This year has been interesting to say the least. With Covid making live events nearly impossible, our club has worked tirelessly to transition online. We have been recognized as a source of music and culture by other organizations on campus, we have set up a successful website, and we have continued to grow and share our love for the arts with others, even if they’re outside of our local area. My team of graphic designers have really stepped up and took on the challenges I threw at them, and I hope they’ve gained beneficial experience using the tools they’ll have for the rest of their lives. This will likely be my last year as the Creative Director for The Collective. This club has been my gateway into the world I wish to live in. It has allowed me to make friends, learn valuable design experience, and pushed me to think outside “normal.” I hope I was able to add to the foundations so that it can continue to grow into the future.
I love this club and I hope you enjoy.
Russell Green Creative Director and Vice President
Jamal Moore Goons With Guns
Jamal Moore
Lil Doods
Bella Scott
Cow Bitch Dishes
CHISMPRISM
Colors and Shapes: An Interview with Cover Artist Madeleyess
By Madeline Blair
Our cover artist Maddie (yes, we have the same name!) is a teen artist based in Detroit, MI, who will be attending art school starting in Fall of 2021. She primarily paints and draws, using all different types of paints, markers, pens, and embellishments in vibrant colors. She has been creative her whole life, sure from a young age that this was her passion; she remembers having always enjoyed the expressivity of art, creating characters, and experimenting with form by hand. In honor of her stunning color palette, free-flowing linework, and interesting mediums of representing faces and features, we chose her as this issue’s cover artist because she fits right in. Find her on Instagram at @madeleyess and on her website, www.madeleyess.com.
Your art style is incredibly distinct and calls attention, with these winding facial features and vibrant primary and secondary colors. How did you come to develop this unique sense of style, and how has it changed over time?
My style has changed a lot over time, but thinking back when I first started sharing my art to the internet, the subject matter was mostly people and faces! So, it seems I’ve always enjoyed faces and people, whether I was drawing cartoons, attempting realism, or whatever my current style is. I feel like the style I have now comes from my love for color and things that I think represent myself. I’m really nostalgic, so including things like stickers and googly eyes into my art is really fun and representative of me! Sometimes I struggle with my “style” because it can be many different things at times, but I think the best thing to do about that is to keep creating! It all changes a lot with time and practice, and a lot of patience!
What inspires the faces and features you create? Are they drawn from people you know? Celebrities? Or are they dreamed up?
I almost always use myself as a reference. Usually I look at pictures I’ve taken of myself that have something interesting to them, like the angle it’s taken at or where my eyes are looking. I’m still not really sure where my ideas come from or what inspires them! Sometimes it’s color schemes that pop into my head first, and I just try to recreate the little snippet I saw in my brain the best I can!
I admire your sense of texture in the art you create—adding pressed flowers to a canvas, painting on empty paint bottles, sticking on arts-and-crafts googly eyes and beads. Tell me more about this process.
I think texture adds so much to art. Adding things like beads and glitter creates more and more layers in the work, which is just very visually pleasing to me. When it comes to backgrounds, adding these things is a fun way to fill in space and make everything nice to look at. And again, those objects are little pieces of nostalgia to me. It’s fun to see how I can incorporate things like that!
What was your inspiration for the cover art of this issue, and how would you say it represents you as an artist?
I wanted the cover to be representative of my artwork as a whole, so of course I have a face in there as well as some textural stuff! I just love playing with colors and paint and adding all sorts of stuff, almost like decorating a cake. I wanted it to be eye-catching and fun!
How has social media played a role in the way you express your art? You currently have 51k followers on Instagram, which is quite impressive! I’m interested if you could speak on how you’ve accrued this base and if it has changed your creative process in any way.
I’ve had my account since May of 2018, so it’s had some time to grow! I honestly don’t know how I have the amount of followers I do other than Instagram luck, and it’s hard for me to comprehend! The algorithm on Instagram is really tricky, particularly for artists. Sometimes it changes, and it becomes incredibly difficult for artists to reach an audience. But, in those good moments when you can reach people and get feedback, it’s really inspiring. This may not be the best thing, but I think social media and my audience has kept me motivated to keep creating over the years. I think it has helped me a lot in continuing to grow as an artist and be exposed to other art; however, it can certainly be overwhelming to know I have that many people seeing my work and to stay active on my account. Overall though, I’m really grateful for it because now opportunities like doing the cover of this magazine have met me! It’s important to remember to just have fun with it and not care too much. I just enjoy sharing my art with people and knowing it’s out there in the world!
