Loading Video . . . Multidisciplinary artist Lauren Ferebee created this theatrical film in response to Psalm 107:23-32. Psalms 107:23-32 Wonders of the Deep By Lauren Ferebee Credits: Curated by: Spark+Echo Arts 2015 Short Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I set out in creating this piece to make a theatrical film – since I am primarily a theatre artist, I wanted to retain elements of the theatrical, but wanted to create a response to this verse that could be fully experienced by anyone who interacted with the work via the website. In reading my section of Psalm 107, I was struck by two major elements: the importance of water and travel in the merchants who go out on this journey to another shore, and the way that God chooses to show his might: by bringing them to their knees and then guiding them to safer shores. The first image I had was a woman in red, standing in the middle of a river with a suitcase, uncertain of where her journey will take her. The second image was an origami boat. These two images became central to the visual narrative of the piece. I think what emerged out of that, on a personal and artistic level, was the theme of uncertainty. When we set out on journeys, we have a false sense of knowing where they are going, how they will turn out. What this psalm teaches is that none of us know what may happen on that journey, or how the experience of the journey will affect us, or whether, at the end of it, we will look back on the journey and regret it. All we know is that the pieces (some might say wreckage) of the lives we have made for ourselves inevitably finds its way through with us, and ultimately, we must discover what we will keep, what we will give away and what will follow us no matter how much we try to leave it behind. Spark Notes The Artist's Reflection Lauren Ferebee is a Texan native and a multidisciplinary artist whose primary mediums are playwriting and installation/video art. Most recently, her play The Reckless Season was selected for Stage West’s Southwest Playwriting Competition Festival of New Works, and her alternative screwball comedy Sexual Geography was a finalist for the Reva Shiner Comedy Award at the Bloomington Playwrights’ Project. In 2014, she was a juried fellow at Saltonstall Arts Colony, a semifinalist for the Shakespeare’s Sister fellowship and the first theatre-artist-in-residence at HUB-BUB in Spartanburg, South Carolina, where in addition to writing, she did community-based theatre work. Her most recent work includes Sexual Geography (developed at HUB-BUB), The Reckless Season (The Spartanburg Little Theatre/HUB-BUB), Somewhere Safer (FringeNYC 2013, Inkwell finalist), and Blood Quantum (At Hand Theatre & WET Productions). Three of her short plays, jericho, jericho , Bob Baker’s End of the World and The Pirate King are published online at indietheaternow.com , where Somewhere Safer is also published as part of the 2013 Fringe Collection. She is a member of playwriting collective Lather, Rinse, Repeat, and studied playwriting, screenwriting and television writing at Primary Stages/ESPA. Lauren also has regional and NYC credits as an actress on stage and in film, and from 2007-2010 was co-artistic director of a site-specific classical theatre company, Rebellious Subjects Theatre. She especially enjoys acting in and teaching Shakespeare and working on new plays. She holds a BFA in drama from NYU’s Tisch School of the Arts. Website Lauren Ferebee About the Artist Artist in Residence 2016: Lauren Ferebee Part 1 Artist in Residence 2016: Lauren Ferebee Part 2 Artist in Residence 2016: Lauren Ferebee Part 3 while in a foreign land Artist in Residence 2016: Lauren Ferebee Lauren Ferebee Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

andrew-schmidt_revelation-16-1-17.jpg Andrew-Schmidt_Revelation-16-1-17_Detail-1.jpg Andrew-Schmidt_Revelation-16-1-17_Detail-2-588x391.jpg Andrew-Schmidt_Revelation-16-1-17_Detail-3-588.jpeg Andrew-Schmidt_Revelation-16-1-17_Detail-4-588x391.jpg Loading Video . . . Artist Andrew Schmidt uses graphite, marker, pen, and ink to explore God's wrath in response to the theme of "Destruction" and Revelation 16:1-17. Revelation 16:1-17 Revelation 16:1-17 By Andrew Schmidt Credits: Artist Location: Michigan Curated by: Evelyn Lewis 2014 15 x 19 inches Graphite, Marker, Pen and Ink on Paper Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I chose this passage from Revelation because I wanted to illustrate the Wrath of God in a more modern approach. The style of the piece is my take on old natural science illustrations and alchemy diagrams of the Heavens. The geometric shape in the center represents God as a continuous form that has seven points or aspects; these then become the vials that contain God's Wrath. The individual Wrath's themselves reminded me of many modern problems we face today such as disease, pollutions, drought, and wild fires. These are all pressing global concerns that are foreshadowed in the Bible on the path to Armageddon. Spark Notes The Artist's Reflection Andrew Schmidt (b. 1989) is an artist from Ferndale, Michigan. He received his MFA in Sculpture from Cranbrook Academy of Art (2014) and BFA in Sculpture + Extended Media from Virginia Commonwealth University (2012). He has shown in Detroit, MI, Philadelphia, PA, and New York City. Website Andrew Schmidt About the Artist Andrew Schmidt Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

