks. Individuals collecting art also have the potential to employ their collections for therapeutic uses; they too donate works for use in mental health practitioners offices, programs and research facilities. Moreover, reflecting on your own art collection can certainly provide insight into your own mental state as intimated by one local collector who found his collection both revealing and helpful on his psychological journey, which included the guidance of a professional mental health practitioner.

Canadian arts professionals, viewers and collectors all have demonstrated that they want to engage on the topic of mental health. Great potential for learning about, reflecting on and maintaining mental health through the arts exists. Nevertheless, a careful approach in how the artworld utilizes and presents mental health would benefit everyone so as to keep people safe and truly help them on their psychological journeys. <

christine@tribemagazine.org

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Sarah Julien

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First passionate about painting, Clarisse has gradually turned in fierce self to photography. In 2012, she presented her pictures for the first time in a competition and won the Central Price Dupon. Since then, she has devoted herself entirely to photography. Without putting aside his life photography, his work revolves around today especially staged sensual and humorous.She then plays with relish troubling changes in scale. Figurines or insects seem alive, even on a human scale, as the illusion of their actions is palpable. A look at these scenes, we can no longer distinguish what is real and what is artificial, as our view the world is disturbed. She knows well, thanks to its humour, amaze us with his playful approach and surprising the world. D'abord passionnée par la peinture, Clarisse s'est peu à peu tournée, en autodidacte acharnée vers la photographie. En 2012, elle présente ses photos pour la première fois à un concours et remporte le Prix Central Dupon. Depuis, elle se consacre entièrement à la photographie. Sans pour autant mettre de côté sa photographie de la vie, son travail s'articule aujourd'hui plus particulièrement autour de mises en scène sensuelles et humoristiques. Elle se joue alors avec délectation de troublants changements d'échelles. Des figurines ou des insectes paraissent vivants, voire à taille humaine, tant l'illusion de leurs faits et gestes est palpable. A regarder ces scènes, on ne sait plus distinguer ce qui est réel de ce qui est factice, tant notre point de vue sur le monde est dérangé. Elle sait ainsi, grâce à son humour, nous émerveiller par son approche ludique et surprenante du monde.

Clarisse Rebotier

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Clarisse RebotierIn collaboration with Thomas Subtilwww.clarisserebotier.com

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Gavin EvansMy unconventional initiation into photography would come to inform my future practice. By chance I discovered a neighbours portfolio whereupon I was confronted by images of contorted figures languishing in tropical foliage. Glittering glass fused with flesh eluded explanation. I was seduced by the Kodachrome palette of sanguine reds and emerald greens. These extraordinary images, terrifyingly beautiful, were the keepsake of a retired forensic photographer from the Bermuda Police Force. The visceral, abstracted photographs were of knife attack, gun shot and car crash victims. At once I understood that no topic was taboo and no subject sacrosanct. The photographer could ask any question and the lens could be trained in any direction. Conventions and boundaries could and must be examined.

The ‘portrait’ came to be a reoccurring theme throughout my practice. Here I’m at odds with my contemporaries. I refuse to perpetuate stereotyped ideals of beauty or gender. I do not subscribe to the doctrine that the portrait captures the essenceof the subject in one immaculate shot- I possess no powers of divination. The subject is the manifestation of the photographer- both personalities reside within the frame. My portraits and Biopic series refute the dogma of ‘one defining image, one decisive moment, one truth’.

Touch, an ongoing study of ‘personal space’ and boundaries began in 2005. The subject, without instruction or direction, places my hand in the frame and in doing so illustrates their ‘cultural and psychological limits of connectedness’. Extensive case studies of groups such as Glasgow’s homeless and India’s ‘Other Backward Classes and Untouchables’ have revealed remarkable collective characteristics and commonalities. Social and cultural attitudes towards the body, voyeurism and nakedness are exposed in Naked Touch. Throughout Touch the convention that the photographer should remain inconspicuous is contravened as I am present in every image leading the viewer into the frame.

