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simomonsiwritings · 4 years

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POLLUTED SUNSETS | Simone Monsi, interview by Sara Benaglia and Mauro Zanchi

☞ This is the translation of an extended version of the interview Tramonti inquinati by Sara Benaglia and Mauro Zanchi, first published on La Balena Bianca (May 20th, 2019) and included in Metafotografia. Dentro e oltre il medium nell’arte contemporanea, exhibition catalogue, Skinnerboox, Jesi 2019 (Italian only). Courtesy the authors. Translated by Elena D’Angelo and Andrea Williamson. 📲 Read it on Tumblr !

MZ+SB: What do you mean when you use the word “photography” and what, for you, is an image? SM: Wow, this is a question that definitely takes us towards complex scenarios! What I can tell you is that I have always understood and appreciated photography because of its peculiar adherence to “reality”. And similarly, speaking of the term “image”, I cannot easily think of a univocal interpretation, but I am certainly interested in the relationship that images have with “truth”.

MZ+SB: Photography is also limited by its medium, which ties its production to a “classic” rectangular shape. How do you deal with this mandatory two-dimensionality? SM: Honestly, it has been years since I have thought of photography as a rectangular shape… My first visual memories are connected to the Teenage Mutant Ninja Turtles cartoon series, which aired on Italia1 (an Italian commercial television channel) at the beginning of the Nineties. Many other such visual memories followed. This is to say how much the two-dimensional approach to images influenced my way of “seeing”. When I think about it, I feel like today I still interpret my everyday reality through a two-dimensional lens. I do not think about two-dimensionality as a limit; it is my horizon, and the horizon is just an apparent limit.

MZ+SB: What do you mean by “relationship with truth”? I mean, in which sense can truth be produced in a “rectangular” way? SM: I often think about a quote that goes: “The image of the event is the event itself.” Think about 9/11 for instance – it seems impossible not to remember the iconic images portraying that day without reading them in the way they have been narrated by the media. And yet those same images can come to document different events if we analyze them through a different narration, or even more so, with no sound. I feel like this is the reason why alternative theories have so many followers. And this relationship is precisely what interests me – the one between images and the narration that is tied to them, and the way in which the same image can be a testimony to different truths, depending on the level of attention we give to them. I feel like we live in a world where the production of images is the basis for creating truth.

MZ+SB: You studied in England, right? What is the relationship between your work and English culture? SM: Correct, I attended the MFA in Fine Art at Goldsmiths after graduating from a BA in History of Art in Italy. During my two years in London, I barely scratched the surface of English culture. If we speak more specifically about my work though, I think that it could be positioned within a certain aesthetic movement of Western contemporary art, in which the author’s view is associated with a fairly synthetic formalization. This political view, despite being sublimated by the aesthetic of the work, still leaves many readable traces of itself. I’m thinking about Jeremy Deller, for example…

MZ+SB: Political views and images that produce reality… why sunsets? SM: My interest in photographs of sunsets took shape during my first year of college in London. It came from an intuition by anthropologist Michael Taussig, who refers to the “magic hour”: that moment during twilight when sunlight is naturally soft and warm; a moment particularly appreciated in photography. For Taussig, “magic hour” is a visual metaphor for humankind’s current moment of passage from an era in which human activities were in balance with the planet’s natural resources, towards the Anthropocene – a new geological era in which anthropogenic processes modify the biosphere to an irreversible point, and in which the very survival of humanity is threatened. However, because of its gravity, Taussig also sees this exceptional moment of “almost no return” as a chance for humanity to redeem itself; and a hoping for decisions that would shift human activities towards a necessary environmental sustainability. This hope would seem well placed, considering the immense popularity of hashtags such as #sunset, #sunsetlove and #sunsetporn on Instagram. As I was beginning to systematically collect images of sunsets, however, I had the feeling that they had become remarkably more “red” over the past few years. And I am not referring to the many Instagram filters that enhance color saturation. I am speaking of the actual sunset – the one we can see with our very own eyes, everyday. So, through a bit of research, it was not hard to figure out that the metal particulates in pollution and fumes from motor vehicles tend to reflect shades that go from pink, to orange, to red, when hit by sunlight. For me, this highlighted the fact that the most intensely colored sunsets – and possibly the most exciting ones – actually reveal a very high level of atmospheric pollution. This is how sunset photographs on social media became a defining element in many of my works. A visually appealing and emotionally engaging element that can be used as an entryway to a deeper debate on the realness of an image – one capable of unveiling the fragile balance between aesthetic beauty and the poisoning of the biosphere.

