Image Descriptions (Issue 3/Spring 2022)
Alice Wilson, Front Cover & Back Cover & ii & 1-4 & 11-12 & 307-308: Scribbly monsters.
Tim Stuemke, 28-30: Black and white photograph of a child demonstrating resuscitating a drowning victim. Also included are torn illustrations of plants and fragments of maps.
Erin Bryant Petty, "Drowning", 35: A white hand reaches out of an oval mirror with gold ornate frame. There are ghostly images in the mirror. The hand is emerging from a dark blue pool of dripping water that floats in and beyond the mirror. Light and shadows make horizontal patterns across the page.
Erin Bryant Petty, "What is to Come", 36: An empty, blue upholstered chair with dark wood trim in the middle of a white page. Large black feathers extend from the back of the chair like a wing. A small gold square picture frame with silhouette of a woman is above it. Above that is a hovering pool of dripping blood.
Erin Bryant Petty, "What is to Come", 37: A round black vase with a narrow neck in the middle of a white page. A blue and maroon bird hides in the curve of the vase. A white magnolia blooms below. Sunlight and shadows are making diagonal patterns on the page with darker shadows in two corners.
Erin Bryant Petty, "House on Fire", 38: A tall, yellowish stucco house in the middle of a white page with sunlight and shadows making vertical patterns across the paper. The house has two darkened window and a door. Flames come out of the door, the upper window, and along the left side of the roof.
Erin Bryant Petty, "Yellow Snake", 39: A brown arm and hand reaches towards the top of a white page, just left of center. A bright yellow snake wraps around the arm, its head near the palm, looking upward. Light and shadows create horizontal patterns across the page, with deeper shadows in two corners.
allison anne, "hourless" / "quadrate" / "thermoset" / "otherworld" / "degree of reduction", 47-51: Five abstractions made from paper but appear sculptural; forms that call to mind bones, shells, gems and minerals with light, color and dimension.
Jerrod Schwarz, "Blue Knight", 57: A digital piece created on Procreate with ink brushes and paint brushes. The artwork features a profile close-up of a stylized knight with a blue background.
Jerrod Schwarz, "Venus Rising from the Ocean", 58: A digital piece created on Procreate with ink brushes and paint brushes. The artwork is inspired by the Art Nouveau work of Alphonse Mucha and makes use of the genre trademark thick inkwork with intentionally inscrutable detailing throughout.
Carella Keil, "Excavation of the Self", 91: A woman's nude body, alabaster white, lying amongst green leaves. Her left hand covers her breasts. Her face and all identifying features are omitted from the image, and nudity is implied.
Carella Keil, "Stained Glass", 92: An abstract image in melting shades of cyan, peach and lilac of two versions of a woman's face, one with a dreaming and the other with a strained and thoughtful expression. An exploration of the unconscious.
Laurie Marshall, "don't let them hear you", 95: A young child holds her finger to her lips to shush a large lizard. They are surrounded by colorful quartz crystals. The background is a fantastical lush jungle of green trees covered with trailing moss.
Elliott Orchard-Blowen, "Seperation Tactics", 99: A piece composed of collage and found poetry. Overlapping photos in shades of yellow, orange, white, and blue compose the background. An illustration of a black and white leopard lies in the center.
Elliott Orchard-Blowen, "Fledgling", 100: A piece composed of collage and found poetry. A mish-mash of colorful images, mostly in slightly muted and warm tones, compose the background. A human eye, with orange paint on the lid, is surrounded by stylized peaches. A human form in black and white extends diagonally from the top left corner, where it almost meets the image of a person with short blue hair. They wear pink clothing, and lie on their back, propped up on their elbows, on top of a wooden chest with a multitude of small drawers.
Elliott Orchard-Blowen, "And Icarus Eats The Sun", 101: A piece composed of collage and found poetry. A variety of rectangular and square images in shades of blue, green, orange, and yellow compose the background. An image of the bottom left of a young man’s face, cut in half just above the start of his nose, is in the upper right corner. The whole right half, and upper left half of his face are in the bottom right corner. The image of a miniature “zen garden” box, almost empty of sand, is in the middle left of the piece. The photo of an orange and black striped tarantula barely overlaps it in the center middle.
