Αbout poetry
Poetry
Is a very demanding woman
She knows how powerful are the words
They can win a war
The right verses must be used
Poetry
Needs loyal men
Needs time
And caring
As you take a white paper
And you give your self
Creating sentences
With your heart
A woman need so
Much caring
As the poem
Is ready
To come out of your
Stomach
Or your heart
Feelings Never spoken
Feelings never shared
A woman was never loved...
Poetry
It is the way
We see love
Ourselves
Be loved
Wishes to become true
Poetry
Is our freedom.....
...
We have asked not to be forgotten....
But we forget to live
We forget to love
We forget to say hello and thank you to people they were there for us!!
We asked to be patient
We have asked to be kind
But they never teach us about the selfish person
The evil people
They snakes they are among us
That are waiting for our moments
The small moments
To come
And destroy
We have asked to believe in ourselves
We have asked to be positive
But they never explained that
We will be the only that we must do that
As people are occupied with make war
Make money
Have power
I do what they asked but i walk forgotten....
In the battle field...
Lost Eagle
An eagle wants to soar the sky
Yet overwhelmed by the vastness high
Desire to be out of cage so free
Need to be warm and safe in a nest be
An eagle warmed by the golden sun
Yet rash and burns never been fun
Cravings for the sweetness of nectar
Detest the addiction with no holds bar
An eagle flying for desired goal
Yet struggle with currents running afoul
Fight routes twisting gone hayway
Lost in heaven's blind maze way
An eagle no different from the eaglet
An egg lain for business not nature set
Searching beyond reason's mystery
Yet know its wings has no sanctuary
An eagle forever wishing the sky
Yet caged in anchored from flying high
Desire surgeing wanting to be free
Quite contrarily needing the security in a nest be
Silent Lamb
Scorching wind lashed on the tattered skin
Not to cool but burn right down one's shin
Breeze unwelcomed, fiery ember's kin
On opened wound, awashed in biting hot gin
Light bouncing off a discarded serrated tin
Lazer torch slicing a rotten fleshy bin
Pricking a human bag thousands of a pin
Memories battled, all virtues and one great sin
Heavy log burdened a bloody shoulder
Naked heels on sharp path of crushed boulder
Passage unyielding, shaky feet flounder
Entertainment, for bloodlust to plunder
Sweat and blood to cool a disfigured face
Spittle and slaps, adornment of disgrace
Time and Death impatient in the race
Such a slow, grueling journey pace
So far and yet so near, the goal of a hill
A place where justice is vexed nil
Iron nails hammered flesh holes to drill
Sturdy post raised up, viewers had their fill
Thunder sounds the sky did rend
Shakes and quakes through the ground earth send
Angry insults and curses haters tend
Yet the slaughtered lamb remained silent...
Lilian Dipasupil Kunimasa was born January 14, 1965, in Manila Philippines. She has worked as a retired Language Instructor, interpreter, caregiver, secretary, product promotion employee, and private therapeutic masseur. Her works have been published as poems and short story anthologies in several language translations for e-magazines, monthly magazines, and books; poems for cause anthologies in a Zimbabwean newspaper; a feature article in a Philippine newspaper; and had her works posted on different poetry web and blog sites. She has been writing poems since childhood but started on Facebook only in 2014. For her, Poetry is life and life is poetry.
Lilian Kunimasa considers herself a student/teacher with the duty to learn, inspire, guide, and motivate others to contribute to changing what is seen as normal into a better world than when she steps into it. She has always considered life as an endless journey, searching for new goals, and challenges and how she can in small ways make a difference in every path she takes. She sees humanity as one family where each one must support the other and considers poets as a voice for truth in pursuit of equality and proper stewardship of nature despite the hindrances of distorted information and traditions.
Trump in Chains
It is well posed,
one must give the devil credit:
defiance shouts, frozen in fury,
at the top of grievance,
as petulant as it is silent;
the furious eye, triumphant in mockery,
disdains the camera and, through its harsh lens,
you.
But there is no gratification.
A dull ache, sequela from a blow,
taken long ago,
swells in the soul
of even the most opposed
when faced with this
humiliation.
No: no gratification,
only sorrow
at this portrait
of the folly of mankind
at war with itself, nature, and the gods,
taken in the bowels of a southern jail.
There, but for the grace of the devil,
go I.