MZ+SB: There is an interesting story behind your work Can’t Wait For The Weather To Get Warmer (2018). Could you tell us about that? SM: Can’t Wait For The Weather To Get Warmer (2018) consists of six iPhone-sized fine art prints displayed on a steel structure, and is part of the discourse on sunset colors being indicators of atmospheric pollution. Looking through my collection of sunset photos taken from Instagram and Tumblr, I selected images that presented a common pattern in the shapes of clouds. Certain cloud formations are thought to be caused by the interaction of atmospheric water with electromagnetic fields (see clouds that form parallel and evenly spaced stripes…) I used these photographs as backgrounds for Instagram Stories advertising the fictional low-cost airline LF, which invites users to promptly book their flights, in order to increase temperatures as soon as possible! Although the name of the airline is fictional, the quotes are from a recent marketing campaign of an actual low-cost airline. This obviously caught my attention, considering that the metal particulate from fuels (not only from cars, but also airplanes) is known to have a strong impact on the greenhouse effect and therefore on global warming. So, was it a naïve marketing campaign or a reckless one? What we do know for sure is that the dispersion of such particulate matter in the atmosphere is not only causing rising temperatures, but also adds to the propagation of electromagnetic waves… and this is just the entrance to the “rabbit hole”.

MZ+SB: Would you consider your photography an “artificial photography” or a “natural photography”? Luigi Ghirri defined the two categories as follows: “The first, ‘artificial photography’, finds its place in a chain-like cultural production, forever repeating itself, trying to avoid stereotypes and is therefore reproduction. The second one enforces a suspension – a stop in the chain of reproduction, which is similar to the different moments of the natural gaze and its interaction with the outside world”. SM: My photography is found and borrowed. It is the photograph of a photograph, which reached me without me wanting it. It is like unwanted mail. I see the homepage of my Instagram profile just like a mailbox filled with unwanted letters. I believe that conceptually my photography was born with the supermarket flyers that are left in mailboxes. I think of it as a “natural photography” of an “artificial photography” raised to the power.

MZ+SB: Penelope Umbrico’s Suns from Flickr (2006) is a work which seems to resonate with your research. What is the relationship between production and the aesthetic of access? SM: I think Suns from Flickr is a great “appropriation work” where the artist’s action is fulfilled through the gathering and re-presentation of images. However, I have the feeling that on the internet, an eternity has passed since 2006… Today, the standard on our social media dashboards is to be immersed in infinite sequences of images grouped by type. They are the omnipresent background of our personal visual “echo chambers”… In my practice, in fact, I perceive the act of collecting images as a starting point for the creation of a background that later turns into a sort of skin for various “bodies” (two-dimensional and three-dimensional). Or these backgrounds could be experienced through visual filters, like digital interfaces, and associated to written texts. Twelve years ago, Penelope Umbrico was reflecting on the proliferation of online image archives; considering them to be a constantly developing collective action of unprecedented size. I think that today, the next step in analysing this phenomenon, would be to explore the psychological effects of this collective action on prosumers. Is such collective action implying the direct creation of a collective psychological situation? And if so, what rules does it follow? In the specific case of my use of sunset images, my intention is to take part in a collective psychological situation of appreciating twilight from a purely aesthetic point of view, which then becomes an attempt to systematically liberate twilight’s potential to convey issues of atmospheric pollution.

MZ+SB: The studio or art setting can remove everyday, banal materials from a purely domestic context. How do you choose the materials used in your work and why? What is the relationship between your materials and “domestic” consumption? SM: The materials I use in my works are often mass-produced and of common use. However, I do not use only physical materials, but also digital ones, like the Instagram interface, for example. So if we take into consideration this kind of “material” as well, there is no real selection – they naturally enter into my artistic practice thanks to their massive presence in everyday life. I am interested in the content gatherers and interfaces through which we can consult them- visual grids with which we sift through and understand online content. The need for a studio as a neutral environment comes exactly from the necessity to take out of context those elements whose formal characteristics could not be fully appreciate if they remained immersed in the visual chaos of our daily lives. A urinal in a museum becomes a uterus, doesn’t it? In the same way, a smile drawn on a balloon and left on the studio floor becomes a digital avatar filled with frustration and ready to burst. In this way, the relationship of the material (also thought of as an object) to its domestic environment is transformed by the artist’s action, so that the object’s hidden formal and evocative potentials are unveiled.

