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dоnt p Ost me SUMMER ISSUE #5

FEATURING:

VOIDER SUN

GIULIA BERSANI BENOIT PAILLE LOU ROS

VIKTOR MILLERGAUSA

JONATHAN SAIZ

ADAM DAVID BROWN

A MAGAZINE ABOUT CONTEMPORARY ART

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A K S A C S B C U K E R F U B W S A

V D O U T E G H R L R F B E F B T V

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DONTPOSTME #5

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Voider Sun

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Giulia Bersani

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Benoit Paille

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Lou Ros

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Viktor Miller-Gausa

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Jonathan Saiz

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Adam David Brown

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PROLOGUE

DEAR READER,

WELCOME TO THE SUMMER ISSUE OF “DONTPOSTME”,

THE MAGAZINE ABOUT CONTEMPORARY ART AND PEOPLE THAT INSPIRE US TO GET CREATIVE.

SINCE THIS ISSUE, WE PUBLISH “DONTPOSTME” IN LIMITED PRINT EDITION

AND TRY TO DISTRIBUTE MAGAZINE

IN EACH MAIN CENTERS OF CONTEMPORARY ART: IN LONDON, PARIS AND NEW YORK. OF COURSE, WE DONT’T FORGET

ABOUT OUR HOMETOWN - ST. PETERSBURG. AND IN SUMMER ISSUE:

ITALIAN PHOTOGRAPHER GIULIA BERSANI AND HER VISION OF ART,

A STORY ABOUT RAINBOW GATHERING BY BENOIT PAILLE, SOME AMAZING PAINTINGS BY FRENCH ARTIST LOU ROS, PERSONAL STYLE OF RUSSIAN ILLUSTRATOR VIKTOR MILLER-GAUSA

AND INTERVIEW WITH JONATHAN SAIZ

WHO PAINTS DIAMOND-LIKE PAINTINGS. WE HOPE THAT YOU ENJOY THE ISSUE.

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VOI

SU

DER

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VOIDER SUN

I’m Voider Sun, and my Chinese name is Sun Shiqi.

Shiqi means 17, that's my brithday. I was born in 17 June 1989. I was dropped out of school when I was sophomore.

I’m a contracted illustrator of Shanghai ZUI World Culture.

http://voider.tumblr.com/

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OVERVIEW

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PHYPHOTOG PHYPHOTOG PHYPHOTOG PHYPHOTOG PHYPHOTOG PHYPHOTOG PHYPHOTOG PHYPHOTOG

GRAPHYPHO GRAPHYPHO GRAPHYPHO GRAPHYPHO GRAPHYPHO GRAPHYPHO GRAPHYPHO GRAPHYPHO

interview

GIULIA BERSANI DREAMERS &

LOVERS

A twenty-year old Giulia Bersani is considered to be one of the most talented and interesting Italian photographers. Her original photographs, telling about versatile lives of the youth, have attracted not only our attention. Within the last year her works have been published in various internet – magazines devoted to contemporary art, and there were also many rapturous reviews left on the subject of her works. http://giuliabersani.com/

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“I’ve never seen the camera I have as a limit”

DPM: To start with, Giulia, how did you become a photographer?

When did you understand that photography is an integral part of your life and you are completely wrapped up in it?

Giulia: To be honest, I still don’t know if I could be called “a photographer”, even if yes, I wish I could live with photography in future, as a job and as a passion at the same time.

I realized that photography is a part of my life and I love it when, one year and half ago, I had no time for it. I attended a school of fashion design and it took me all the time I had. I was going crazy, and that was not what I wanted to do in my life, so I finally decided to stop it and chose a lighter university, so that I would have had the time for starting and concentrating on photography, and I suddenly felt in love with it.

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DPM: Giulia, how did you find your personal, original style in photography?

And who do you photograph the most?

Giulia: I found my way to take photos just with a lot of attempts, and letting myself free to follow my instinct. When I do something that I really don’t like, even if it is liked by people, I can’t accept it; it is really hard for me to accept compromises. So I just started shooting regularly a lot of films, and noticing with time what I liked and what I didn’t like, and I started pushing myself on the way of my personal taste.