Elliott Orchard-Blowen, "Dead Man Walking", 102: A piece composed of collage and found poetry. Pictures in shades of blue, red, brown, and green compose the background, along with many pictures of succulents and similar plants. At the bottom center, there is a person, who stands with hunched shoulders, back to the viewer, in black-and-white tones. In the bottom right corner is the somewhat unclear photo of a human torso being held by an unseen person’s arms.
Emily Blaske, 117: A blue/purple, ethereal image with rays of light coming into frozen trees in the foreground.
Sara Blaske, "Pomegranate", 118: A reimagining of Hades and Persephone for the oncoming spring. A heavily cloaked man in a deer skull mask gazed up to the moon light. He stands deep below the earth looking up at a figure in white, Persephone. Her figure is small at the top of the winding earthen staircase. Her long hair sprials down the stairs and billows into the pit where Hades stands, who looks up longingly to her to stay.
Christine Barkley, 121: A puddle cloudy with orange and green algae, reflecting the sky and trees above.
Christine Barkley, 122: A close-up of a cluster of red berries coated in ice.
Ethan Riddle, "Ghastly Fellas", 125: A digital artwork that depicts two balloon-like apparitions which both have elongated mouths and slanted dark eyes. The presented ghosts are greenish in color and the one on the right is much larger than the one on left. They are both interlaced between the dark patterned setting of the artwork, and they are both standing upright in a plant-like manner.
Ethan Riddle, "Waiting Room", 126: A 3D/digital artwork that depicts a ghost within the confines of an empty, dimly lit room. The presented ghost is placed in the center of the artwork and is shown as being a blurred, slightly transparent entity. The artwork could act as an atmospheric representation of purgatory, but this is open to interpretation. The overall theme of this specific artwork is solitude.
Carella Keil, "Constellations of Loss", 129: Black and white image of a hand with tree roots in the shape of veins and tendons superimposed upon it.
Tracy Whiteside, "The Mask", 131: A woman covered in layers of white tulle holding a mask in front of her face. She in enveloped in misty smoke.
Tracy Whiteside, 132: A woman covered in layers of white tulle. She in enveloped in misty smoke.
Tracy Whiteside, 133: A woman covered in layers of white tulle holding a mask. She in enveloped in misty smoke.
Tracy Whiteside, "Beguiler", 145: Black and white image of a witch. Photo is overlayed with texture to distort it and give it a nightmare feel.
Tracy Whiteside, "Mask Upon My Face", 145: Black and white image of woman wearing a plague doctor's mask. It is layered with textures to reinforce the surreal feel.
Ryan Thomas LaBee, 155-160: Dark and gothic portraits of female models.
Stephanie Saroiberry, "Canopy", 173: A black and white photograph of a forest of trees that is slightly blurry.
Stephanie Saroiberry, "Webs", 174: A black and white photograph of tree branches with a spider web stretched between them and a spider in the web.
Stephanie Saroiberry, "Eat Me", 175-176: A black and white photograph of tree bark with large frilly mushrooms on it.
Helen Gwyn Jones, "Bathed in Passion", 185: A photo-based image of the head of a female statue. The neck is bent down and the head turned to the side to reveal an expression of bliss on her face. The background and statue are all white yet the part of the face revealed to the viewer is black as though it is the only part of her not yet dipped in joy.
Helen Gwyn Jones, "Come with me", 186: A close up photograph of the outstretched hand of a statue. Around the wrist is a red ribbon which hangs down. The figure which owns the hand is not shown and only part of the cloak/clothing is seen. The sense of mystery is forged by the dark background and the focus on the hand. Who is the figure? Where will it take you? Could the ribbon mean blood? Will you go?
Sam Hotz, 189: Photograph, centered on a brace supporting barbed wire atop a chain-link fence, with barren, creeping vines overrunning both brace and barbed wire.
Sam Hotz, 190: Photograph, focused centrally on a weathered Fleur-de-lis adornment atop a wrought-iron fence. The unfocused image of barbed wire running along an intersecting fence can be faintly seen in the background.
Tabitha Marsh, "The Tomb", 193: A ghostly looking boy sits atop a tomb. In the background there are twisted trees.
Tabitha Marsh, "The Tree", 194: A tall tree stands in silhouette, with the small figure of a girl sitting on one of its lower branches.
Tabitha Marsh, "Antigonish", 195: A staircase with wooden balustrades leads up into darkness.
Tabitha Marsh, "Grotesque", 203: A stone dragonish-creature is perched on a roof, with stars in the background.