In my current project Diving ‘singularity’ is employed as a method to deliver an uninterrupted chain of events; one artist, one subject, one camera, one light, one musician. Diving is composed of nine silent cinematic movements filmed in slow- motion. Each ‘movement’ is a portrait of an individual who has undergone extreme, often unimaginable, life changing experiences. HIV, addiction, violence, trauma and paralysis are some of the issues explored. Diving is accompanied live by a musician who conveys the emotions as they unfold onscreen; film and music are both intrinsic and inextricable. Throughout Diving the unquestioned trust between artist and subject unlocks moments of profound intimacy as suppressed or harboured emotions surface. These shared moments engage the audience in catharsis, reassurance or self-reflection.

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www.gavinevans.com

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…is the new black

greed is the new black;wraps of corner, of snug bar seclusionstitched into bent backs and the odd hunch,smacking of derision to the folks on the hillwho take all, grope at the edges of coat pullsand yank in vain to plastermaterial over a thirty year paunch,hunger with an attitude of rustique patches.

dirt is the new black;soiled undergarments soggy with October dewas the scruff of your groin is plonkedon the stone steps now used as an entrance to McDonalds,warmth is an enemy here with no understandingof the rumbling chords of penny snatched hungerand death defying leaps from the arms of Old Billand his sniffer dogs.

Grant Tarbard

Grant Tarbard worked mainly, in his younger days, as a computer games journalist and a contributor to football fanzines. It was when he was 14 that his epiphany came after a chance encounter with Allen Ginsberg on 4am TV. He is now the editor of The Screech Owl - www.thescreechowl.com - His work can be seen in such magazines as The Rialto, The Journal, Southlight, Sarasvati, Earth Love, Mood Swing, Playerist 2, The Open Mouse, Miracle, Poetry Cornwall, I-70, South Florida Review and Decanto.

Illustration by Daniel Morris

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Richard Jochumwww.rjochum.com

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Ana Cristina Rodrigues

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My work falls into two broad categories or series, my "Walkabout" series based on scenes encountered in my travels, and my "Home is Where the House Is" series of houses. Here are rationales for both series, taken from my current show in San Clemente, CA:

The Mystery of the Ordinary (Walkabout Series)

My paintings are documents of things looked at but not seen, the ordinary environment that we live in but seldom examine closely. I believe that by close observation, which is necessary to translate source photographs to canvas, I can begin to ­uncover the grace that is hidden in the things around us. The paintings are my way of bearing witness, and of making ­people stop what they’re doing and pay attention, to something they may have never seen before, but that makes them feel “I know this.”

My subject matter is derived from photographs I have taken over the past 40 years. Some older images may appear ­nostalgic, but that was never my intent. 

I am a self-taught artist. When not wandering about looking for ordinary mysteries, I live and work in Costa Mesa, CA.

Home is Where the House Is

I have always been drawn to images of houses. My first paid work as an artist involved making pen and ink drawings of ­people’s houses while on vacation one summer in Maine, which I sold for $15 apiece. I am currently working on a series of paintings of simple, ­ordinary houses, ones without grand architectural pretensions. Rather, their importance derives from the lives lived within them, of which we see very little. The houses are from a ­variety of locations in the United States and Mexico. They are, in a sense, the places we all grew up in, places of nurture, ­experience, trial, memory and forgiveness.

Michael Ward

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www.tmichaelward.com

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I am very passionate about creating work that moves people to feel and wonder. Work that is important and will stop

people in their tracks. I also seek to create art for my own peace of mind, a selfish need to release my burdens.

This body of work 'Religious Undertones' is very personal andintrospective. I sought to speak of my own beliefs and

experiences,both on a religious and spiritual level.

At a very young age I was introduced to a religious group and was a part of it for many years. This work represents the

emotional and difficult journey undertaken during those years in which I began to question my self­ worth and belief systems

in an environment that was made to stifle and squash a person's spirituality and confidence.