What do you wish more people knew about your craft?
I wish more people knew how hard it can be to actually create the work! It isn’t necessarily challenging for me to paint or draw, but translating the idea from the little glimpse of something I see in my head to a physical piece of art can be very frustrating. Sometimes I lose what I was going for along the way, or I overwork the piece. I’m not always happy with the final result of things, but I’m trying to get better at knowing it’s okay to not always feel like a piece of art is “me” or be unsure about what my style is. That’s all part of the process!
Grace McKean
Sunkissed
Ashlee Grant
Familiar
Acrylic
Chloe Fulton
Callie Clinch
Abstract Face
Acrylic & Oil Pastel on Drawing Paper
Rachael Menke Untitled Acrylic
Same Interview, Same Same Interview,
Three Generations Three Three Generations
By Holiday Maag
Barbara is my great-grandmother, Connie is my grandmother, Julie is my mother. They are all women who grew up in central Illinois and became mothers in their early twenties. When my grandma was just twenty years old, she had her first daughter. Now I am newly twenty, and I feel that motherhood is far from my twenties for me. In reflection, I called upon these three generations to muse with me about what motherhood could mean.
What does it mean to be a mother?
Barbara: Oh, I can’t imagine not being a mother. It was always what I wanted to be…it means everything. I wish I had more children; I wish I had more boys.
Connie: The most important job in the world. The most exciting thing I ever did in my life was raising my girls. It was the most important, the most fulfilling. I don’t know what else to say. It made me the happiest. It was fun, stressful, exciting. I wish I could do it again. I would do a lot of things differently. Your mother has taught me a lot about motherhood and things I would change.
Julie: The fulfillment of my life’s purpose is creating humans that will be kind and perpetuate good morals, and I love to know that I’m contributing to the future by helping mold the characters of humans I hope will make a difference. I love to have family, and I love the idea of shared experience; we can go through all that together.
When did you know you wanted to be a mother?
Barbara: Oh, when? Oh my gosh. Well, I was probably about fifteen. Not that I wanted to get married then, or have babies then, but I knew that my goal in life was to have a family. My own family. Because my mom, my mom just had two children and my father was killed when I was six, and I just didn’t really know what it was like to be a whole family. So I wanted to have my own.
Connie: Umm—boy—almost right after I got married, I knew I wanted to have a baby to raise, and you know, I had her sister so she’d have a friend. Isn’t that funny? I wanted them close together.
Julie: Probably from the time I was a toddler—which I know seems maybe like an exaggeration, but really it’s not. I’m a giver by nature, and I’ve always been that way with baby dolls. I intensely took care of my baby dolls. They were never cold, always well fed and clean. I treated them like real little people. There was never a doubt I wanted to be a mother. Not a question.”
What
did you value in the way you were
mothered?
Barbara: What did I value? That she took care of me and she worked. I had no father, and she worked and took care of me and fed me.
Connie: The way I was mothered? That my mom was always at home when I got home from school, that she always had a breakfast for us before we went to school. We always had a sit down dinner, you know? She worked really hard to make sure that we were fed properly. There wasn’t a time we didn’t eat as a family. That, to me, was very important. When I’d come home from school and she wasn’t there—which was rare—I’d be mad! Maybe the word was “upset.” It just didn’t feel right.
Julie: The way that I was mothered? I’m trying to think of the right word. What’s the word for constantly knowing my mother would be there? The reliability of my mother being there, and I know she always did her best. She always did her very best and was very loving. She was always there and always accepting of my quirkiness.
Do you think you wove those values into the way that you parented?
Barbara: Well, yes. I did my best to take care of my children, and keep them safe and happy and fed and clothed, and everything that they needed. It was a job! It was a job, but I was fortunate I didn’t have to work. I was able to do what I wanted to do.
Connie: Oh yes, definitely! Definitely. We always had our sit-down dinners. I always tried my best to be like what my mom taught me, and I tried to teach my kids the same.
Julie: Yes, absolutely. It’s woven in the good ways and in the ways that I’m trying to change my parenting. I think that with each generation that happens though; you learn from the way you were parented, and you try to do better in some ways. But I’ve definitely always consistently been here for you guys and tried to accept you and definitely tried to love you unconditionally.