MZ+SB: What happens to a “warning” when it enters an artwork? I am thinking about the images of pink pollution. What happens in the art context when an image is shown in order to expose a problem or to highlight an emergency? SM: In my case, it doesn’t happen much, if at all. Honestly, I don’t see people worrying that much. Actually, I don’t see them worrying at all. Don’t get me wrong though – I don’t feel like our tendency to alienate ourselves from our problems, shun responsibilities, and make blind decisions, is related to a lack of compassion. Instead, I think alienation overpowers compassion because, even though everyone is tragically worried about the fate of humankind (both in spiritual and material terms), we are paralyzed by feelings of impotence and the apparent lack of possible alternatives. Obviously, I hope to plant a small seed of doubt within every person that comes into contact with my work; encouraging them to question why certain topics are taboo within general debate. I hope that one day, all those “seeds” will come together and move towards a common critical awareness. However, I often feel that most of the public isn’t even familiar with the grammar or language they would need to understand such a critique. The exchange of information is very slow, and most of the time is spent introducing basic concepts of a discourse that has potential to unfold in more complex ways. Despite finding it ever more difficult to trust my contemporary peers- something that causes me such intense pain that I have no words to describe it – I take comfort in the idea that within two generations, someone who may be wondering why the world evolved in the way it did, will be able to find documentation of my thoughts through my works. Finally seen in perspective, the works will be fully decoded. This way one day, when new gas and oil deposits are made accessible by melting that annoying layer of ice covering the poles, and when telepathy via Elon Musk’s Neuralink is fully implemented, someone will come across a testimony that helps them to reflect on these changes and their technological foundations. They will see that these foundations were put in place during an era of mass distraction and spiritual annihilation. It is a testimony to the idea that innovation (not only technological) is not a neutral force, but follows certain directions and objectives defined by superior and convergent interests.

MZ+SB: We are interested in investigating the relationship between the photographic medium and the artist’s creation of intimate space. In some way, could this relationship be understood as having a sculptural dimension, or a further space for consciousness? For you, is photography a sculpture (metaphysical and ultradimensional)? SM: Yes, your definition sounds appropriate to me: photography is a “sculptural dimension of consciousness”. A quick reflection gives me the feeling that my photographic images come from an intimate place that I would call “generative visual consciousness”. This is like a sort of process that draws images from the archive of my visual memory, and then filters and re-models their content into new images. However, your question also reminds me of another thought that I have been cultivating for a while, in which my actions and role as an artist are to be a sculptor of thoughts… In other words, I sense that an aspect of my artistic practice tends towards sculpting thoughts (other people’s? Yes, but also my own). Seen through this lens, photography certainly has a sculptural dimension for me: it is through images that I produce and sculpt thoughts. A metaphysical sculpture but not yet ultradimensional.

MZ+SB: Let’s imagine the idea of “beyond-photography”: an intimate structure that overcomes conceptual and ideological limitations, lying behind/inside/beyond photography. Who do you imagine transports or moves photography towards its beyond- using more than one medium at a time? This time-changing passage would investigate what photography was not able to show or summon by itself. How do you place yourself in relation to this new phase or possibility? SM: Well, if you ask me to imagine, I will let my imagination go. Forgive me, but from now on my reasoning might not be fully linear. First of all, I think of Mark Zuckerberg. There are public talks from a few years ago in which he said that Facebook’s final goal would be to enable telepathy between its users. I don’t know if we should forget about photography as a static image, but what I am thinking about is a photograph produced by binary-code impulses on a neural level. Concerning this, I have been imagining shooting images into people’s heads – projecting images into their minds – and in this sense, sculpting their thoughts. A while back, I heard someone saying that after WWII – I think it was in the US – there were experiments done with electromagnetic machines that allowed a person to learn a foreign language in their sleep. I honestly think this is quite an interesting rabbit hole to get into!