I’m really attracted by the human being and by nature, so my subjects usually are a mix between those; humans (especially girls) in natural attitudes, sometimes surrounded by natural locations.

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DPM: Where do you prefer to work: in a studio or outdoors?

Giulia: I have to admit I never tried the studio for my personal work; maybe it could be interesting, and soon or later I would like to try it. Whatever, I usually shoot outside (or inside, in a room, with all the objects and with natural light) just because it is easier for me, and I really don’t like artificial light. As I told you I’m really fascinated by nature, and that includes the imperfect natural lighting and the imperfect natural places. And I think the sterility of the studio would make photos less tasty.

DPM: What types of camera and lenses do you use while shooting?

Giulia: Any kind. I still use only analogue cameras for my personal work. I started with a Zenit (and it still remains my favorite one), than I tried a Praktica, a Fujica, a Canon and some plastic toys. I’ve never seen the camera I have as a limit. I don’t think there are some cameras better than others, they are just different. Each one has his secrets; the important is to first try it, and to understand what she can give to you. Talking about lenses, I usually use 50 mm ones, just because I’m accustomed to them, and they let me keep the distance I prefer between me and the subject.

Not too near but not to far, so that I can be just a friendly silent observer.

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DPM: And now I’d like to ask you several questions about your latest projects.

Could you please describe the way you’ve create them?

Giulia: I think this is a really fertile period for me. I just finished my exams, and now for a pair of months I will shoot more than ever. Anyway, I think it is still difficult to me to be patient and to work at a project for several months. Now I’m trying to do it for the first time with a project about lovers, but until this moment I just did some single shootings trying to be as coherent as possible, and to organize each one before getting into it.

DPM: Giulia, what, in your opinion, awaits photography in the nearest future?

Giulia: This question is really difficult. And the answer is that I’ve never thought at it, and I don’t want to think at it now. I have a transversal perception of life; I look at a lot of photos

from the present or any kind of past and I just enjoy them and remember a part of them; it is difficult for me to remember the contest in which they have been shoot. I have to admit I don’t really like history.

DPM: Is there anyone who has astonished you in art lately? Who is it, if the answer is yes?

Giulia: A girl, who always astonishes me the most, even though she’s just 18 years old, is Olivia Bee. I love her capacity to keeping her photos fresh even if she’s getting into commercial.

DPM: And the last question is our traditional one: are you looking forward to visiting Russia?

Giulia: Oh, this is my favorite question!

Of course, I am, especially if someone is ready to invite me and host me (:

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PHOTOGRAPHY

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story

BENOIT PAILLE RAINBOW GATHERING (2009-2012)

Benoit Paille is a French-Canadian photographer. His photos were published in several publications around the world. He had exhibitions in Canada, Japan, L.A, Barcelona, Moscow and Ukraine, Paris. He often holds workshops about photography and art around the world – Paris, London, Barcelona, Amsterdam, Mexico, Turino, etc. and he collaborates with an advertising agency. http://www.benoitp.com/

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“People are love, are magic, are beauty these sister and brother are the people of the future�

“I decided to photograph my family, my brothers and sisters. I have been going to rainbow gatherings for 7 years now, and I have taken pictures of it for the past 3 years.

The pictures you see are very precious since photography is not usually allowed during the event, so please be respectful to my brothers and sisters.

There have been gatherings called Rainbow Gatherings since at least 1972, and there has been at least one large gathering of the tribes every year in the United States on public land around the 4th of July since then. Many people gathering together to pray for peace and healing in the world. Openly and with mutual respect.

Rainbow Gatherings may have had their start early on, subsequent gatherings beyond the original invitation in 1972 might well be viewed as alternatives manifested to recreate the love shared at the first gathering, certainly there where many people who wanted the gatherings to continue. While all Rainbow Gatherings share some common traditions, it is only proper that different "tribes" celebrate these blessings in different manners.

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PHOTOGRAPHY

There are Rainbow Gatherings in almost every part of the world, in several countries and on every continent. There are World Rainbow Gatherings, International Rainbow Gatherings and a host of local - regional Rainbow Gatherings throughout the year. Some are scheduled with the solstice or equinox and at other special times throughout the year.