Christopher Bernard's collection The Socialist's Garden of Verses won a PEN Oakland Josephine Miles Award and was named one of the "Top 100 Indie Books of 2021" by Kirkus Reviews. His two books "for children and their adults," If You Ride a Crooked Trolley . . . and The Judgment of Biestia, the first in the series Otherwise - will be published in November 2023.
Welcome, family and friends, to August’s second issue of Synchronized Chaos, the Prolific Potpourri.
Linda S. Gunther remembers a bittersweet lost love by the New York moonlight. Bakhora Baktiyorova finds comfort for the loss of her love in everyday natural scenes and bitter coffee. Ahmad Al-Khatat grieves a loss through philosophical reflection amid self-destructive habits. Manzar Alam memorializes a fellow teacher who has passed away in his stately poem.
Sayani Mukherjee finds a concert and an artistic palette in her everyday morning routine in New York.
J.J. Campbell observes through a set of vignettes that his imagination is preferable to his memory. Atagulla Satbayev reminds us of our mortality and the fragility of our loves.
Mahbub Alam memorializes a national human tragedy in Bangladesh while reminding us of the joyful energy of romance. Both love and death continue throughout the human condition.
Gustavo Galliano illuminates the horror of humans’ inhumanity towards each other in his piece on the United States’ atomic bomb attacks on Hiroshima and Nagasaki. Mykyta Ryzhykh also renders the existential questions nuclear war poses into poetry through understated, undercapitalized lines that ask what could possibly be left standing after that level of destruction.
Jerry Langdon exposes the psychological bruising his heart has endured over decades. Elmaya Jabbarova points out that we can all suffer emotionally, so we should all treat each other with respect.
Sabrid Jahan Mahin speaks to the relentless human impetus for adventure and greener pastures.
Graciela Noemi Villaverde laments the difficulty of overcoming past betrayals and being wrongly thought less lovely with age. Mirta Liliana Ramirez resolves to learn from her life experiences and move forward. Christabel Angel Douglas thanks her past for its lessons and the strength and resolve she draws from them. Zimbabwean writer Abigirl Phiri shares the spirit-crushing force of discouragement, yet urges readers to continue, even just for one more day. Aisha Damilola Abioye rejoices in the resilience she observes in a close friend’s life.
Adhamova Laylo urges readers towards perseverance and self-improvement through gentle encouragement. Nozima Gofurova prods readers on towards achievement through sharing her journey and accomplishments.
Kristy Raines highlights the unconditional love she and her partner have for each other and for their children. Chimezie Ihekuna, aka Mr. Ben, illustrates through his book The Meeting Point how parental attention can impact the lives of even very young children. Mirfayzbek Abdullayev highlights the importance of Uzbekistan’s national education initiatives for children’s development.
Leslie Lisbona recollects how her parents’ struggles affected her as a teen and young adult. Shabnam Shukhratova encourages young adults to learn competence at life skills through studying abroad.
Safina Abdusalomova relates how a young person came to appreciate his parents at an older and wiser age.
Maja Milojkovic speaks to the acceptance and love and guidance she finds through her spiritual faith. Dilurabonu Vayisova honors the connection and resonance she finds during the sacred Islamic month of Ramadan.
Annie Johnson shares her desire to join in a sacred dance with nature and her beloved while Lillian Woo revels in the music of waterfalls and the outdoors and the ecstasy of romance. Laskiaf Amortegui joins the song, as the gentle orchestrations of crickets accentuate her yearning for her love.
Mesfakus Salahin finds reminders of his beloved throughout the outdoors, in the scent of the air and the sight of vistas.
Faisal Justin finds both beauty and peace in nature at twilight, while Anindya Pal compares love and connection to the swell and flood of a monsoon.
Monira Mahbub sings of the joy of gentle rainfall while Akhlima Ankhi dramatizes a cataclysmic storm. Brian Barbeito takes closeups of moments in nature from different angles to recapture its wonder.
Daniel De Culla snaps natural vistas and intimate, somewhat amusing moments where people connect with nature. Isabel Gomez de Diego’s photos look into ways we experience the beach: sunbathing, boating, plated sardines. Channie Greenberg observes intersections between the natural and the human, built worlds.
Brian Michael Barbeito captures liminal spaces and conditions: storms between periods of growth, people and experiences between the literal and the esoteric. Shammah Jeddypaul combines varied mythologies to explore the world before the Genesis creation.
Laszlo Aranyi speculates on a gruesome, yet fascinating, post-human, demonic future. Marjorie Thelen wonders if we already exist within a real-world dystopia.