MZ+SB: What could be the operational-conceptual relationships and possible developments between photography and telepathy? SM: Well, I would bet my two cents on the following hypothesis: Since the atmosphere is full of metallic nanoparticles from motor vehicle exhaust, of which we breathe huge quantities that sediment over decades between the apex of the nasal septum and the cerebral cortex, it is possible that we could become transceivers of electricity – since metal is conductive. And if you consider thoughts as exchanges of electrical impulses between neurons, the telepathic scenario begins to take shape… In an environment filled with highly electrically conductive metal particulates, it would be possible to propagate and receive electromagnetic impulses directly from one cerebral cortex to another. At that point, perhaps photography will become outdated. However, if I think carefully about it, I feel like photography would survive through a shift onto a different support, as has happened before. Such a support could be made of neurons this time. I am thinking of “neural screenshots” which could be produced without the need for an external device. Our brains will be the new smartphones.

MZ+SB: What do you think of authorship concerning human-machine relationships? SM: If we look at this issue from the perspective of bio-tech systems, in which we may be capable of integrating image-producing devices within our bodies, the matter of machine authorship would be marginal. We would again be fully “human” (although slightly evolved, “augmented”). However, this is actually a debate that I have always considered rather boring. At this moment in history, when everyone seems to be part of a flock that thinks and does the same thing, the debate on authorship becomes quite uninteresting. In a world where people behave as if they were pre-programmed machines, I would provoke that I rather prefer machine authorship (assuming such a thing exists) to human authorship. At least it would have its own elements of originality, in a certain way…

MZ+SB: In an age of overproduction of images and artworks on social media and in general, how can an artist work with visual saturation in a constructive way? (Take for example Photography in Abundance by Erik Kessels, who in 2011, poured one and a half million photographs in the rooms of the FOAM museum in Amsterdam within 24 hours.) Is this surplus of images, in which we could easily drown, actually smoke in our eyes, hiding something that is purposefully hidden and kept out of sight? SM: Firstly, I believe artists should channel their energies towards making the public aware of the current situation – showing how the contemporary overabundance of images is neither natural, nor neutral. Our behaviour comes from a specific social model based on consumerism, which produces desire for products through images. I think a difference can be made by attaching useful content onto images. Useful for what, though? This is where the social role of the artist comes into play – creating devices (objects and other things) that are not functional, but that help an individual’s spiritual growth. And it is exactly one’s spiritual essence that suffers the most from the visual (and therefore emotional and mental) overcrowding; that is overwhelmed and kept “out of sight”. Let’s think for a second about the four fundamental units that make up our being: physical body, emotions, mind and spirit. Now think about how many times you happen to talk with other people of the first three, and how many times you talk about the last one. Bingo.

MZ+SB: Do you believe that the contemporary iconic flood is a consequence of capitalism? SM: I am sure of it. We have become the marketing managers of ourselves. Work and private life have melted together – fully turning us into emotional workers. But I do not feel that the daily non-stop self-branding activity is a marketing strategy only for one’s followers. Rather, it is marketing targeted towards ourselves. This flood of images follows a merely materialistic logic, producing an enormous emotional racket that makes us forget that our real essence belongs to another registry. On this matter, there is a sentence that I always like to recall: “Inner silence is the door to infinity”.

MZ+SB: Do you think a possible alternative for this time of iconic metastasis could be to step back from the creation of more images? SM: Yes, within the general debate, this is one of the possible solutions that has been considered. However, I think we should not stop creating. I would prefer to both produce less images, and to produce images with a much more refined quality. On top of this, I think that our own particular feeling of drowning (in images) is not dissimilar to that felt by all humans throughout time. Perhaps what really counts as the real and ultimate filter is time – selecting the images that will last and those that will be erased from future memory. The real question then, is not whether, or how, to change the world by creating (or not creating) images, but why we perceive this iconic metastasis as a condition of unease?

MZ+SB: Speed prevails over the decisive moment, quickness over refinement, transitory becoming over essential durability. Superficial immersion in the mediasphere prevails over the capacity to draw deeply from the archetypes of a universal memory. What new scenarios could be opened up by beyond-photography? SM: You are reminding me of this quote: “Shakti, see all space as if already absorbed in your own head in the brilliance.” This is the 60th of 112 ways, gathered in the text “Finding the center”, that Shiva enunciates when Devi questions him about the nature of divine reality and how to fully experience it. The scenario I aspire to, the ideal to pursue, is not material. The change of register is spiritual, towards what you call universal memory.