steve-forster_prophecy.jpg Loading Video . . . This surprising work by artist Steve Forster responds to 1 Corinthians 13:8-12. 1 Corinthians 13:8-12 Prophecy By Steve Forster Credits: Curated by: Charis J. Carmichael Braun 2013 28 x 56 inches Oil on Linen Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away." 1 Corinthians 13:8 Empty space, blank unpainted canvas, is a profound reversal of chaos. More effective than erasure, it is as if the history never happened. An age passes away and becomes undone. Spark Notes The Artist's Reflection Steve Forster received a BFA in Painting from the University of North Florida and an MFA in Painting from the New York Academy of Art (NYAA), following two years of study at the Florence Academy of Art in Florence, Italy. Forster utilizes the variety in his artistic training to his advantage, making paintings that are definitively contemporary and simultaneously aware of context informed by art history. A love of paint and craft combines with a flair for the theatrical to create paintings that move the viewer while still leaving unanswered questions. Forster works in New York as a painter and painting instructor at NYAA and at the Long Island Academy of Fine Art. Website Steve Forster About the Artist Steve Forster Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This quirky one-act play by playwright Adam Szymkowicz, performed in this audio recording by a talented group of actors, responds to the book of Titus as a whole. Titus 3:15 Titus 1:15-2:8 Titus 3:1-3:7 Titus 1:1-4 Berbert By Adam Szymkowicz Credits: Playwright by Adam Szymkowicz CAST: T by Anna O’Donoghue CAST: Angie by Nandita Shenoy CAST: Paul by Robert Manning, Jr. CAST: Berbert by Michael Markham Curated by: Michael Markham 2018 One Act Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In my play, I reset Titus in a corporate setting-- Instead of setting up churches in Crete, "T" is tasked with hiring a new staff at an unnamed office. To me, Titus is about figuring out how to build human organizations correctly and I thought that was apt as in offices all over the country people are aligning mission statements and figuring out best practices. But we are human, and we do not always succeed in the ways we want, as "T" shows us. And it's also possible to fail when you lead with love. But we try all the same to do good, don't we? Spark Notes The Artist's Reflection ADAM SZYMKOWICZ ’s plays have been produced throughout the U.S., and in Canada, England, Wales, The Isle of Man, Ireland, The Netherlands, New Zealand, Australia, Germany, Greece, Mexico, Turkey, Switzerland, South Korea, Thailand, Sweden, Austria, Slovenia and Lithuania. His work has been presented or developed at such places as Portland Center Stage, MCC Theater, Ars Nova, South Coast Rep, Playwrights Horizons, LCT3, LAByrinth Theater Company, The Lark, Rattlestick Playwrights Theater, Primary Stages and The New Group, among others. Published plays include Deflowering Waldo, Pretty Theft, Food For Fish, Hearts Like Fists, Incendiary, Clown Bar, The Why Overhead, Adventures of Super Margaret, 7 Ways To Say I Love You, Rare Birds, Marian Or The True Tale of Robin Hood, Kodachrome, Mercy, The Book Store, Old Fashioned Cold Fusion, The Parking Lot, The Night Children, Clown Bar 2, The Wooden Heart, Stockholm Syndrome, 100 Things I Never Said To You, 100 Love Letters I Never Sent and Nerve . His plays are published by Dramatists Play Service, Concord/Samuel French, Playscripts, Broadway Play Publishing, Theatrical Rights Worldwide, Stage Partners and Original Works Publishing, and are featured in numerous Smith and Kraus and Applause books. His monologue book, Small Explosions comes out from Applause in 2023. He was the premiere Resident Playwright at The Chance Theater in Anaheim, CA and the first playwright to participate in Bloomington Playwrights Projects' Square One Series. He has been to The Orchard Project and to JAW at Portland Center Stage, served twice as Playwright in Residence at the William Inge Center, and took part in The Dramatists Guild Fund's Traveling Masters program. Szymkowicz received a grant from the CT Commission on Culture & Tourism, and has been commissioned by South Coast Rep, Rising Phoenix Rep, Texas State University, The NOLA Project, Single Carrot Theater, and Flux Theater Ensemble. Adam received a Playwright's Diploma from The Juilliard School's Lila Acheson Wallace American Playwrights Program and an MFA from Columbia University where he was the Dean's Fellow. Szymkowicz is a two-time Lecomte du Nouy Prize winner, a member of the Dramatists Guild, Writer's Guild of America, and was a member of Primary Stages' Dorothy Strelsin New American Writer's Group, the MCC Playwright's Coalition and of the first Ars Nova Play Group. He has interviewed 1000 playwrights on his blog . Szymkowicz is the Literary Manager at The Juilliard School, supporting the playwriting program there. For more, go to www.adamszymkowicz.com . Website Adam Szymkowicz About the Artist Adam Szymkowicz Other Works By Read the script here: Berbert CAST MEMBERS IN ORDER OF APPEARANCE: Anna O’Donoghue is an actor, writer, and literary manager based in New York City. She has appeared on, off, and off-off-Broadway, and has worked regionally in Maine, Massachusetts, Minneapolis, Missouri, Kansas, New Jersey, New Mexico, Idaho, Pennsylvania, Vermont, and Washington, D.C. She is a graduate of The Juilliard School. Nandita Shenoy is an actor-writer living in New York. Previous Adam Szymkowicz plays that she has acted in are Marian, or The True Tale of Robin Hood produced by Flux Theatre Ensemble and Mercy at the New Jersey Repertory Theater. When not acting in plays by Adam, she writes plays and occasionally stars in them, like her Off-Broadway play, Washer/Dryer, produced by Ma-Yi Theater Company. Nandita holds a BA in English literature from Yale University. AEA/SAG-AFTRA www.nanditashenoy.com Robert Manning, Jr. is a graduate of the University of Washington’s MFA Professional Acting Training Program. Working on Broadway and Off; working in television and film; Rob is honored to lend his voice to this wonderful project. 2008 NAACP Theatre Award Nomination - Best Lead Actor. 2010 NAACP Best Supporting nomination. 2012 NAACP Best Ensemble win. He would like to thank his parents and his lovely family for their continued love and support. For more information on Robert, please visit robertmanningjr.com . Michael Markham — NY Credits: "The Spectacular Demise of Platonov"; "christopher marlowe’s chloroform dreams"; "Mother Courage and Her Children" and "Macbeth" at The Public. Film & TV: Law & Order; The Decades of Mason Carroll; Black Card (HBO); When Things Fall Apart; Home Office; Fumes; Lies. Owner - KiteMonkey Productions. Training: The Juilliard School. SAG-AFTRA, AEA: www.MichaelMarkhamOnline.com Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Emily Rose Hazel's work responds to the incorporates her experiences in Ghana with the theme of "Fools" in response to the passages of Proverbs 1:8–9; 10:14, 21; 17:12, 28; 19:13; 29:20 and Ecclesiastes 10:12 as she builds a poetry collection responding to every theme from the year as a 2013 Spark+Echo Artist in Residence. Proverbs 10:14 Proverbs 