Joel Oyeleke grieves for the lack of hope and difficult conditions in his country of Nigeria in a poetic ballad. Emmanuel Umeji expresses similar sentiments in his psalm of mourning for national violence.
Tanvir Islam extols a wise and helpful teacher while Don Bormon praises the history of his school. Wazed Abdullah honors the diligent work of Bangladeshi farmers. Mahliyo Raximboyeva reflects on the strength and beauty of her native Uzbekistan as illustrated through a public statue.
Z.I. Mahmud illustrates how Jane Austen’s Pride and Prejudice contrasts the love-at-first sight ideals of romance with real and complicated human relationships.
Taylor Dibbert speaks to the common awkward experience of running into an ex in public, and deciding not to say all that could be said. Muhammad Sani Habibat expresses parting wishes through describing a balloon release.
Jim Meirose evokes the experience of attempting to amass too much information into one’s mind at once. Noah Berlatsky stirs many cultural concepts and icons together into a gelatinous mass of recollections.J.D. Nelson peers at our world faintly, as if through a darkened glass, through his haiku.
Seymour Knecht ponders questions of cultural difference, etiquette, and kindness as a visitor to northern Nigeria.
David Estringel creates a slick, gritty urban shadow-poetics of the underbelly of a modern city and its inhabitants.
Mark Young speaks to how we are all embedded in a much larger world containing natural ecosystems of insects, birds, animals, and fungi and cultural ecosystems replete with music from various eras.
Tohm Bakelas ponders our place in the universe, where we fit among the very small and the very large. Duane Vorhees describes assiduous perseverance in the name of various causes, yet speculates as to whether the devotion is worthwhile and whether moderation might have been preferable.
Robert Fleming re-visions famous disco balls from the United States and the U.K. into colorful graphic images, reinterpreting the fun energy into a static format.
Bobur Matyokubov outlines ways to increase the energy efficiency of buildings and preserve the environment.
Federico Wardal discusses how he and Jennifer Glee carried forth Federico Fellini’s directorial vision and completed Mastorna, a film left unfinished but past the point of no return.
Fernando Carpaneda shares his process of adding eroticism and queer themes to modern and historical sculptural aesthetics.
Peter Cherches remembers the lively music of Sam Rivers in a memoir vignette. As he says, “a jazz trio is an organism.”
We hope you enjoy the “living organism” that Synchronized Chaos is becoming, and revel in the issue’s redolent artistic potpourri.
Ways to increase the energy efficiency of buildings and their external barrier structures
Egamova Marguba Turakulovna, teacher;
Matyokubov Bobur Pulatovich, teacher;
Samarkand State Architecture and Civil Engineering University, Uzbekistan.
pulatovich93@gmail.com
Abstract: In this article the results of theoretical and field studies with different thermal design solutions of external walls to improve the energy efficiency of buildings.
Keywords: Natural energy, external barrier construction, polystyrene,thrombus wall, heat-physical
Nowadays, rational use of natural energy resources remains one of the main tasks in all developed countries of the world.
In order to effectively use natural energy sources in Uzbekistan, in the reconstruction and perfect repair of residential, treatment, children's institutions, schools, lyceums, colleges and boarding schools, which are being built and used in accordance with the requirements of KMK 2.01.04-97*, which was adopted in 2011 as amended, their energy in order to increase its efficiency, it is necessary to increase the thermal protection of external barrier structures.[3]
Therefore, in order to increase the energy efficiency of buildings, thermal-physical practical experiments were carried out on external wall samples with different structural solutions in the laboratory of the "Building and Constructions" department of SamDAQU. Some of these are listed below:
In the joint enterprise "OOO SAM ROS KHOLOD" a non-removable form of polystyrene foam was prepared, in the laboratory of the "Building and structures" department of SamDAQU an external wall sample was built and thermal-physical experiments were conducted. this. The experiment was conducted based on the requirements of UzRTS-809-97 "Determining the thermal conductivity of barrier structures" method [4].
Experimental results were compared with theoretical studies.
The scheme of the wall structure is presented in (Fig. 1).
Figure 1. Scheme of non-removable formwork wall construction made of foam polystyrene.
The total thermal conductivity of this structure is Rу =2.49 м2 .(м2. оC)/Вт and the total thermal protection meets the requirements of QMQ 2.01.04-97 *. In addition, as can be seen from Figure 2, condensation moisture does not form in the layers of this structure.