Peggy Pullen

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Religious Undertones

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peggymphotography.carbonmade.com

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Cedric Gigoux

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BRAIDInterview by Richard Thomas

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BRAIDInterview by Richard Thomas

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Let’s get the obvious question out of the way first. After

sixteen years since ‘Frame and Canvas’, how did the

decision to record a new album come about?

In 2010, Chris Broach and I were DJ-ing a punk night

at a bar here in Chicago and we just up and decided

that we should start making music again. Originally

we wanted to do a new Braid 7” for the next year’s Record Store Day. We didn’t get it done in time, but

that is what became the Closer To Closed EP. When it

became clear to us that being in a full-time band

didn’t necessarily mean being in a band ‘full-time’, we

decided to focus our efforts on putting out a new full length.

How did recording ‘No Coast’ compare to previous

recording experiences? Could you talk us through the

process a bit?

It was a lot like the recording of Frame and Canvas,

actually. It was quick. We did a weekend in

Philadelphia, where we tracked the drums at Will Yip’s

studio, and then we took a week to record the rest here in Chicago. Lately, bands take months and

months to finish up a record. It was important to us to

keep the energy and urgency high throughout the

process.

Will Yip has some strong credentials as a producer of

rock and punk music; how did you find working with

him? Did his presence inspire or help shape ‘No Coast’

in any way?

We loved working with Will because he kicked our

asses to make sure that we made the best Braid

record that we could. We didn’t get too bogged down

in gloss or production and instead made sure that the

energy was there and that the takes were on point.

What about the process of writing a song? Do you have

a particular formula, or does it tend to be spontaneous

to the moment? I wonder, too, if when writing a song,

you consider it to be part of a larger whole - to be part

of an album - and whether that influences the way it turns out?

There is a formula only in the sense that you have to

be in the right frame of mind to start writing, and that

is different for everyone. After you set your scene, so to speak, then it’s spontaneous. Whatever happens, you

consider it, and if it sticks, you start building on top of

it. When the whole thing starts to take shape and you

can picture how it may look in the end, that’s when

you start adding vocals, lyrics, and a theme. Very rarely do songs get created to fill a specific need on a

record. That said, the song ‘Bang’, for instance, was

written specifically to be the first song on the record.

We thought we needed a good re-introduction.

Indeed, and it’s hell of a re-introduction. As time goes

on, all artists become exposed to new sources of

inspiration; is there anything you have been listening

to/watching/reading that has recently made an

impact on your musical and lyrical output?

Odd as it may seem, probably podcasts! I listen to

(and watch) a ton of ‘em. This American Life, How

Stuff Works, Ted Talks, Risk, Rick Steves. I find a lot of

them very inspirational. If I’m stuck for some reason, sometimes hearing a good true story or a travelogue

will snap me out of it.

I was definitely not expecting that answer! How did

you find playing the new album on your recent tour? Are there any songs you particularly enjoy playing live?

We’re loving playing the new songs and gauging

reactions. ‘Bang’ is always fun and so is ‘This is Not a

Revolution’. Any time you can add some new flavour into your set and it seamlessly fits, it’s exhilarating.

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How about the old songs? Do you find you enjoy

playing them any more or any less as time goes on?

More! And we’re always going back to the well, so-to-

speak, for old songs to resurrect. We’ve been playing

‘Divers’, for instance, on this past tour - haven’t played

that since at least 2004.

What makes for a great live experience for you? Are

there any favourite places amongst you that you like

to play? Have there been any stand-out gigs lately?

A great live show is one where there is a connection between you and the crowd, almost as if you yourself

are in the crowd as well. That sounds nuts, but it’s

true. Often times I think about what I would be feeling

if I was watching Braid play as we play. And then I

have license to jump around a lot more as opposed to if I was in the crowd. Lately I’ve been loving playing

NYC. Always a good time there. And on this last tour,

DC was a ton of fun.