1:8-9 Proverbs 10:21 Proverbs 17:12 Proverbs 17:28 Proverbs 19:13 Proverbs 29:20 Ecclesiastes 10:12 Circling the Waist of Wisdom By Emily Ruth Hazel Credits: Curated by: Spark+Echo Arts, Artist in Residence 2013 2013 Poetry/Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Throughout the book of Proverbs, the foolish and the wise are defined by their contrast with each other—so writing about foolishness naturally led me to explore the tandem theme of wisdom. Proverbs are also an essential part of the rich oral tradition of African cultures. As the meanings almost always hinge on metaphors, proverbs lend themselves to poetic play and reinterpretation. As I learned from African friends in college—both in the United States and in Ghana and South Africa—there is a sense of humor that translates through many African proverbs as well. (One of my personal favorites is, “A leopard is chasing us, and you are asking me, ‘Is it a male or a female?’”) I was interested in creating a poem in which biblical and African proverbs could be in conversation with each other. Framing the poem partly around my own experiences as an American traveling in Ghana, I incorporated eight biblical proverbs, five common African proverbs, and eleven specifically Ghanaian proverbs—a bicultural exploration that deepened my appreciation for the universality of wisdom. Notes on the Poem (Specific to Ghanaian Culture) Asantehene: the highest traditional ruler of the Asante people of Ghana Baobab: African tree with an extremely wide trunk—a symbol of wisdom Batik: commonly worn fabric, dyed using a wax-resist method to create patterns Cedis: Ghanaian currency Harmattan: dry season during which the wind blows dust from the desert Kente: traditional hand-woven cloth featuring bright colors and designs Legon: suburb of Accra, the capital city of Ghana Tro-tro: mode of public transportation—a van that operates similar to a bus Spark Notes The Artist's Reflection Emily Ruth Hazel is a poet, writer, and cross-pollinator who is passionate about diversifying the audience for poetry and giving voice to people who have been marginalized. Selected as the Honorary Poet for the 25th Annual Langston Hughes Community Poetry Reading in Providence, Rhode Island, she presented a commissioned tribute to the Poet Laureate of Harlem in February of 2020. She is a two-time recipient of national Dorothy Sargent Rosenberg Poetry Prizes and was awarded a National Endowment for the Arts Fellowship for a residency at The Hambidge Center in 2014. Her chapbook, Body & Soul (Finishing Line Press, 2005) , was a New Women’s Voices finalist. Emily’s work has appeared in numerous anthologies, magazines, literary journals, and digital projects, including Kinfolks: A Journal of Black Expression and Magnolia: A Journal of Women’s Socially Engaged Literature. Her poetry has also been featured on music albums, in a hair salon art installation, and in a science museum exhibition. Emily has written more than twenty commissioned works for organizations, arts productions, social justice projects, and private clients. Currently, she is developing several poetry book manuscripts and writing lyrics for an original musical inspired by the life of the extraordinary singer and Civil Rights icon Marian Anderson. A graduate of Oberlin College’s Creative Writing Program and a former New Yorker, she is now based in the Los Angeles area. EmilyRuthHazel.com Instagram: @EmilyRuthHazel Facebook.com/EmilyRuthHazel Website Emily Ruth Hazel About the Artist Artist in Residence 2013, Emily Ruth Hazel Word of Mouth In the Wake of the Storm Give Me a Name Homecoming Runaway Give Us This Day Undressing Prayer Emily Ruth Hazel Other Works By Explore the other works composed throughout the year in Emily's poetry collection, created as a 2013 Artist in Residence . Explore her works created throughout the year: “In the Wake of the Storm” LIGHT AND DARKNESS (JANUARY 21, 2013) “Circling the Waist of Wisdom” FOOLS (APRIL 26, 2013) “Homecoming” DANCING (JUNE 27, 2013) “Runaway” LIES (AUGUST 8, 2013) “Give Us This Day” HARVEST (NOVEMBER 14, 2013) “Undressing Prayer” MEMORY (JANUARY 6, 2013) Artists in Residence Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. Click on their names to view their projects. Current Artists in Residence Spark+Echo Arts seeks to develop and support communities of artists who engage with and create in response to the Bible. Due to the impacts of COVID-19 and some internal changes, we decided to pause the Artist in Residency for a year so that we could regroup our resources. Our hope is to continue offering this opportunity in 2021. Previous Artists in Residence 2020 Sapient Soul, Marlanda Dekine (Poetry + Spoken Word) 2019 Lancelot Schaubert (Short Story) 2018 Elias Popa (Installation Art) 2017 Aaron Beaumont (Music), Lily Maase (Music) 2016 Ebitenyefa Baralaye (Visual Art), Chris Knight (Film), Lauren Ferebee (Theatre), Stephanie Miracle (Dance) 2015 Benje Daneman (Music), Jason DaSilva (Film), Melissa Beck (Visual Art), Don Nguyen (Theatre), Christine Suarez (Dance), The Spark & Echo Band (Music) 2013 Nicora Gangi (Visual Art), Emily Ruth Hazel (Poetry) Related Information View More Art Make More Art Cozy in a carrel, I held words, studied the chemistry between them, listened to their music, and learned how molten meanings form beneath their layers. View Full Written Work Circling the Waist of Wisdom by Emily Ruth Hazel 1. A New Side of Knowing All through college, I had a steady date with the library. Cozy in a carrel, I held words, studied the chemistry between them, listened to their music, and learned how molten meanings form beneath their layers. Parting the pages of books, entering headfirst into the turbulent waters of the world’s deepest minds, I bartered sleep for knowledge. Wisdom was a separate goal, something I hoped to acquire at an antique shop decades down the road after I had earned my senior discount. I didn’t expect to meet Wisdom in the flesh during a semester away in Ghana. Yet there he was, working in an Internet café I frequented on campus in Legon. A friendly gatekeeper of all the world’s ideas, he sold students access by the minute. If I had pictured Wisdom as a person, he would have had a waist-long beard like cotton batting, the stuff of dreams pulled apart. Instead, he was a young man, clean-cut, smooth