What was your favorite part of your childhood?
Barbara: Favorite part of my childhood, oh my goodness. Well, that would be my teenage years in junior high and high school. Peoria was a wonderful place to grow up in—that was the forties. You could go downtown any time of the day or night, and there’d be people all over. You could meet people and talk to them wherever you went. There was always something to do. It was never boring, and it was never unsafe. Those were my happiest years. I met grandpa when I was fourteen; he was fifteen. We went to a lot of football games together. Right now, that’s about it, I guess. I’ll think of something later.
Connie: We had the freedom to run around. We didn’t have a lot of friends right here, but we always had fun. Like “kick the can” and “spotlight tag,” all those silly games.
Julie: When I get nostalgic and think about my childhood, I think of playing outside with my sister and knowing that she was always gonna be my playmate. That I’d get to go inside to a nice dinner and a warm bath, and I’ll get to go to sleep in my safe bed. And I like that I lived across the street from my grandparents.
Paige Love
Untitled Charcoal
Paige Love Untitled Oil on Canvas
Ashlee Grant Untitled Watercolor
Julia Morrison Untitled Oil
Jihee Li When I Spoke Your Name Oil on Canvas
Jihee Li
Dreamer Haru Oil on Canvas
Jihee Li Solitude Thor Mixed Media
What’s in your Twitter drafts?
The IRS is American Mafia
A Chief Keef Hologram
Nothing, I tweet without thinking
I’ll have the 5’8” discount
Also, did anyone else feel
A bunch of spelling mistakes
A burger without any honey mustard
Soapy iPhone GF
NASA Launch Codes
Which cartoon character would you kick it with?
Ed
Plank
Spunch Bop
Flapjack JaketheDog
ChickenPonyoEvolution
Toph Beifong
Jerry the Mouse
CatDog
Rick Sanchez
Timmy Turner
DannyPhantom
Callie Clinch
Cow Riot Digital
Rachael Menke
Untitled Pastel
Emily Hoover Untitled Acrylic
Ari Kelo Simple Visions Gouache
Ari Kelo
Disco Thoughts
Acrylic on Canvas
Chloe Fulton Cottage Fiber Art
Cerek Tunca Untitled Pyrography & Woodworking
Cerek Tunca Golden Temple Pyrography & Woodworking
Abbie Steele If I Created the World Silicone on Glass
Ilan Elenbogen Leafy Lounge Digital Collage
Ilan Elenbogen Blue December Photography
Ilan Elenbogen
Untitled Digital Collage
Grant Mason Knife
Why Do Women Speak So Differently Than Men?
By Farrah Anderson
Before you begin, consider the following statements. Read them both carefully, and consider who you think would say each statement.
Oh dear, you’ve put the peanut butter in the refrigerator again. Shit, you’ve put the peanut butter in the refrigerator again.
Odds are, you said that a woman said the first statement and a man said the second statement. Was I right?
This example of men and women’s language dates back to a book titled Language and Woman’s Place, published by Robin Lakoff in 1972. Lakoff developed the “Politeness Principle” which consisted of three rules designed to maximize the positivity of an interaction: “Don’t impose, give the receiver options, and make the receiver feel good. ”No surprise here: research has found that women are experts at that.
From that text and the explosion that was Second-Wave Feminism, the field of feminist sociolinguistics was born. From that point on, researchers have found that women— particularly young women of color—are increasingly innovative communicators. Often, their speech is decades ahead of where mainstream language will inevitably end up. But more often than not, women have said that their innovative language is not taken seriously from adolescence to their adult lives. From criticisms of linguistic indicators such as the filler word “like,” upspeak, and vocal fry, feminist sociolinguistics set out to prove those criticisms wrong.
With the publication of more research and books, mainstream media is beginning to catch on.
Why am I using exclamation points?
After sending an email to the parents of her students, Shauna Oakwood—an English teacher at Danville High School—received a reply from one parent saying she had forgotten to send the link she had promised. Casually, Oakwood replied, “So sorry about that!” But after she hit send, Oakwood said she couldn’t stop thinking about the exclamation point. She said she felt like it made her seem too eager or energetic.“I should be using periods,” Oakwood said. “Why am I using exclamation points?”