MZ+SB: Charlie Brooker, the creator of the British tv show Black Mirror, imagines scenarios and characters of a future reality, which presents issues related to current events and the challenges of new technologies. Various episodes include: machines that let you re-watch in real time past moments from your private life; relive memories; transfer an individual memory that is about to die onto a giant hard disk; transfer someone’s consciousness into another person’s brain; bring a loved one back to life, and many other things. A possible future outcome for photography has not been investigated. If Brooker had asked you to get involved in the writing of an episode on photography, how would you imagine a camera? SM: If they don’t have an episode on photography, it might be because the medium as we now know it, will become obsolete within the very near future. If we think about photography as it is normally conceived – namely, not as an artistic medium – I would say that the episode suggesting a possibility to re-watch past events through a memory implant represents a rather plausible technological outcome of our present. If so, I think we could say that the matter of documenting past events has been addressed rather satisfactorily by the series. What I imagine personally, would closely resemble that vision. It would be a whole different matter if we were to talk about photography as an artistic medium. In that case, it would be a matter of addressing the evolution of all artistic forms that have to do with vision, and the fruition or production and dissemination of images at large. It depends on how we want to imagine it. I like to think that everything will flow in front of our eyes, meaning “inside our eyes”. Screens will be contact lenses; membranes applied directly to our corneas. The next camera could be the blink of an eye. Click. Save picture? Yes. Archive it in the Cloud.

MZ+SB: What effect do you think the act of placing yourself in a collective psychological situation, has had on those experiencing your work? Have you had any feedback in relation to the rising awareness of pollution? According to your experience, are people who populate the contemporary art world (and who therefore feel at ease in the society of spectacle) merely interested in aesthetic and conceptual matters of ideas and intuitions- or have they actively moved something on a social and political level? SM: We don’t have to rush. The scale we use to measure the time it will take to implement certain changes is not the same as the one with which we measure our lives. Changes today are imperceptible, but within two generations we will understand everything better. I am committed to moving a tiny grain of sand everyday. And I can assure you, I see the grains are moving.

#english version #english #translation #simo monsi #2019 #2020 #mauro zanchi #sara benaglia #interview #metafotografia #photography #telepathy #sunsetporn

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lovebrownpaperblr · 6 years

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What would we do without the past?

“Without the past we cannot build the future”

A.V. Suvorov.

(Alexander Vasilyevich Suvorov was a Russian military leader, considered a national hero. )

Looking at my collection of the art files, I see a certain sequence and pattern of development of my interests and can trace the influence that other artists have on me. I have always been interested in surrealism, imagination, originality of creative solutions, mystical background of the subconscious mind and it’s presence, all this has always excites me. I has selected artist to fulfill my dossiers along those lines that important in my artwork.

My main interest is a subjects of memories. Surrealism was a starting point, as memories are comes from it properties.

The Key concerns of my research are

Narrative / storytelling

Surreal / dream / memories

Catharsis

Home and loss of home

Two sides

Deconstruction and reconstruction

Presence and absence

Loss and gain

To remember and to forget

External and internal

Mediums

Sculpture,

Narrative - voice / performance

Video

The choice of material for the work is of great importance to me. I am mainly interested in paper, carboard paper, carton, wood. I also had a look at strong material as a bronze. They have absolutely different art language. For some reason I love paper for my artwork. This emphasize the fragility of creation, gives a perception the sense of a time.

My research started with an extensive field of surrealism because it was associated with the concepts that underlie my work.This is always will be my first love in art. At the start of the semester, I visited the Ian Potter Museum of Art at Melbourne University and was very inspired by the exhibition “All the better to see you with: Fairy tales transformed” with works of Tracey Moffatt, Patricia Piccinini and Kara Walker. The exhibition was so atmospheric, that I forgot I was an adult. That really influenced the initial stage of my work.Was there anything that attracted me to this kind of work? I think it is the surreal narrative, that gives a flow to my creative imagination.

I investigate a great deal how to handle the material( paper) and different approach to create sculpture. I looked into work of Christo Vladimirov Javacheff and Jeanne-Claude as they wrapped they objects to transformed them complexly beyond recognition. it’s gives it sense of intimacy, and anonymity. I looked at artist such as Robbie Rowlands who works in opposite to Christo and Jeanne. He creates his installation by ripping a part interior. It was very important discovery for me in a actively making sculpture of a similar processes, to understand better what I am involved with, as its can be very emotion. I created series of photography as a process of ripping things a part, which I never would even consider as separated work.