as Swiss chocolate. His smile, wide as a banana leaf, always offered a moment of welcome shade. His given name a poet’s dream, I wondered what it must be like for Wisdom to wear that weighty, golden virtue around his neck: a single blunder or a chain of poor decisions could turn his name into an oxymoron, making fools of his parents. When my flash drive died mid-semester, all the words I had carefully strung together scattered like bright beads from a broken string. Bargaining with technology was as pointless as my attempts to whittle down the price of bananas at the market. (How was I to know there are some things one simply doesn’t bargain for?) Wisdom couldn’t replace my lost memory, but he knew where to find what I needed. I handed him hundreds of thousands of cedis— what seemed like my entire college savings— and true to his word, Wisdom traveled by tro-tro, kilometers beyond helpful, to buy me a flash drive that could hold twice as many insights as I had time left to gather. 2. Seasoned with Wisdom In Ghana, I cooked in unfamiliar kitchens, gleaning lessons from friends. I found my way through the maze of narrow aisles at the market in search of rice, tomatoes, garlic, ginger, and oil; discovered which peppers never to buy again; learned to wait till the plantains’ skins grew black and trust that the fruit, ready to fry, would be perfectly sweet inside. Ghanaians love to season conversations with proverbs: a joke mixed in with a knowing look, a warning when somebody stirs the pot. They say, Where God boils his yam, that is exactly where the devil roasts his fish. And doesn’t a pinch of wisdom, like cayenne pepper, deliver the kick we need? Doesn’t it, like salt, preserve and bring out the best in us, and sometimes burn? A hard saying is the blunt edge of the knife that spares us from the sharper side of pain, keeps us from befriending wolves in shearling jackets, from tripping at the cliff’s edge and plummeting into the canyon of our appetites, from running barefoot into the briar patch of another romance before the berries are ripe. 3. Gold for the Keeping To get lost is to learn the way. If you want to go quickly, go alone; if you want to go far, go together. When the desert winds arrive, even the sky is thirsty; no one can prepare for harmattan by drinking a river. They are worth more than rubies, these revelations mined from the mind of an expert guide or hewn from the rough terrain of a reckless life or sifted through the swirling, careful spill of years. How they glitter amidst the ordinary—a vein of insight, flecks of light floating in a muddy stream. While keepers of hard-earned wisdom open their doors to seekers, they never set out all their treasures where anyone can see them from the street. But those who don’t know better display in their front windows every cheap conclusion like a surplus of dollar store trinkets. A simpleton may be mistaken for a sage if he stays silent, but there is more hope for a fool than for the speaker of unmeasured words. The tongue weighs practically nothing, but few have muscle enough to hold it. 4. Among Family A man has to hold his mouth open a long time before a rotisserie chicken flies into it. When a woman is hungry, she says, “Cook something for the children so they can eat.” A nagging spouse is like the constant dripping of a leaky roof. She thinks, If he were wise, he would have fixed it the first time. And he thinks, If she were wise, she would stop asking and do it herself. Through the cracks we catch glimpses of each other, and marriage is like a peanut shell that must be cracked to see what is inside. A wise son brings joy to his parents, a fistful of wildflowers to grace the family table. A foolish child comes running home, hungry for trouble, his legs a pair of scissors puncturing the afternoon ahead of him, a chorus of matches burning a hole in his pocket. On greeting his parents, he thrusts out his fists, demanding that they guess which one holds a surprise. His fingers uncurl to reveal what he has brought them, and both hands are full of disaster. 5. Playing the Fool Act One: Folly wears a jester’s hat and stands before the court, clumsily juggling swords and glass goblets. Intermission: by the time the fool has learned the game, the players have dispersed. Act Two: Folly, in a dunce cap, faces the blackboard, grasping a stub of chalk, dragging out the dusty words, I will not be what I am, I will not be what I am… 6. The Fool’s Apprentice An over-the-counter remedy for foolishness, wisdom’s potency, derived from the root of experience, is easier to swallow packed into the colorful capsule of a metaphor. No one with any sense jumps in with both feet to test the water’s depth. Only fools know everything; a wise driver admits to having blind spots. Pity the fool’s apprentice who pulls out in traffic in front of the master fool gunning it toward rash and stupid schemes. Better to meet a bear robbed of her cubs than to cross a fool hellbent on folly. A fool won’t flirt with wisdom, though wisdom will deign to chase a fool. 7. In Hindsight Wisdom is the often forgotten umbrella. Sometimes I even choose to leave it dangling from a doorknob, ignoring the slim prediction of rain, then cursing my sheer foolishness when the sky bottoms out. I am the keeper of a junkyard of regrets, decisions that have crashed or rusted through— their engines and wheels, whatever healthy organs they had, long since harvested. This is how the rest of us wax wise: by surveying the wreckage, salvaging any usable parts, and selling as scrap metal all that remains, hoping it will be recycled. 8. More Than a Mouthful Wisdom is at home in the company of listeners while the know-it-all lives lonely in a house without a door, trapped within the walls of pride he has built around himself. The counsel of the wise is graciously given and nourishing to many, but starving fools refuse it, their stomachs stuffed with self-importance, no room left for wisdom. Consumed by their own lips, it is the thoughtless who cover their ears and chew the air, mouths full of empty words. Unlike the taste of what we know, if proverbs are not offered as after-dinner mints that melt away immediately, their pastel flavor predictably sweet—can the wisdom of God be contained in a shallow, glass bowl into which we dip a spoon in passing? If God’s words are instead as sticky as Ghanaian toffee, can they be eaten without being chewed? Perhaps they are meant to make our jaws work, quiet us a moment, keep us from filling all the space between us with the sound of our own talking. 