After sending an email to the parents of her students, Shauna Oakwood—an English teacher at Danville High School—received a reply from one parent saying she had forgotten to send the link she had promised. Casually, Oakwood replied, “So sorry about that!” But after she hit send, Oakwood said she couldn’t stop thinking about the exclamation point. She said she felt like it made her seem too eager or energetic.“I should be using periods,” Oakwood said. “Why am I using exclamation points?”
Throughout her professional career as a teacher, Oakwood said linguistics have been a huge struggle for her. She said she overthinks her punctuation and word choice constantly throughout the day—something she said her husband, also a high school English teacher, has not ever had to do. “I don’t think my husband has ever thought nearly as hard about how he punctuates an email,” she said.
Throughout her professional career as a teacher, Oakwood said linguistics have been a huge struggle for her. She said she overthinks her punctuation and word choice constantly throughout the day—something she said her husband, also a high school English teacher, has not ever had to do.“I don’t think my husband has ever thought nearly as hard about how he punctuates an email,” she said.
Early in her career, Oakwood taught a high school speech class at Danville High School. She used a college textbook and taught her students about gendered linguistics. She said she explained how women tend to be less direct and use different fillers than men. Surprised, she said she saw the lightbulb go off above some of
Early in her career, Oakwood taught a high school speech class at Danville High School. She used a college textbook and taught her students about gendered linguistics. She said she explained how women tend to be less direct and use different fillers than men. Surprised, she said she saw the lightbulb go off above some of
However, Oakwood said her male students couldn’t even believe the difference. If she’s stern with a class, they’ll come back the next day and say she yelled at them. But, she said she rarely even raises her voice. “When women are to the point, they get called things like ‘bitches,’”
However, Oakwood said her male students couldn’t even believe the difference. If she’s stern with a class, they’ll come back the next day and say she yelled at them. But, she said she rarely even raises her voice. “When women are to the point, they get called things like ‘bitches,’”
“But I should be able to be direct without an attack on my personality.”
“But I should be able to be direct without an attack on my personality.”
Becoming a Slut for Words
After unwrapping a thesaurus for her 10th birthday, Amanda Montell said she was hooked on words. “I didn’t always use those ten-cent words appropriately but I really did enjoy them,” Montell said.
After unwrapping a thesaurus for her 10th birthday, Amanda Montell said she was hooked on words. “I didn’t always use those ten-cent words appropriately, but I really did enjoy them,” Montell said.
Once she began as a freshman at New York University, she started taking linguistics classes and fell head over heels with words once again. Post graduation, Amanda finally got on the phone with a literary agent. To her surprise, her agent was fascinated by her degree in linguistics. Soon after, Montell had a book deal.
Once she began as a freshman at New York University, she started taking linguistics classes and fell head over heels with words once again. Post-graduation, Amanda finally got on the phone with a literary agent. To her surprise, her agent was fascinated by her degree in linguistics. Soon after, Montell had a book deal.
Released in May of 2019, Wordslut: A Feminist Guide to Taking Back the English Language, gained national acclaim for Montell’s “tell it like it is” writing about gendered language. In her writing, Montell delves into the biases of gendered language and deconstructs the academic research on feminist sociolinguistics for the average Joe (or Josephine)
“I really wanted to gleefully empower people with knowledge that is kept on the high shelf of academia”
After culminating decades of research and interviewing linguists from around the world, Montell came to one conclusion: women are increasingly innovative speakers. Especially young women of color. “If you want to hear what language will sound like in 10 years, just listen to a young urban woman,” she said. Although marginalized women are proven to be the most innovative speakers, Montell said the speech of men is still viewed as better in society: “The sound of a white man is still what we deem most acceptable.”
Now 29 years old, living in Los Angeles with two books under her belt, Montell said Wordslut is still selling. Obsessively checking her Goodreads account every day, she said she’s often most delighted to see reviews by men. Although her writing can be brash, she said she wrote it not to criticize, but to educate. From what she has seen, the reviews have been everything she was hoping for.
“Odds are, that person is in an open enough headspace that they’re going to receive my points.”
Mr. Lion, Mr. Tiger, and Mr. Bear, oh my!
Holding up lion and tiger figurines in front of his two-year-old’s curious eyes, a new father named the plastic beasts. By default, the names Mr. Lion and Mr. Tiger emerged. But after reading Montell’s Wordslut, Matt Conger—the CEO and co-founder of Cadence Translate—realized how his beasts’ imaginary names fell into gendered stereotypes.