By far, the largest and most widely celebrated Rainbow Gatherings are the Annual Rainbow Family Gatherings which are hosted in the United States on the 4th of July.

These mass gatherings can have as many as 30,000 people to as few as 7,000 all coming together in a humble manner to pray for peace in silence on the morning of the 4th.

The gatherings are called rainbow because they are for all the peoples of the earth, from many families, tribes, and nations. Some say that the Hopi people native to North America tell a vision of a time when mother earth, the land, air, waters, and creatures of all kinds were sick with poisons and ill treatment by people, the children of the white races, or more specifically the people who lived the cultures of those who displaced the native peoples of the Americas - not just Caucasians, would grow their hair long, wear beads, and come together with the children of all the nations to heal the earth.�

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PHOTOGRAPHY

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interview-blitz

LOU ROS BLITZ

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DPM: To start with, Lou, could you tell us few words about yourself and your artworks?

Lou Ros: I guess I'm a painter. I like to interprete my vision of the portrait or of the body. I'm really interested into the feeling of the interpretation of the painter, but also from the viewer.

DPM: Please, write me your personal definition of the notion of art.

Lou Ros: A lot of things are Art, I would never say "this is not art".

So everything could be art...

DPM: What feelings did you experience when you finished your first artwork?

Lou Ros: I felt horrible, because the first piece of work I did was a big crap haha.

DPM: Could you name the person,

who has influenced and inspired you in art mostly?

Lou Ros: I would say my parents, even if they are not really into paintings, they are the persons that influenced me the most.

DPM: What do you prefer the most: paintings by Matisse or by Pollock?

Lou Ros: I will say Matisse, but just because I feel closer of this work,

as far as it's a figurative painting. But I also like the works of Pollock.

DPM: What music do you usually listen while painting?

Lou Ros: I like to listen to some music that are really peaceful.

I do listen to the radio. The name in France is FIP Radio...

DPM: Could you name your favorite blogs/web-sites about art.

Lou Ros: I really like the Boum ! Bang ! team http://www.boumbang.com/

personal site: http://louros.fr/ on the previous pages: LT (92x73cm ; mixed media on canvas from FACES II) on the left page: Autoportrait 12 (mixed media on paper ; 21x29,7 cm)

BLITZ

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on this page: AB (50x65cm ; mixed media on paper ; 2011 from RANDOM) on the next page: YR (92x73cm ; mixed media on canvas from FACES II)

BLITZ

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BLITZ

on the previous page: Corpus 3 (130x97cm ; mixed media on linen ; 2011 from CORPUS) on this page: MDR (50x65cm ; mixed media on paper ; 2011 from RANDOM) on the next pages: COYOTE (mixed media on canvas ; 200x250 cm)

C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A C O N TEMPO RARY A

ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA ARTC O N TEMPO RA

interview

VIKTOR MILLER-GAUSA

An unusual style of this Russian illustrator can be discussed for hours, but the one thing stays clear: his illustrations differ from all the others both in the way they are executed and represented.

Being extremely talented and knowing how to paint watercolor, Victor creates rich, bright and vivid images, which refer us to the heroes of the past and the present. http://www.behance.net/viktorgausa

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“It’s not always easy to define what you are doing”

DPM: Victor, how did you become an illustrator? Where did you study and when did you realize that illustration is your main activity?