9. How Wide Around Wisdom is like a baobab tree spreading its roots and branches, taking hold of both the soil and the sky. The ancient trunk of wisdom is a fortress we stretch to embrace; no one person’s arms can wrap themselves around it. 10. Wearing Wisdom What if God’s thoughts hide from human intellect but reveal themselves to the heart? What if our own wisdom is only in our minds, not sewn into the linings of our lives? What if the threads we wear as we parade past all the spectators are the same line of apparel made by the tailors who fashioned the Emperor’s new clothes? And what if we are also the people in the crowd, each of us shamed into silence, afraid that we ourselves will be exposed, declared unfit for whatever positions we hold? I reimagine the tale as it might be told in Ghana, the Asantehene guaranteed the finest kente cloth by master weavers: the storyteller looks at me, declares, When a naked person promises you cloth, beware. A stitcher of lies will fit you for a gorgeous gown woven out of air. At the market in Accra, I fingered dozens of fabrics, admiring eye-catching patterns, swooning over the vibrant colors. Later came the embarrassment of measurements taken by strangers, then the excitement of seeing my own designs take shape as wearable art. Clothed in the work of their hands, when I saw my reflection, I felt a new kinship with the women around me, reminded how much of what I’ve worn had meaning to somebody else before it became my own. Beneath the batik, close to my skin, a slip of memory: my sister and I at a thrift shop our mother used to take us to in the basement of an old stone church. When I was little, I would weasel my way into the center of each round clothing rack, disappear in a forest of dresses and pants. Tucked in the far corner of the shop, beyond a set of saloon doors, was a tiny fitting room. Though I haven’t been back there in decades, I can see myself now, standing in my stocking feet, ducking down behind the swinging doors. I am trying on the hand-me-down ways of wisdom, slipping them over my head, blindly fumbling for the armholes. There— another transformation. Wearing a proverb I haven’t committed to keeping, again I am made new, and I am everyone before me, all their stories echoing in the glass, the tag’s plastic stem still poking me from somewhere inside as I turn slowly, studying myself from other angles in the mirror of the word. Close Loading Video . . . Cozy in a carrel, I held words, studied the chemistry between them, listened to their music, and learned how molten meanings form beneath their layers. Download Full Written Work

ebi_2ndpost_01-process768x768.jpg Loading Video . . . Part 2: Follow the process for creating this piece for Artist in Residence 2016 Romans 9:20-26 Artist in Residence 2016, Ebitenyefa Baralaye – Part 2 By Ebitenyefa Baralaye Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Ceramic Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My second post is a continued reflection on the themes present in Romans 9:20-26. In fellowship recently I discussed with friends the understanding that ultimately everyone in the world is an eternal being with one of two destinations - in our outside of relationship with God. It could seem unfair to think that the choice of which destination one is destined for is not under individual control but controlled by the external will of God. Our good deeds and obedience fail to justify us before God for to him we are all broken vessels deserving of destruction because of sin. It is only in the person of Christ, his taking on the destruction (death as the penalty of sin) that we deserved, that broken vessels like myself, and all who confess him as Lord and Saviour, are turned into vessels for God’s use and glory. “Bam Bam” is a loose Caribbean slang term used to express trouble, exclamation or engagement in a range of carnal activities. I use it in titling this work as a general expression of humanity’s condition of brokenness and separation from God apart from Christ. The dome-shaped ceramic objects can be read as either a type of gravestone or a vessel. They are all composed of the same material with fractured seams and cracks. The difference between them is the maker’s/mover’s choice to flip and see them in one way or another. The Process The finalized and textured model ready for the production of a plaster press-mold. Making a two-part plaster press-mold from the clay model. I start by preparing one side/half first, followed by the other. The interior of the freshly made plaster press-mold. It is a negative form of my original clay model. The finished plaster press-mold! A layer of clay is pressed into each part of the two-part mold. Both parts of the clay within the mold are brought and blended together. After a little bit of drying time freshly pressed casts are removed from the mold and set out to dry. Dry casts ready for kiln firing! FINISHED WORK: All materials are copyrighted by the artist and used here by permission. Spark Notes The Artist's Reflection Ebitenyefa Baralaye is a ceramicist, sculptor and designer. He was born in Lagos, Nigeria, raised in Antigua and lives in the United States. Ebitenyefa received his BFA in Ceramics from the Rhode Island School of Design. His studio bases have included Long Island City, Queens; the Elizabeth Foundation for the Arts in New York City; and Bloomfield Hills, MI where he is currently enrolled as a Ceramics MFA candidate at the Cranbrook Academy of Art. He has exhibited in various solo and group shows domestically and internationally including the 2011 Gyeonggi International Ceramix Biennale in Icheon, South Korea and the 2016 Toronto Design Festival. He has held residencies at the Peters Valley Crafts Center in Layton, NJ and most recently, Talking Dolls in Detroit, MI. Website Ebitenyefa Baralaye About the Artist Artist in Residence 2016, Ebitenyefa Baralaye – Part 3 Artist in Residence 2016, Ebitenyefa Baralaye – Part 1 David Abram Artist in Residence 2016: Ebitenyefa Baralaye – "Bam Bam" Ebitenyefa Baralaye Other Works By Follow the developmental journey of Ebitenyefa’s project by reading his FIRST , SECOND , THIRD and FINAL posts written as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . So, about that whole ‘end of the world thing.’ About concentricity. Find the complete progression of the work linked below. Revelation 9:10-20 Revelation 11:3-7 Isaiah 8:11 Proverbs 4:23 Artist in Residence 2017: Lily Maase Part 3 By Lily Maase This album contains some strong language, references to violence, and allusions to drug use, and may not be suitable for all audiences. Discretion is advised. Credits: Composed, Written, and Performed By Lily Maase. 2017 Curated by: Spark & Echo Arts, Artist in Residence 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link September 11, 2017 So, about that whole ‘end of the world thing.’ About concentricity. Nine months after I first laid him to rest, I went on a brief vacation to finally (FINALLY) visit my father’s grave. It was a wild time, which is saying something when you have been going to your quiet desert hometown every summer since you left at the age of seventeen. I had no car, no instrument, no plans, and very little money. As a result I had a beautiful time carving new paths through achingly familiar terrain. It was late July in the desert. I lived in an airstream trailer in the middle of a sculpture garden, right in the heart of the city, the guest of complete strangers just miles from where I was born. I allowed myself to break rules that I didn’t know I had been clinging to until I broke them. I bathed outdoors in a shower made of reeds and wire (I am notoriously private); took up company with a man I met at a karaoke night (I absolutely detest karaoke, and I have spent the time since my father passed preferring the company of absolutely no-one); spent a week away from my instrument (to me, the guitar is basically the perfect drug); and I allowed myself to grieve. My father’s final home is beautiful. It was a blessing to be there and to find that so many had left gifts and flowers in my absence. I got back to New York feeling a little bit like I was master of my own universe after a long and harrowing dream. Balanced. In control for a minute. Somewhat clean. So, naturally, there were two notices on my doors — one at my apartment and one at my place of work. Both my buildings had been sold or rezoned and I would have to vacate each by the end of August. So the world ended. MY world ended. Again. Eleven years building a life in the big city, and it came undone in as little as a week. Ultimately I think this is going to be okay. Change comes in waves — just the way my music seems to come in waves — and this one had been a long time coming. But it was crushing. I dealt with it by doing everything expressly the way I wouldn’t have before my father died: I gave up, and I let the tide take me. Apocalypse, all systems go. Let’s do this. The last thing I did before leaving was sit with the gentlemen in the band that has been painstakingly assembling this music with me since January. We sat in a circle in my studio — so lovingly built, now marked for death — looked each other in the eyes and sang this song that written with the pillars in mind, bearing witness to the end. The music has been finished and recorded for some time. This was the first time we had all heard the words. Composed, Written, and Performed by Lily Maase. 2017 Read: 1975 (working title) lyrics I packed up my home, left an alarming number of things behind, and drove myself back down to the desert. Mostly I saved guitars, art acquired during my journeys around the world, and the clothes that I am fondest of wearing when I’m onstage. The Devil can take the rest. I am also learning (somehow) to occasionally enjoy karaoke. I’ll be fine. Since my father died, I have lost what felt like everything several times. The dark, greasy, bottomless kinds of loss. Losses that change you. Losses that can break you. I have discovered that I am afraid of nothing except for enduring the same loss more than once. The only way to be fearless is to continue allowing yourself to overcome the things that scare you most. In this way, the world will never truly end. Because the world is you. Today, I know in my bones, I am the strongest I have ever been. Apocalypse, all systems go. I’ll be fine. Just watch me. My faith is strong. Spark Notes The Artist's Reflection Lily Maase is a rock, country, jazz and classical guitarist raised in New Mexico, educated at the University of North Texas, and living in Brooklyn, New York. She is contributing writer for Premier Guitar Magazine and has contributed to Guitar World and Guitar World’s Acoustic Nation, who recently lauded her as a “master guitar teacher.” She is the founder and owner of Brooklyn GuitarWorks, a workshop-oriented center for guitar and bass guitar education located in Williamsburg. Lily is the lead guitarist, musical director and bandleader with the Rocket Queens all-female tribute to Guns N Roses and the Suite Unraveling (Tzadik). She is the lead guitarist with Gato Loco, and is endorsed by Godin Guitars. Her playing has been featured by Vans.com, Maxim.com, Guitar World’s Acoustic Nation, Teen Vogue, and Elle Magazine. Website Lily Maase About the Artist Artist in Residence 2017: Lily Maase Part 1 Artist in Residence 2017: Lily Maase Part 2 Artist in Residence 2017: Lily Maase Look Out Below Lily Maase Other Works By Follow Lily's project's development throughout the year by reading her previous first , second and final posts. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Krzysztof Sokolovski Alpha And Omega 1 Krzysztof Sokolovski, Sacral Abstraction: Alpha And Omega (Detail) Loading Video . . . Through abstract images Lithuanian artist Krzysztof Sokolovski develops his theory of Neosacred Art as evidenced by his meditation on Revelation 1:17. Revelation 1:17 Sacral abstraction: Alpha and Omega By Krzysztof (Christoph) Sokolovski Credits: Curated by: Alina Potemska 2016 Chalk and ink on oak plank Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My work's concept is based on capturing a moment of static time that you can imagine during the awareness of contemplation from start and end at one point. This beginning and end is Jesus Christ himself. It can be difficult to read this abstract image since it is devoid of similarities to material forms. However, in my opinion, these abstract forms are such that correspond to the philosophy, principles and expectations of sacred art: it is free of rationalization and has only the task of recalling spiritual and metaphysical experience. The abstract form of art can serve sacral art in drawing out spiritual meaning and getting to the main idea because it skips all the issues connected with interpretation, understanding symbols, cultural questions or technological problems of image. Spark Notes The Artist's Reflection Krzysztof (Christoph) Sokolovski was born 1985 in Ejszyszki, Lithuania. He graduated from Gdansk University of Technology (Engineering) and the Academy of Fine Arts in Warsaw (Faculty of Painting). He also took a course of clinical anatomy at the Medical University of Gdansk. In 2015 he started as a PhD student at the Academy of Fine Arts in Warsaw (Faculty of Painting), doing easel painting as well as monumental. Additionally, Krzysztof draws illustrations for anatomical atlases. Having created the concept of Neosacred Art, Krzysztof Sokolovski engages in active artistic and theoretical work. He has been the recipient of a list of awards and achievements throughout his artistic career thus far. Website Krzysztof (Christoph) Sokolovski About the Artist Krzysztof (Christoph) Sokolovski Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

The Body without the Spirit Only with Half a Heart Removed the Abomination Loading Video . . . In this third installment of the project collectively entitled "The Body without the Spirit," visual artist Nicora Gangi assembles her responses to 2 Chronicles 25:2 and 2 Chronicles 34:33. 2 Chronicles 34:33 2 Chronicles 25:2 The Body without the Spirit | 3 By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2021 11 x 14 inches Paper Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link About "Only With Half A Heart" (from 2 Chronicles 25:2) After Amaziah returned from the slaughtering the Edomites that he brought (back with him) the gods of the sons of Seir, set them up as his gods, bowed down before them, and burned incense to them. (2 Chronicles 25:14, NASB 1977) Amaziah did not keep the laws of God with a whole heart. He fought against the Edomites, but the attraction to the their idols is evidence of his half-hearted devotion to God. He demonstrated only an appearance of doing what was right in the eyes of the Lord's people. He initially went along with the religion in his kingdom, but he was not himself a man of serious piety or devotion. He was lukewarm in his love for the Lord and demonstrated a serious disrespect for God. In the book of Revelation, John writes a letter to the Laodicean Church where Jesus condemns the lukewarm-hearted devotion of His church: I know your deeds, that you are neither cold nor hot. I would that you were cold or hot. So because you are lukewarm and neither cold nor hot, I will spit you out of MY mouth. (Revelation 3:14, NASB 1977) The image I created is of the outside of a white-washed temple, inspired from Jesus' condemnation of the religious leaders' hypocrisy in Matt. 23:27 . The doorway is capped by two horned heads looking in opposite directions. The 'non-door' opening reveals a space filled with flying bats amongst a darkened starry night. Amaziah's halfhearted devotion is filled with vile creatures and darkened space. About "Removed the Abominations" (from 2 Chronicles 34:33) Josiah "did right in the sight of the Lord and walked in the ways of his father David and did not turn aside to the right or to the left." He had "removed all the abominations from all the lands belonging to the sons of Israel and made all who were present in Israel to serve the Lord their God." Josiah was a living testimony of a king who obeyed the Law. The people under his rule were well taught. The priests serving in the temple taught God's chosen people to learn the Law and obey it. From as early of an age of twelve years old, Josiah covenanted to keep God's commandments with all his heart and he urged the people to consent likewise: to promise to keep everything in the Law. In all of Josiah's days as king, the people did not depart from following the Lord. Josiah's reign as king were days of restraint. This piece represents the finished activity of the destruction of all the abominations in the land. The image of angels, central in the piece, are symbols of Josiah's obedience to God. The idols are represented by the ghost-like creatures at the bottom of the edge of the image while the temple is alluded to by the floor plan. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Dance Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By View the other two posts in this collection at: The Body without the Spirit | 1 The Body without the Spirit | 2 Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . The phrase “a chasing after the wind” occurs five times within the passages I have selected. This short dance video was created in reflection to that phrase. My creative process is about responsiveness rather than execution. In my first post for this residency I wrote out a clear artistic goals for myself. Find the complete progression of the work linked below. Ecclesiastes 1:8-18 Ecclesiastes 2:17-26 Ecclesiastes 3:11 Ecclesiastes 6:7-12 Ecclesiastes 8:6-17 Artist in Residence 2016: Stephanie Miracle Part 3 By Stephanie Miracle Credits: Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link September 19, 2016 The phrase “a chasing after the wind” occurs five times within the passages I have selected. This short dance video was created in reflection to that phrase. My creative process is about responsiveness rather than execution. In my first post for this residency I wrote out a clear artistic goals for myself. But over these several months I can see that my work takes a less direct path. For all of the work in progress videos I had intended to use locations near my home in Essen, Germany; but while at an artist residency in Ghent, NY I spent several days collecting video of me dancing in the fields. After looking at the material I began to see a connection to the texts in Ecclesiastes and it sent me on a journey of questions: Is chasing after the wind a bad thing? Is it meaningless in that is cannot see what you are after?