“We just have this unconscious bias to associate male gender with aggressive animals,” he said. Heading a five-star review for Wordslut, Conger admitted that the book was intimidating for him as a man to approach. But as the CEO of a translating company, Conger said the book
opened his eyes to the changes that he could make in his day job as well as at home. “People’s identities are tied into how they use language,” he explained, “and instead of forcing one group to conform to another, we should celebrate the diversity of it.”
Inspired by Montell’s writing, he invited her to give a speech to his company’s employees. Her virtual appearance is now the most attended talk his company has ever hosted.
As his son gets older and older every day, Conger said him and his wife are making more of an effort to not enforce gender stereotypes in the way they speak around him. As silly as that sounds, it could mean introducing a Mrs. Lion into the toy chest.
“We want to get started early.”
Liberation from Language
For her dissertation at the University of Toronto, Alexandra D’Arcy had an idea to study the word “like.” However, she said she was warned by members of her department that it was a bad idea to pursue.
“If I were to study it, I would be branded in the same way, and I would derail my career before it even began,” D’Arcy said. After completing painstaking data collection and evaluating her findings, D’Arcy said she slammed her findings down in front of the faculty member who had doubted her. In doing so, he finally admitted she was onto something. Through that experience, she said she understands why women are still fighting to be taken seriously.
“Feminism is a thing for a reason,” she said.
Now an associate professor in linguistics at the University of Toronto, D’Arcy said that studying “like” was one of the best career moves she’s
ever made. In doing so, she said she’s been able to have enlightening conversations with people about feminist linguistics.
In her research, she has come across the million dollar question: Why are women a lightning rod for language criticism? Although there are many hypotheses, she said she believes we’re really resistant to change that is spear-headed by women. “If we think language change is wrong and that what women do is wrong anyway, that’s a really 1-2 punch against women’s linguistic innovation.”
And when fathers of daughters come to her to criticize the use of “like,” she said they should look at it a little bit differently. D’Arcy says this because from her research, women tend to talk more freely around those that they love. “What you need to hear when they say it is, ‘I love you.’”
Although feminist sociolinguistics has started to creep into mainstream literature and academic, D’Arcy said there’s still a long way to go before the criticism isn’t so gendered. Or, as 1970s French feminists would cry in the streets of Paris...
In Defense of Strange Times after Joshua Bennett
No one knows what the future holds for the next whenever,
which is probably what makes nostalgia all the more alluring
when considering Life Before & most days I’m pretty cool with staying inside with my boyfriend
if only to cuddle safely in the winter warmth, learn to cook gourmet, run around with the dog
between what the breaks in our Zoom schedules will allow or fuck it, let’s run late.
I loved some parts of the Before, like the coffee dates & meandering
around Lake Shore after a romantic dinner. How he’d smile at the homeless people
who called us a beautiful couple. Mostly everyone misses the whole of our previous
Madeline
lives, but I cannot help but find comfort in sheltering in place
with the meetings & marketing strategies, each day
becoming a subtle repetition of the last. In the Before Times, it was biblical the way I chose to self destruct when stuck
in my geographical isolation. Being two plane rides from my love & one train from Chicago, I laid Lidocaine across the hole in my heart.
I made friends I didn’t quite like. Dancing under dark neon lights despite the sweaty bodies trying to checkmate us & laughing about it at the library
the next morning, we all felt almost fine. The frats were the worst because
I’d run around with heaven up my nose with a mechanical smile far brighter than
Snow White & the boys cheered me on while I charged them money
just to talk to me. Some nights the worst person & I would sit
on some beer-stained couch & stare at a television playing Matt Maltese’s
“Strange Time,” silently singing along. I think today’s Strange Time, however, of living with my lover
while we hide away from the plague is far more comforting than what was beginning before.
When I talk about it like that, I think it confuses people—
especially the glittering Grecian girls who once lived in the dorm room over.