Viktor: It’s a rather difficult question, as I can’t characterize it in any way. It’s not always easy to define what you are doing. So to say, graphics is always something unique, and it differs a lot, depending on the illustrator. I simply Viktor: I can’t name the exact moment like graphic arts, and there’s no painting in my when I became an illustrator. There wasn’t any works. The color is subordinate to graphics, and particular day when I understood: “Here it is, it has a secondary role in this case. I can’t work yes, I am an artist!” I just painted. More preconstantly with color in its pure form, although I cisely, I was constantly drawing. And though can spend hours looking at the paintings of the I always drew on the paper, it had always been old masters. I think, it’s just the same graphics, graphics. At least, I preferred it more. sometimes black and white and sometimes colI became an illustrator when I’ve got an offer from the Snob magazine. I had to illustrate orful, depending on the chosen topic. And often, I confess, depending on the mood. the story, written by Zachar Prilepin, “A black monkey”. I did not only get an interesting experience, but I’ve also got acquainted DPM: Who or what had influenced you and your with the literary works of an outstanding Russart mostly? ian writer. The offer came when I studied at the University, where, perhaps, I finally formed my Viktor: At one time I was influenced by all style and understood what exactly I wanted to the people I associated with. And, perhaps, the paint and in which way. I can’t say that it was events that happened to me and my friends. To my education in the University that had helped this list I can also include such things as music, me much, it was more likely the leisure time movies and books. At various times, I was fond I had, as I spent it on drawing. And the most im- of different movies and music. As for the literportant thing is that my teacher, Galina Nesature, now I just prefer reading a different terovna, who we’ve been acquainted with since genre. And by the way, I began to read the I went to college, had helped me in many reRussian authors (I guess, it had started when spects. It was she who made me understand I read Prilepin’s pieces of writing.) As for the what drawing means. art, the list of my favorites remains unchanged, Well, after the collaboration with the Snob only slightly updated. Of course, there's a special place for sculptors, whose work with the magazine, I realized that the illustration, even shape is rather impressive. In contemporary art, non-profit, as a business, should become the I, unfortunately, rarely remember the names, main thing for me in the near future. That’s but there are some. what I’m striving for.

Yes, and I think all t things I mentioned DPM: How would you characterize your style in still continue to influence me, but a little less than before. your own words?

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DPM: Victor, what are you trying to convey to your viewer?

Viktor: I won’t dare to try to convey anything to my audience. I can’t bring up the younger generation, moreover teach something to my peers. I don’t know why I began to draw.

I’m not kidding, I really can’t say why I didn’t become a plumber or a car mechanic. I just draw, and that’s it. The choice of the plot in my case, is sometimes spontaneous and doesn’t praise the genre scenes or sketches from the life of the provinces of our country. It doesn’t even illustrate the complexity of unequal marriages or environmental problems in the oil industry. And that is why I can only share those things that each person would find in my works.

It’s just the same thing as having a set of details without having any instructions: one will collect a helicopter, and the other will make a shovel. It doesn’t matter, what you create, unless the harm is done.

DPM: Could you please name the most important milestones in your career? What are you proud of the most?

Viktor: There were not too much significant milestones, and they’re connected not only with my career. I can name some of them. The first and the most important one is an attempt to leave school at an opportune moment and

becoming a student of the school of arts. It was really very important to me. Honestly, I don’t even remember anything from the school time, and I’m glad to it. The second milestone is an exhibition in Moscow and my graduation from the University. The next one is my cooperation with the Snob magazine and an agency VolgaVolga. I’m proud of all the projects I create for the audience. Those illustrations that I do in my spare time push me to go further and help me to become better. In each separate case there are nuances of which I am proud as small victories. But, in general, it is rather early to be proud of anything yet.

DPM: What is your attitude to the contemporary art? Can you give a definition to this notion?

Viktor: I am at a loss with the formulation of such an ambiguous phenomenon. I can only say that I’m rather subjective in this respect.

It’s very difficult to estimate it. I often don’t even have an idea of what can be referred to such concept. I see a lot of things, but I’m not pleased with all of them. As it had always been, contemporary art sharply reflects some social and political problems, as it is its function. But the recent events have shown us, that it’s important not only to reflect them, but also to find a way how to do it. And, in general, the measure is needed in everything.

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DPM: Is there anything attractive and inspiring for you in the contemporary art?

Viktor: For myself I can't draw a fat line between the representatives of the classical and modern art in a format of simple viewing of pictures, illustrations, etc. There simply have appeared more opportunities, art has become more available. It seems to me, sometimes some representatives of electronic painting look not worse than the old masters (I don't mean sense and plots). I, for example, pay more attention to the techniques, composition and a form. I am attracted by color and the atmosphere, plasticity, light, the general dynamics. In fact, I am attracted by the same things as in the classical art.