You must have some fun anecdotes from being on the road recently; care to indulge us?

Well, after our NYC show, Chris and I played guest DJ

at a bar in Brooklyn until 3am, then when we got to

the hotel that night, they had given away our rooms, so we ended up driving all night trying to find a hotel

– ended up just driving to Philly, where our next show

was. I got to sleep at 10am – and had to get up at 1pm

because we had TWO shows that day in Philly, and

doors for the first one were at three. We worked hard on this past trip.

You seem to be a band that really thrives on playing

live, but do you have a preference between studio and

stage at all?

Stage by far. I like the quickness and spontaneity of it

all. In the studio, there’s too much time to second

guess, ruminate, ponder…

That makes sense. I was wondering how having band

members in different states affects the band; does it

ever get tricky?

We just need to make sure our schedules are

coordinated and then we’re golden! We’re all super

busy, so as long as we’re all on the same page, living

in different places isn’t too rough.

Lastly, then, what’s up Braid’s sleeves for the future?

Can you give anything away like that, or are we going

to have to be patient bunnies?

We do plan on getting started on writing a new record ASAP, but there is no timetable yet so you may need

to wear your patient bunny pyjamas. <<

‘No Coast’ is available on vinyl and CD, as well as digitally from www.topshelfrecords.com

Braid on the web:

www.braidcentral.comwww.facebook.com/braidcentral

www.twitter.com/braidcentral

www.instagram.com/braidofficial

Richard Thomasrichard@tribemagazine.org

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I sought for a subject, that should give equal room and freedom for description, incident, and impassioned reflections on men, nature, and society, yet supply in itself a natural connection to the parts and unity to the whole." Samuel Taylor Coleridge This project is a documentation of a short stretch of the River Medway after terrible winter flooding. The remnants and traces of detritus and debris talk of the throw away nature of man while the flood itself highlights the destructive nature of the elements perhaps also caused by the intervention of man. With the use of long exposure I wanted to somehow recreate the feeling and movement of the swirling water as it deposited the plastic bags, paper, clothing, fishing line and many other myriad of odds and ends that get discarded everyday.

Fleur Alston

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cargocollective.com/fleuralstonphotograph

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My name is Telmo Pieper. Im 25 years old and was born and raised in Rotterdam, The Netherlands.

At the start of this "Kiddie Arts” series, my painting style was all ready towards realism and i’m always in search of new subjects for creating new work. So one day I was looking true my old childhood drawings again that my parents kept for a long time and saw al these strange creatures, handicapt animals, square cars and unliveable houses and it just came to me that it would be awesome if those were real.

Because of this project I payed a lot of attention towards kids drawing. Its so fascinating to see how they draw without thinking and much more just doing. And when we get older we are trying to think to much not only with drawing. So nowadays with creating i’m trying to think less and just do more.

And one of the best parts of the project was that I could work together with the younger version of myself.

Nowadays i’m part of the street art duo ‘TELMO MIEL’ together with Miel Krutzmann. Our main business is Painting big murals inside and outside of Europe.

Telmo Pieper

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www.telmopieper.com

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www.endaodonoghue.com

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Cristiana Gasparottowww.cristianagasparotto.com

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A POETIC RENDITION OF TODAYSarah Ahmad

I do not know what I write, yet I do, I fill up pieces and

spaces with words; black, dotted things on still stained screens, somehow, these spaces of light, dim

away, fading into words of black and white, I am

almost lost again, almost not getting there, scripts

and lands around me quiver away, while I stop and

stare, here, sitting all alone, trying to frame stories, lines, and clearing senses, I write patterns and blocks,

I write about a day, a plot.

Again the darkness falls upon a day so bright like this,

I turn around for a second, blue and vain, snow days

will come another time, I fight the humid, the sun stroked skies, falling, deepening into today, into lives.