I learned through George Segal and Ricky Swallow’s work the importance of clarity of objects of installation. They answered my question how much should I exposit, hoe much to put out for best communication with viewers. What is an installation as a visual language .

I investigated recently, symbolism in the paintings of Anna Berezovskaya, Mario Gomez, Elena Kosenko. Its brings for me the specifics of the theatre of the absurd and at the same time the integrity of reality. The connection that exists between reality and unreality is so subtle in every way that it provokes me to rush into the depths of both. Maybe it's theatre of the absurd. Which has always had a huge impact on my work and life. Did a scene from Shakespeare's not absurd, its truth and greatness? Isn't the sculpture of Rodin is absurd in the same way? I know that is a very vulnerable and emotional substance, Its mixture is very paradoxical! I was feeling that I found the point where juxtaposition of surrealism and theatre of absurd are met.

I'm looking for the beauty of life in its inadequate truthfulness. Inadequate truthfulness generates inadequate reality, thereby closing the circle in which the thought beats, creating an eternal paradox. Art becomes an allegorical and phantasmagoric spinning wheel in the artist's hand. And so it is important that the material from which he weaves his work, what elements he uses and what image comes from his hands.

There is always a chance to miss the important! Keeping it on the horizon, I always believe in fate, it must be the Russian in me, then what should be in your field of vision will not go anywhere. And finally, I came across Christian Boltanski, and I think it is not a coincidence. The uniqueness of his works is unambiguous. I am interested in relation between memories and forgetting, presence and absence, erase and reconstruct what you just erased. I started working with emotional properties, like letters from my mother and sister, that I kept for 26 years in shoe box. I am learning how the space works, relation of objects in space.I know I can learn so much from meeting Christian Boltanski through his work.I personally more and more inspired by his work. It’s very poetical, phantasmagorical, atmospherical and in the same time, documental and historical. I am admiring the depth of relationship between his memories and history and his artistic expression of it in his work. Also material he is using to create his work outline the fragility of the memories and the history as a life substance. It’s also creates the poetic sense of surreal reality, the surreal narrative. He raise the question of relationship between memory and process of forgetting, going to territory of oblivious. He is putting under projector subject of presence and absence in his work, which again is very curious for me.

Whether critical, or introspective, Boltanski’s work in Memory delve into personal memory and the past, transforming them in their work. The artist wrestle with complex topics such as the veracity of history, the nature of interpretation, subjective versus objective truth, and the ways in which objects and images from the past embody cultural memory. That makes his work distinguished amongst others.

At the moment I am totally under influence of Christian Boltanski‘s work, it’s motivating me to move further. Recently I had a chance to listen lecture about Christian Boltanski and Anselm Kiefer, on line at Russian museum “Garage” by Irina Kyllik. It brought a lot of clarity in my thoughts and beautiful parallel between two artists who had some great similarity and yet being so different. That would be the next artist for my investigation.

How can you convey with exceptional humour absolutely serious things? Installations in which there is a spirit of time and its fragile materialisation, and the absence of such, is very phenomenal. He works with very sensitive properties.

I step away from doing physically complex objects, at least for now. I started feel more drawn to installation work. I am investigating my origins, sense of identity, my feelings towards home. Where is my home, do I actually have one? Home in a sense of belongings not a physical object. How is my memories can be part of my work? How to make my installation vivid experience for the audience. How can I use light and shadows, voice, videos and performance in my work effectively?

For my last project I have done series of bricks, which made from my drawings when I was 5 years old and one side I put photo of my family members. I wanted to build the “House of memory” I realise after critic tutorial it’s not working as I want it to work. So I will have to sound the bricks with my voice and stories. I decided to take a bold step, and play invisible bricks and tell story and photos of my family will be projected on the wall, as I talk.

All this intersections of art practice aspects started to take effects in my artwork. I can see huge shift in the way I think and what I do. As much as I was drawn towards surrealist, I am also in contradiction with my imagination took a deep dive in reality matter, which most definitely in reached my outcomes.

I am sure, I would discover much more unique artist that would influence me a lot, I just need do not stop half way through my practice. I hope to keep going.

Thank you.

Natalia Kamenskaia.

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