DPM: What awaits the artwork in the nearest future, in your opinion?

Viktor: The bright and pure future, I guess. Of course, it’ll continue developing, and there will appear more names of the artist with vivid images in their interesting portfolios. Something you can look at and admire. As always there will be also a reaction to everything sharp and topical, and, vice versa, an escape from reality to the world. So, it definitely won’t stay without any changes. I hope, that it will develop only to the best.

DPM: And the last question, Victor, touches your plans on future: what are you preparing for us, the people who watch your creativity?

Viktor: I’m really pleased to hear that someone watches my creativity. Thank you for it. As for the nearest future, apart from the commercial projects which I’ll show you soon in my portfolio, I’m planning to make you happy and perhaps inspire you a little.

It’s difficult to tell what exactly it will be, but there will surely remain a sea subject in my works.

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Illustrations from “The stories of the old fisherman”, “La mort a trouvé son marin”,“Trois fleurs”, “Special Dinner” and “Three sleeping kings”.

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interview

JONATHAN SAIZ ALKAHEST

Surrealistic works from the series ‘Alkahest’, created by Jonathan Saiz, has been exciting people’s consciousness for the last two years, not only in the Internet, but also within the framework of various exhibitions, being held both in the New and Old Worlds. In his crystallized paintings Jonathan tried to show to the viewer the many-sided world, in which there always lived, live and will continue to live people within several decades, destroying and creating everything on their way. http://www.jonathansaiz.com/

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on the top: Out of Reach or Underneath (2011, oil on canvas 48 x 61 inches)

Gain Ground or the Rumble

(2012, oil on canvas 47 x 47 inches)

on the previous pages: Pulling Back and Tipping (2012, oil on canvas 79 x 93 inches)

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Forward

“I would hope that my paintings inspire with their simple diamond-like sparkle!�

DPM: To start with, how did you become an artist? Was it difficult for you or not?

And how would you describe your study in Parsons School of Design and in Maryland Institute College of Art? Jonathan: I started making artwork when I was very young but I didn't think it was possible to become a "real" artist until I went to Parson's School of Design in Paris and New York and the Maryland Institute College of Art. I didn't enjoy or appreciate my experience of studying at those schools, their structure was too rigid, and so I ended my studies prematurely and moved to Berlin to begin my career as an artist. It was difficult for the first 6 years, but now, all of the sacrifices I made and risks I took are starting to pay off as I get larger and more inspiring commissions and exhibition opportunities.

DPM: Could you please tell me how you found your personal and original style in art?

When did you understand that it was possible for you to create your own style?

Jonathan: I was living in Paris in 2011 and feeling very inspired by the sparkle and shine of that city. While I was re-designing my website, www.jonathansaiz.com, I was noticing that all of

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my past work had a few distinct similarities with each other but there was no distinct "crystallized" style. So I made a list of all of the techniques and styles I loved and blended them to form the style of work that Alkahest represents - strong geometric shapes, cubic patterns, classical imagery and references to our internet media culture. Alkahest is a personal distillation of everything I love, including the shiny sparkles of Paris, and once I made a few pieces I realized it was the first time that I really felt I had discovered my unique style.

DPM: Jonathan, could you please name the most important milestones of your job (f.e. exhibitions, galleries and etc.)?

Jonathan: Two big career milestones for me were when my work was in a group show, "Love Lines" by Robischon Gallery, curated next to the work of Kiki Smith, Wu Fan and Tracy Emin in 2010 and also when the Candy & Candy London design firm used two of my big paintings in one of their beautiful new developments in London in 2013. Those two experiences gave me an incredible amount of confidence and momentum towards bigger things in my career. My next big milestone will be an upcoming solo exhibition with Alpha Gallery in London!

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DPM: And could you explain how you create DPM: Is there anything that attracts and inyour projects? Where do you prefer to paint? spires you in life? What is it, if yes?

What kinds of tools do you use in the process of creation your artworks?

Jonathan: When I am traveling I collect a lot of pictures and use them later in my work.