Tabitha Marsh, "Tiger Fire", 205: A staircase with wooden balustrades leads up into darkness.
Aislinn Feldberg, "Ghost #1" & "Ghost #2", 211-212: Pictures of a sculpture made of wire and a gauze-like fabric standing above a small pool.
Aislinn Feldberg, "Reflection", 215: A clutter of branches reflected in a pond near Montgomery Mansion.
JA Fields, "Moth", 221: A brown moth is posed so that its wings sit like a cloak down its hunched back, as it faces the viewer head on. Its face and limbs are in stark focus while the rest is soft with the background. The focus makes it unclear if the moth is missing limbs or they are lost to the field of focus.
JA Fields, "Chimeric Sonnet", 223: A chimaera, also known as a spotted ratfish, makes an arc with its body as it glides through the water of a dirty tank. The fish has a shark like head with large eyes, and two pairs of wing like fins outstretched. Below it, two more chimaera cross each other going opposite directions, and below them, flatfish swim against the mud.
Dylan Willoughby, "crowned", 225: Mural art including a figure wearing a crown.
Lorin Lee Cary, "Sidewalk Observed", 227: Walking along I spotted this strawberry on a driveway. Proving once again the wisdom of Yogi Berra's comment that "You can observe a lot just by watching."
Lorin Lee Cary, "New York Back in the Day", 228: New York City ca. 1986, a woman places a call at a public phone booth.
Zaynab Bobi, "Shackled", 248: An artwork I created in solidarity with the killings happening in the Northern (Arewa) part of Nigeria. The Arewa knot enclosing the butterfly carrying a light is showing how powerless we are and still are.
George l Stein, "14014", 232-233: This is my dog Monty at the old ammo/explosives facility near Kingsbury, Indiana. This area is composed of concrete bunkers used for storing ammo and explosives during WWII and for some decades after. Generally, only hunters tread through these fields now. This place has a 'forgotten' feeling to it which I like.
George l Stein, "204a", 234-235: This photo is of the wreck of the chapel from Mt. Moriah Cemetery in Philadelphia through the remainder of the security gate. This was an abandoned cemetery, now being restored by volunteers in the community. The tortured gates make me wonder what these gates have seen in their days.
Sirrudeen, "Divine Noise", 251: Image of a figure wrapped in a cloak with a printed pattern. The figure’s face and the background of the piece are layered with marbling patterns. The whole image has a subtle layer of static grain.
Ashley Parker, "The Beacon of Anstey", 253: A golden woman holds aloft a blazing sun. Colourful flames array behind her in a mandala-like halo, with shapes inspired by Bird of Paradise flowers. The light of her sun pushes against a dark blue shadow that borders the piece.
Sam Hotz, 255: Photograph of a woman with her back to camera. She wears a long silk nightgown and stands in front of a fireplace, candles burning on the mantelpiece and fire burning within. Her hands rest on the mantel and the light of the fire shines through the fabric of the nightgown, illuminating the silhouette of her legs.
Silas Plum, "Kent", 261: Kent Logo, Black, Red, Gold, geometric suggestion of boxes with loose space.
Silas Plum, "Marlboro", 262: Same as "Kent", but with a Marlboro logo, different colors, messier, and far less distinguished.
Silas Plum, "Grandpa's Old Girl", 263: Multiple pictures of multiple men supposed two central figures, both fighting for the photograph of a woman. She used to spend time with Grandpa.
Silas Plum, "Fry's Cocoa", 264: A pale, witchy woman floats in a strange and amorphous place. The table she sits at is for you. Be very careful.
James Diaz, "There is nothing I don't understand", 257: A woman in a window with trees behind her and a shoe with wings tucked into the bottom of the window frame, across from another woman seated at a table with a girl lying on the table with flame/flower like designs behind her, on a golden wrapping paper background.
James Diaz, "Families like ours", 258: A family in a living room setting, a father in a chair with a dog, seashell and egg beside him on the floor, a mother asleep under a reading lamp, and a daughter on the wall inside of a frame. Atop this setting is a red felt fabric heart sewn into a piece of gauze.
Argot Chen, 259: Crows perched on thorny branches against a smoky orange sky.
Lauren Suchenski, "Birch", 270: A photo of snow-covered birch trees.
Lauren Suchenski, "One", 271-272: A photo of a red winter berry.