> Is it meaningless because it is un-catch able? What or who is the wind? Is the wind strong or gentle and thin? Should the wind move us? In this video I am seeking after something, something that is not seen. My movement is often passive, not extremely vigorous. I see that I am grasping at something. I move the camera in search of “it”. The days I worked in the fields the air was thin. I did not have much to clutch. I did not feel the wind on my skin or through the trees. Where did you go, wind? from Stephanie Miracle on Vimeo . Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 1 Artist in Residence 2016: Stephanie Miracle Part 2 Treasure Heart Artist in Residence 2016: Stephanie Miracle Stephanie Miracle Other Works By Follow the developmental journey of Stephanie's project by reading her first , second , and final post as a 2016 Artist in Residence. I have seen all the things that are done under the sun; all of them are meaningless, a chasing after the wind. What is crooked cannot be straightened; what is lacking cannot be counted. I said to myself, “Look, I have increased in wisdom more than anyone who has ruled over Jerusalem before me; I have experienced much of wisdom and knowledge.” Then I applied myself to the understanding of wisdom, and also of madness and folly, but I learned that this, too, is a chasing after the wind. For with much wisdom comes much sorrow;the more knowledge, the more grief. (Ecclesiastes 1:14-18) Everyone’s toil is for their mouth, yet their appetite is never satisfied. What advantage have the wise over fools? What do the poor gain by knowing how to conduct themselves before others? Better what the eye sees than the roving of the appetite. This too is meaningless, a chasing after the wind. (Ecclesiastes 6:7-9) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Musician Angelo Spagnolo created this song, a transformed man, in response to Matthew 11:15-17 and the theme of "Dancing." Matthew 11:15-17 a transformed man By Angelo Spagnol Credits: Written, Composed, and Performed by Angelo Spagnolo Curated by: Evan Mazunik 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link No matter how many times Jesus talked about it in the Gospels, the Good News seemed to be something that people couldn't quite wrap their minds around. I imagine Jesus after just being raised from the dead, strapped with a headset-mic, shouting with the vigor of an aerobics instructor: "C'mon people! It's me, you see! GET UP AND DANCE!" But the people still doubted and very few of them actually end up dancing. Spark Notes The Artist's Reflection Angelo Spagnolo (born October 1, 1987) is an American artist who works with music, sculpture and a variety of image-making media. He is currently the composer/guitarist/singer for In One Wind and performs in Lily and the Parlour Tricks. Angelo is also an active music teacher in New York City. http://angelocspagnolo.blogspot.com/ Website Angelo Spagnol About the Artist Angelo Spagnol Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Artist Luwalhati responds to the women who witnessed the miracles in Matthew 26:56 through her piece titled, International Flower Bath. Matthew 27:56 International Flower Bath By Luwalhati . Credits: Curated by: Whitney Keitt 2023 45 x 60 centimeter Ink on sculptured paper mounted on painted wood Ink Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Mary Magdalene, Mary and Salome (the mother of Zebedee's sons) are women who are very present in the life of Jesus. They are women who "followed Jesus" and who also ministered to him. Women are often paralleled to flowers. There are many characteristics that encompass a woman that a flower cannot contain but since early history until this contemporary time, the beauty and strength of a flower will always be connected to a woman. And yes to her physical beauty but more deeply to the beauty of her soul! One flower's beauty is enough to take our breath away! A flower is already beautiful by simply being present, but it is not at all a simple presence. It is a presence that gives gratuitously and brings healing. When the times are the hardest, Mary Magdalene, Mary and Salome did not abandon Jesus. They were present near or far. They want him to know that they were there. The beauty of flowers gives to the fullest even if their lives are very fleeting. Sometimes they give a smile to a sick friend or they give pollen to bees, bring life to the ecosystem and abundance to humanity. Flowers bring life! Women bring life! I created this painting's patterns & textures from flower emblems of countries that played a meaningful part in my journey as a woman and artist. I celebrate these wonderful women of the Bible with these life-giving flowers!!! Philippines-Sampaguita France - Iris Greece - Bear's Breech Germany - Knapweed Switzerland- Edelweiss China - Plum Blossom Iceland - Mountain Avens U.S.A. - Rose As you look closer to the painting, you will also see a traditional way of how some women take their bath in nations around the world. As my husband said, it is a simple feminine pose that encaptures viewers as does the elegant design of floral tapestry! Spark Notes The Artist's Reflection Luwalhati's paintings interpret and capture the patterns, colors and play of light that nature brings, from the coral reefs of the 7,641 islands of the Philippines to the beautiful snow-covered French Alps, which leads her to see and tell stories of another world that she imagines and longs for. She wants to integrate her background and influence as an interior designer with her passion for fine arts. Her intuition, observations and studies led her to create her series of semi-abstract and abstract paintings with layers of colors and textures through her personal technique of ink on sculptured paper. This is one aspect of her repertoire but she also creates playful illustrations of fantasy and reality. Luwalhati recently came back to the Philippines after 8 years of living and working in Paris, France as a missionary artist. Life is now fuller and busier since the artist married the poet. And this particular poet has 3 darling children who lost their previous mom to cancer. So, they are now settled in the beautiful island of Bohol where you can also visit her humble studio that pairs as an airbnb. Website Luwalhati . About the Artist The Already and Not yet Luwalhati . Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work