Each different location has a unique energy that Jonathan: I usually work on a lot of paintI can explore with a layer of a painting… ings and different projects at the same time.

And I also collect mineral crystals and gems They build off of each other- layers of images that I study to inspire new shapes in my work. and ideas, painted with oil paint from images I find on my computer. For this Alkahest series I moved to the small Greek island of Mykonos for DPM: Could you name a person who has aston8 months to focus on developing this work with- ished you in art lately? out any distractions. It was just me, huge canvases in my studio, my oil paints, the sea and Jonathan: Seeing the work of Takashi Muthe internet. rakami installed in the Palace of Versailles in France was incredible and inspiring. His work DPM: What do you want to convey to your makes me laugh and seeing it in such a formal place was awkward and perfect. audience?

How did you find the main theme for the DPM: And the last question I’d like you to an‘Alkahest’ project? swer is our traditional one: Jonathan, are you Jonathan: We are in such a chaotic and dy- looking forward to visiting Russia? namic age of information overload - I hope my And what galleries or museums would you visit paintings remind the viewer that underneath all in Moscow or Saint Petersburg? of the mixed messages we get that there is a Jonathan: I am really looking forward to universal connection to everything. For "Alkahvisiting Russia- I haven't been yet and I'm sure est" I was searching for a way to dissolve all one of my paintings will arrive in Russia before I types of different concepts and overlapping possibilities into something solid and pure. That get to! When I do come I'd love to visit or exhibit my work in the Garage Center for is where the "Alkahest" theme came from- my research into the medieval practice of Alchemy- Contemporary Culture in Moscow or the Marina Gisich Gallery in St. Petersburg. the quest to combine elements into something new. I also would hope that my paintings inspire with their simple diamond-like sparkle!

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CONTEMPORARY ART

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Flying or Falling (2012, oil on canvas 99 x 75 inches)

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Onward and Wanting (2012, oil on canvas 93 x 79 inches) on the next pages:

Daybreak or Reversal

(2011, oil on canvas 59 x 59 inches)

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MANI

F

F

ESTO

manifesto

ADAM DAVID BROWN Adam David Brown is a multidisciplinary artist living in Toronto, Canada.

Brown’s art is guided by the principle of “less is more”, and is frequently generated by his interest in science, ephemerality and erasure.

Intentionally spare, his work navigates mark-making and absence to find a balance between emptiness and form. http://adamdavidbrown.com/home.html

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Index OED 2008

(Oxford English Dictionary, Video Projection, Holes)

The Oxford English Dictionary is just like other dictionaries in that it represents a kind of universal library of words. But it is unlike other English dictionaries in that it attempts to provide a biography for each word. The words are traced back to their earliest written sources, usually dating back to antiquity. The history of the English language is that it expanded by colonizing and appropriating many other languages from around the globe. Index cross-references the O.E.D with the notion of a geological core sample, which alters the architecture of the dictionary and makes it strange. Index looks at language in geological terms as though the dictionary was the source of meaning. The result is a conceptual transgression that ruptures the empirical function of the dictionary and repositions it as an object under investigation.

MANIFESTO

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A B I A B U S B L U A H B L A B L A

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

EPILO

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q

A B I A B U S B L U A H B L A B L

H H K Y K L B M L I T I W E Y W Q L B I A B U S B L U A H B L A B L A

H H K Y K L B M L I T I W E Y W Q L U O Y A B I A B U S B L U A H B L

H H K Y K L B M L I T I W E Y W Q L B I A B U S B L U A H B L A B L A

H H K Y K L B M L I T I W E Y W Q

A B I A B U S B L U A H B L A B L A

A S K J N D S K U G E R Y V F R E W

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

OGUE

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z

L A S K J N D S K U G E R Y V F R E

L W B H S E X X Z L P I V M B S Z A S K J N D S K U G E R Y V F R E W

L W B H S E X X Z L P I V M B S Z Z A B L A S K J N D S K U G E R Y V

L W B H S E X X Z L P I V M B S Z A S K J N D S K U G E R Y V F R E W

L W B H S E X X Z L P I V M B S Z

A S K J N D S K U G E R Y V F R E W

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