Argot Chen, 277: A close-up of bubbling water and flaky baking soda in a pan.
Tim Stuemke, 28-30: Black and white photograph of a child demonstrating resuscitating a drowning victim. Also included are torn illustrations of plants and fragments of maps.
Erin Bryant Petty, "Drowning", 35: A white hand reaches out of an oval mirror with gold ornate frame. There are ghostly images in the mirror. The hand is emerging from a dark blue pool of dripping water that floats in and beyond the mirror. Light and shadows make horizontal patterns across the page.
Erin Bryant Petty, "What is to Come", 36: An empty, blue upholstered chair with dark wood trim in the middle of a white page. Large black feathers extend from the back of the chair like a wing. A small gold square picture frame with silhouette of a woman is above it. Above that is a hovering pool of dripping blood.
Erin Bryant Petty, "What is to Come", 37: A round black vase with a narrow neck in the middle of a white page. A blue and maroon bird hides in the curve of the vase. A white magnolia blooms below. Sunlight and shadows are making diagonal patterns on the page with darker shadows in two corners.
Erin Bryant Petty, "House on Fire", 38: A tall, yellowish stucco house in the middle of a white page with sunlight and shadows making vertical patterns across the paper. The house has two darkened window and a door. Flames come out of the door, the upper window, and along the left side of the roof.
Erin Bryant Petty, "Yellow Snake", 39: A brown arm and hand reaches towards the top of a white page, just left of center. A bright yellow snake wraps around the arm, its head near the palm, looking upward. Light and shadows create horizontal patterns across the page, with deeper shadows in two corners.
allison anne, "hourless" / "quadrate" / "thermoset" / "otherworld" / "degree of reduction", 47-51: Five abstractions made from paper but appear sculptural; forms that call to mind bones, shells, gems and minerals with light, color and dimension.
Jerrod Schwarz, "Blue Knight", 57: A digital piece created on Procreate with ink brushes and paint brushes. The artwork features a profile close-up of a stylized knight with a blue background.
Jerrod Schwarz, "Venus Rising from the Ocean", 58: A digital piece created on Procreate with ink brushes and paint brushes. The artwork is inspired by the Art Nouveau work of Alphonse Mucha and makes use of the genre trademark thick inkwork with intentionally inscrutable detailing throughout.
Carella Keil, "Excavation of the Self", 91: A woman's nude body, alabaster white, lying amongst green leaves. Her left hand covers her breasts. Her face and all identifying features are omitted from the image, and nudity is implied.
Carella Keil, "Stained Glass", 92: An abstract image in melting shades of cyan, peach and lilac of two versions of a woman's face, one with a dreaming and the other with a strained and thoughtful expression. An exploration of the unconscious.
Laurie Marshall, "don't let them hear you", 95: A young child holds her finger to her lips to shush a large lizard. They are surrounded by colorful quartz crystals. The background is a fantastical lush jungle of green trees covered with trailing moss.
Elliott Orchard-Blowen, "Seperation Tactics", 99: A piece composed of collage and found poetry. Overlapping photos in shades of yellow, orange, white, and blue compose the background. An illustration of a black and white leopard lies in the center.
Elliott Orchard-Blowen, "Fledgling", 100: A piece composed of collage and found poetry. A mish-mash of colorful images, mostly in slightly muted and warm tones, compose the background. A human eye, with orange paint on the lid, is surrounded by stylized peaches. A human form in black and white extends diagonally from the top left corner, where it almost meets the image of a person with short blue hair. They wear pink clothing, and lie on their back, propped up on their elbows, on top of a wooden chest with a multitude of small drawers.
Elliott Orchard-Blowen, "And Icarus Eats The Sun", 101: A piece composed of collage and found poetry. A variety of rectangular and square images in shades of blue, green, orange, and yellow compose the background. An image of the bottom left of a young man’s face, cut in half just above the start of his nose, is in the upper right corner. The whole right half, and upper left half of his face are in the bottom right corner. The image of a miniature “zen garden” box, almost empty of sand, is in the middle left of the piece. The photo of an orange and black striped tarantula barely overlaps it in the center middle.
Elliott Orchard-Blowen, "Dead Man Walking", 102: A piece composed of collage and found poetry. Pictures in shades of blue, red, brown, and green compose the background, along with many pictures of succulents and similar plants. At the bottom center, there is a person, who stands with hunched shoulders, back to the viewer, in black-and-white tones. In the bottom right corner is the somewhat unclear photo of a human torso being held by an unseen person’s arms.