Madeline Blair
Blair
almost/always
boy says hi to girl and soon falls in luv: (it was junior high and kids in our class thought it was so cool of us to find this so soon.) a mighty pair, holding hands and having fun. up to about spring, it was sunlight, but i had to stop contact—post-traumatic hospital and all. disastrous ways of starting and finishing my days, i didn’t think i was worthy of anything. so i quit (hold on). took a flight to south of paris to work on it. boy and girl, at this point, an almost pair, i’ll call us.
fast forward to high school, i act as main attraction in first big play; a british ghost in gray paint donning a slip gown. inviting boy was not a fully conscious act but it was bold, and right. following this show, boy did naturally avow his adoration which was lasting upwards of forty thousand hours. i bit our mission fig, tasting of divinity—that is to say: boy, post long pursuit, finally asks girl out again (and girl says duh, obviously.) today, i can say it’s all orchid blossoms within us, and what is occurring is constantly good. i didn’t know boy would ask for always, but oh, boy did, and i am so, so glad.
Madeline Blair Two-Faced
Elle Terrado
The Bird’s Bountiful Nest
Baggage
Look down to read my name, then continue to drag me along. It’s in your best interest to forget that I’m packed so full, I have no room for more. When I’m too heavy for you to carry, don’t hesitate to pass me on to someone else who will. It’s an easy game to play, hot potato me, will you?
Deny my existence to comfort and ease yourself into the illusion of my absence.
Please,
don’t forget that I take everything you throw at me. The words in the books you packed aren’t the ones that stuck with me most. I never knew dark vocabulary could be so colorfully executed. You throw me in the back seat and stuff me with excuses. I feel I start to lose my grip, I don’t know how much more I can handle. You’re tired, which means it’s time for someone else to carry me. “I have to drop you off with grandma.”
The abyss in my young heart is filled with pain and sorrow. Now you only stand to look my way when someone else claims me. You’re afraid you’ll lose me, even though I never felt found. I have become an item of silent auction. You bid on me with phony emotions and flawed love in the eye of a robed elder. You dare not unpack me; yet you happily parade me around. I cannot speak.
My lips are sealed, as are my zippers, which keep the mess from spilling over.
by Joseph Madrid
Walking On
By Cole Johnson
Sunday morning, walking through the snow.
Boots on, jacket zipped –Got somewhere to go.
I got something to do but nothing to be. Ice on my eyelashes
Blisters on my feet.
I’m not sure if I’m growing or shrinking
But I don’t feel myself, So I told a man on the corner the pain that I felt. He said “Bud that’s nothing,” And he was probably right. He told me of real hurt and real sorrow, But I didn’t walk in his shoes and nor him in mine.
Tell you the truth we were both a bit preoccupied –Me having something to do, And I’m sure him the same.
So off I went searching for heaven With a hell of a foot ache.
Trudging along turning blisters to wounds Blissfully convinced that the issue was my shoes.
Sometimes walking and smoking Till my hands get cold and my breath feels broken.
Oh I’m walk, walk, walking. For what feels like days. Yes I’m walk, walk, walking. But was probably years.
Till all of a sudden I came upon a wall –In the middle of the sidewalk, About three feet tall.
She had a puffer flower print coat, And stronger convictions than I’d ever known.
So I stopped.
Not quite dead nor alive in my tracks I stood with bloody feet and an aching back If not for that wall I would have surely collapsed.
She had nothing to do but something to be, And what she was was a savior to me.
She took my hand and led me down a path Where there were snowmen, evergreens, and plenty of laughs –
For a moment I was.
Still had something to do
But I became more than bones, blisters, and boots. For a moment I was.
The walking won’t stop till the day I die. Now and again that makes me cry, But that day will come sooner if I don’t try And stop walking for a moment till the pain subsides.
Monday morning, got somewhere to go. I’m healing my blisters Playing in the snow
APIS, PISA
By Abraham Holtermann
Having released, sacrificial knowledge and consigned
Pentforth to nihilism upturned
Coasting through cosmic methaphor in st. Laurent bass and tire smoke
It’s 20 and 20 more voices unraveling toward you
Tonguelash from windowslit to blasting days for which you are De Chirico’s paranoid like
Clock reading yawn, Sun red ribbons ravish the plaza
Neoclassical dwarfing
Salacious flowerformed, suns in realms of their own impress, It bathes its crumbling geodesic against the stream of light
It’s warped impression extends to bathe against us
Liminal clouded thunderlapse
Inevitability in 20, inevitability rendered on
Having hewn
Opal translated from a yam doppler stone trips from innumerable cliffs’ chromatism
Having been woven sisyphean imagus dei in palindromic euclidean metric painture