I belong to colour, to black and white and prose, I

walk by empty spaces, and filled up notes, yet there

hangs a sense of going, of belonging, of trying

strophes, I hang a painting, nail the nails, a stroke of paint on white canvas boards, on walls now, of white,

of blue; four inch blocks of solid mould.

This piece of word may lead to this one, so to this too,

I write to stay away from the flu, from noon to

evenings, from abbreviated systems, emptiness and moor. Lack of time, space and crime, they live, they

taunt and play, I am intoxicated by sounds of distant

shores, of people closer and empty ploys, yet I try for

numbness now, I try earth and shine, shift around,

from frail sounds, closer to darkness and haze. Hazy summer days, monsoon sheets of frosted glass,

clearing drops of water paths, which they walk by,

wetness, shoe marks, vanishing under rays and sunny

days, I carry memoirs, little leaves tucked in books

and pleated yellowed pages, looking around there is hope and lines of blinking, sly strobes; pleading,

lounging, bulging clouds, drips of winter and sounds

of wet, light shrouds.

I walk by streams of people, some glance some do

not, leather boots and shortened clues, triplets and

white car lights, cobbled squares, tilted, waddling away, a time comes of nothingness, of frail dark

mimes, locking me inside, screaming, sipping air blue,

playing, clasping to slight voices of truth.

Canvas, bricks and mortar, surround the earth I stand

in, so do paints of thick paste, bottled, shelved, strewed. I walk by incomplete walls and complete

nuances, musings they say, they cry for today, for

today has been gone, covered in callous marks of red

clay-black stone, pounding of hate and misery hails

from tremulous corners, while hope strays past it, crying voices of righteousness and revelry.

It all comes back to me, sunny spots of sunshine in

the morning, to trails of dust in the middle of the day,

houses, beams and metal rods, piercing, ajar,

uncovered mounds of earth. Here I stand, taking down notes on lined pages of white, as I talk, they do

too, glow worm things and pasty powdered solids,

wood with legs and arms, transparent things on backs

and miser clacks.

Opening another page, then another one, as I go by the day, a minute fails upon an hour, to thunderous

voices of grey clouds upon violet lit nights, red

streams of puffed smoke lay on gruesome skies.

All the way into the night, there still sways around

those windy corners, a kite’s string, I see concrete and metal around, shaping, galloping, playful and

miniscule voices of childhood.

Winds crash against the glass, pushing sounds of

smatter and change, swooning tree tails and

slithering dried leaves on pavement stills, the day into the light, now into dark dusty skies, flicker of lights,

airplane gleams, sparks of fiery fire dots; the darkness

erupts with voices.

Today is like yesterday, however distant, however far

away, sun rays of yellow with pitter-patter of raindrops, half drenched stone, drying, flying,

humming away. I try to live in a different voice, make

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space among hammers, nuts and bolts, ply boards

and carpenter’s tools of rust and gold.

Piling on, all of it, things and thoughts and bits of writs, screaming, slaying passages of toughened glass

panes, breaking away, never, clasping onto seemingly

boisterous voices of selfishness. I leave all that

behind, as years pass by without him, his words seem

to ponder in our minds, drips of thoughts spreading their wings through our life, forever, slivering into

larger stories, told, untold, familiar.

I don’t know how people stay strong to tell their

s to r i e s , m e m o r i e s t h e y ca r r y fo r m w o rd s

unfathomable, words of wisdom and that of glory, of chambers they were locked in and got out of, street

light study days penning down battered, quiet,

nonsensical greys.

I get lost in that world again, staring at thoughts of

yesteryears, today has been, of art and heart and things between, of chaos and pondering, wandering

clouded mists, in minds and streets and skies above,

today has been like yesterday, smelting, creating,

voices apart, growing into hours, melting into passing

showers.

Sarah Ahmad

sarah@tribemagazine.org

Photo credit Kenny Murraywww.flickr.com/photos/kenny_murray

tribe issue 29 114

Elena Halfrecht