Emily Blaske, 117: A blue/purple, ethereal image with rays of light coming into frozen trees in the foreground.
Sara Blaske, "Pomegranate", 118: A reimagining of Hades and Persephone for the oncoming spring. A heavily cloaked man in a deer skull mask gazed up to the moon light. He stands deep below the earth looking up at a figure in white, Persephone. Her figure is small at the top of the winding earthen staircase. Her long hair sprials down the stairs and billows into the pit where Hades stands, who looks up longingly to her to stay.
Christine Barkley, 121: A puddle cloudy with orange and green algae, reflecting the sky and trees above.
Christine Barkley, 122: A close-up of a cluster of red berries coated in ice.
Ethan Riddle, "Ghastly Fellas", 125: A digital artwork that depicts two balloon-like apparitions which both have elongated mouths and slanted dark eyes. The presented ghosts are greenish in color and the one on the right is much larger than the one on left. They are both interlaced between the dark patterned setting of the artwork, and they are both standing upright in a plant-like manner.
Ethan Riddle, "Waiting Room", 126: A 3D/digital artwork that depicts a ghost within the confines of an empty, dimly lit room. The presented ghost is placed in the center of the artwork and is shown as being a blurred, slightly transparent entity. The artwork could act as an atmospheric representation of purgatory, but this is open to interpretation. The overall theme of this specific artwork is solitude.
Carella Keil, "Constellations of Loss", 129: Black and white image of a hand with tree roots in the shape of veins and tendons superimposed upon it.
Tracy Whiteside, "The Mask", 131: A woman covered in layers of white tulle holding a mask in front of her face. She in enveloped in misty smoke.
Tracy Whiteside, 132: A woman covered in layers of white tulle. She in enveloped in misty smoke.
Tracy Whiteside, 133: A woman covered in layers of white tulle holding a mask. She in enveloped in misty smoke.
Tracy Whiteside, "Beguiler", 145: Black and white image of a witch. Photo is overlayed with texture to distort it and give it a nightmare feel.
Tracy Whiteside, "Mask Upon My Face", 145: Black and white image of woman wearing a plague doctor's mask. It is layered with textures to reinforce the surreal feel.
Ryan Thomas LaBee, 155-160: Dark and gothic portraits of female models.
Stephanie Saroiberry, "Canopy", 173: A black and white photograph of a forest of trees that is slightly blurry.
Stephanie Saroiberry, "Webs", 174: A black and white photograph of tree branches with a spider web stretched between them and a spider in the web.
Stephanie Saroiberry, "Eat Me", 175-176: A black and white photograph of tree bark with large frilly mushrooms on it.
Helen Gwyn Jones, "Bathed in Passion", 185: A photo-based image of the head of a female statue. The neck is bent down and the head turned to the side to reveal an expression of bliss on her face. The background and statue are all white yet the part of the face revealed to the viewer is black as though it is the only part of her not yet dipped in joy.
Helen Gwyn Jones, "Come with me", 186: A close up photograph of the outstretched hand of a statue. Around the wrist is a red ribbon which hangs down. The figure which owns the hand is not shown and only part of the cloak/clothing is seen. The sense of mystery is forged by the dark background and the focus on the hand. Who is the figure? Where will it take you? Could the ribbon mean blood? Will you go?
Sam Hotz, 189: Photograph, centered on a brace supporting barbed wire atop a chain-link fence, with barren, creeping vines overrunning both brace and barbed wire.
Sam Hotz, 190: Photograph, focused centrally on a weathered Fleur-de-lis adornment atop a wrought-iron fence. The unfocused image of barbed wire running along an intersecting fence can be faintly seen in the background.
Tabitha Marsh, "The Tomb", 193: A ghostly looking boy sits atop a tomb. In the background there are twisted trees.
Tabitha Marsh, "The Tree", 194: A tall tree stands in silhouette, with the small figure of a girl sitting on one of its lower branches.
Tabitha Marsh, "Antigonish", 195: A staircase with wooden balustrades leads up into darkness.
Tabitha Marsh, "Grotesque", 203: A stone dragonish-creature is perched on a roof, with stars in the background.
Tabitha Marsh, "Tiger Fire", 205: A staircase with wooden balustrades leads up into darkness.
