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Terbinafine zalf Esomeprazole buy online kopen "We don't call it 'sketchboard art,' " he told me. "There was no sketchbook, because it so new that nobody had a clue what to do with it." One night, the group came across a wood carving of woman on an easel. The name "Kathrine Marie Gasser" was on the base and, a little lower on the picture, in black marker, "M.Gasser." They quickly concluded this was the woman they Valacyclovir buy online uk had been looking for. "Nobody really looked," Schleiermacher told me. "She was in black and she had a big smile on drug store online shopping canada her face, and they were like, 'Oh, this is our Kathrine.' " But they were also impressed: "We just blown away. We were like, 'Wow, what a really, really good idea.' " At this point, a few members had become of a secret society. The group met only infrequently and in secret. At night, its members sat the table, on floor, or in the corner of Schleiermacher's apartment, sipping wine and talking about what they had been working on all day. Schleiermacher had only two other art supplies: a sketchbook and roll of masking tape. He and Gasser agreed on the basics: paint, water, and acrylic paint. On an overcast Friday afternoon, the group met in Schleiermacher's tiny studio, and Gasser began taking off a sheet of paper. The artist sketched a woman in blue dress wearing a flower crown. Some members, including Schleiermacher, asked her to sketch other women. When they started drawing black, white, and orange, they found themselves drawing in a new, bright style. Schleiermacher, Gasser, Ewers, and Lohrmann got together made an "inspiration board," where they put ideas, and later, sketches, down on the floor. They also brainstormed about a name. One week, some members, including Schleiermacher, had gone to a restaurant. In the bathroom, they found a woman called "the blue woman" in a dress, with her head bobbing like a fish or ballerina. Lohrmann recognized both women as Gasser's aunt and niece. Another week, Schleiermacher and Gasser went to a restaurant, and in the bathroom they found a man called "the yellow woman" with a long blond hair and small smile on his face. They also spotted an artist friend of Gasser's, who had just gone through a painful, expensive, and traumatic breakup. The idea for a name came in quiet moment shortly after the name-the-artist board meeting. They had just come from an interview at which Lohrmann had revealed that he spent more than $100,000 of his own money on art education in Germany while he was growing up, and that he'd been forced to start saving again in the early '70s, when he realized that Germany's art scene was about to collapse, forcing many in his family out of the country. But he had some regrets about spending so much time learning about painting while growing up — in fact, he thought that the "art education" he'd received had been too superficial. "You go through a lot of class, you study art, and don't really feel like you live art," he said. "I didn't know how important the art was to me." With the board's encouragement, he began to consider what did after art school. He was now a full-time artist who had his own studio on the East Coast. Over time, he told me, created a work style that was more focused on the aesthetic quality of his paintings than on academic ability. It was a kind of deconstructionist approach to art. He also began look at his work through the eyes of his wife and children, who wanted something more meaningful, personal, or special than they were getting from the art-world career path they were following. Soon, a plan was born: One Friday in early 2010, Schleiermacher and six of the remaining artists met in his bedroom, around a table, in very small studio. They laid out what hoped would become a self-sustaining self-publishing business: monthly print book called "The Keg Art Project." Each of them will create a "book-length" (between two and eight pages), one-page short story about each of the women they've chosen to portray; the stories are all completely different, and not based on any sort of shared theme or experience. Schleiermacher is drawing the women, and, using his computer |