Aislinn Feldberg, "Ghost #1" & "Ghost #2", 211-212: Pictures of a sculpture made of wire and a gauze-like fabric standing above a small pool.
Aislinn Feldberg, "Reflection", 215: A clutter of branches reflected in a pond near Montgomery Mansion.
JA Fields, "Moth", 221: A brown moth is posed so that its wings sit like a cloak down its hunched back, as it faces the viewer head on. Its face and limbs are in stark focus while the rest is soft with the background. The focus makes it unclear if the moth is missing limbs or they are lost to the field of focus.
JA Fields, "Chimeric Sonnet", 223: A chimaera, also known as a spotted ratfish, makes an arc with its body as it glides through the water of a dirty tank. The fish has a shark like head with large eyes, and two pairs of wing like fins outstretched. Below it, two more chimaera cross each other going opposite directions, and below them, flatfish swim against the mud.
Dylan Willoughby, "crowned", 225: Mural art including a figure wearing a crown.
Lorin Lee Cary, "Sidewalk Observed", 227: Walking along I spotted this strawberry on a driveway. Proving once again the wisdom of Yogi Berra's comment that "You can observe a lot just by watching."
Lorin Lee Cary, "New York Back in the Day", 228: New York City ca. 1986, a woman places a call at a public phone booth.
Zaynab Bobi, "Shackled", 248: An artwork I created in solidarity with the killings happening in the Northern (Arewa) part of Nigeria. The Arewa knot enclosing the butterfly carrying a light is showing how powerless we are and still are.
George l Stein, "14014", 232-233: This is my dog Monty at the old ammo/explosives facility near Kingsbury, Indiana. This area is composed of concrete bunkers used for storing ammo and explosives during WWII and for some decades after. Generally, only hunters tread through these fields now. This place has a 'forgotten' feeling to it which I like.
George l Stein, "204a", 234-235: This photo is of the wreck of the chapel from Mt. Moriah Cemetery in Philadelphia through the remainder of the security gate. This was an abandoned cemetery, now being restored by volunteers in the community. The tortured gates make me wonder what these gates have seen in their days.
Sirrudeen, "Divine Noise", 251: Image of a figure wrapped in a cloak with a printed pattern. The figure’s face and the background of the piece are layered with marbling patterns. The whole image has a subtle layer of static grain.
Ashley Parker, "The Beacon of Anstey", 253: A golden woman holds aloft a blazing sun. Colourful flames array behind her in a mandala-like halo, with shapes inspired by Bird of Paradise flowers. The light of her sun pushes against a dark blue shadow that borders the piece.
Sam Hotz, 255: Photograph of a woman with her back to camera. She wears a long silk nightgown and stands in front of a fireplace, candles burning on the mantelpiece and fire burning within. Her hands rest on the mantel and the light of the fire shines through the fabric of the nightgown, illuminating the silhouette of her legs.
Silas Plum, "Kent", 261: Kent Logo, Black, Red, Gold, geometric suggestion of boxes with loose space.
Silas Plum, "Marlboro", 262: Same as "Kent", but with a Marlboro logo, different colors, messier, and far less distinguished.
Silas Plum, "Grandpa's Old Girl", 263: Multiple pictures of multiple men supposed two central figures, both fighting for the photograph of a woman. She used to spend time with Grandpa.
Silas Plum, "Fry's Cocoa", 264: A pale, witchy woman floats in a strange and amorphous place. The table she sits at is for you. Be very careful.
James Diaz, "There is nothing I don't understand", 257: A woman in a window with trees behind her and a shoe with wings tucked into the bottom of the window frame, across from another woman seated at a table with a girl lying on the table with flame/flower like designs behind her, on a golden wrapping paper background.
James Diaz, "Families like ours", 258: A family in a living room setting, a father in a chair with a dog, seashell and egg beside him on the floor, a mother asleep under a reading lamp, and a daughter on the wall inside of a frame. Atop this setting is a red felt fabric heart sewn into a piece of gauze.
Argot Chen, 259: Crows perched on thorny branches against a smoky orange sky.
Lauren Suchenski, "Birch", 270: A photo of snow-covered birch trees.
Lauren Suchenski, "One", 271-272: A photo of a red winter berry.
Argot Chen, 277: A close-up of bubbling water and flaky baking soda in a pan.