2 - picture. Moisture status of non-removable formwork wall construction of expanded polystyrene
1 - Cement-sand plaster; 2 - Polystyrene; 3 - Cast heavy concrete; 4 - Polystyrene; 5 - Cement-sand plaster; In addition, various studies are being conducted in the field of using solar energy for heating buildings in our Republic. An experimental solar house with a heliosystem of the "Thromb Wall" type is located at 40° latitude in Princeton. Built in (New Jersey, USA), this latitude corresponds to our country.
However, such buildings, i.e. "Tromb wall" type solar buildings with helio system, have not been designed and built in our country. In order to build this type of buildings in the climatic conditions of Uzbekistan, it is necessary to justify them as a result of thermal-physical theoretical and practical experiments. For this reason, we have installed a "Thromb wall" model on the outer wall of the laboratory of the "Building and Construction" department of SamDAQU, and thermal physics research is ongoing.
In order to increase the energy efficiency of buildings with the help of local materials, a constructive solution was developed for the external wall with non-removable formwork made of foam concrete, heat protection increased with foam polystyrene. The advantages of this construction are as follows:
1. The wall structure will be completely restored from local materials; 2. The period of construction of the building will be shortened sharply; 3. The energy efficiency of the building and its exterior will increase; Increases the overall earthquake resistance of the building.
In order to use this construction in practice, it is necessary to theoretically base it on a thermal-physical basis. For this, it is necessary to determine the total heat transfer resistance of the external wall construction, whose calculation scheme is shown in Fig. 3, compare this resistance with the heat transfer resistance given in QMQ 2.01.04-97*, and recommend the effective thickness of the wall. In addition, it is necessary to justify the formation of condensate moisture in the layers of this construction or not using the graphoanalytical method.
Thermal-physical calculations are performed in the following order.
Since the non-removable external wall construction of foam concrete shown in Figure 3 is not homogeneous, we cut it with planes parallel and perpendicular to the direction of heat flow and determine the thermal heat transfer resistance.
Figure 3. Scheme of a non-removable formwork wall construction of foam concrete.
We divide the construction into parts I and II by cutting it with a plane parallel to the direction of heat flow. The first part is made of foam concrete and the second part is made of heavy concrete and expanded polystyrene. We determine the heat transfer resistance for the first part using the following formula.
R_I=δ_1/λ_1 +δ_2/λ_2 +δ_3/λ_3 ; (1)
For thermal physical calculations, we accept the following heat transfer coefficients[3].
1. Foam concrete, Υ_0=400-600 кг/м^3,λ=0,14 Вт/(м^2∙℃) ;
2. Heavy concrete, Υ_0=2400 кг/м^3 ,λ=1,74 Вт/(м^2∙℃) ;
3. Styrofoam, Υ_0=100 кг/м^3,λ=0,041 Вт/(м^2∙℃);
〖 R〗_I=2,428 м^2∙℃/Вт. Surface of the first part F_I=0.05.
The second part of the structure consists of foam concrete, heavy concrete and expanded polystyrene. Its heat transfer resistance. RII=3.298( м2 .оC)/ Вт.
We determine the thermal heat transfer resistance of this structure using the following formula [2].
R_II=(F_I+F_II+F_III+⋯.)/(F_I/R_I +F_II/R_II +F_III/R_III +⋯.) (2)
Here, R_I,R_II,R_III…,- thermal heat transfer resistance of individual layers, м^2℃/Вт; F_I,F_II,F_III…, the surface of individual parts, м^2
The surface of the second part is F_II=0,25..
Wall thermal heat transfer resistance, RII=3.1(5 м2 .оC)/ Вт.
Cutting the construction with a plane perpendicular to the direction of heat flow, 1;2;3;4;5;6; and divide into 7 layers (Fig. 3).
1st and 7th layers of foam concrete〖 R〗_1=R_7=0,214〖(м〗^2∙℃)/Вт; 3 and 5 layers of foam concrete 〖R_3=R〗_5=0,178( м^2∙℃)/Вт; 4th layer expanded polystyrene R_4=0,10/0,041=2,439 (м^2∙℃)/Вт;; Since part 2 is not homogeneous, we determine the average heat transfer coefficient of the construction using the following formula. [1.2]
λ_ўр (λ_I xF_I+λ_II xF_II+λ_III xF_II)/(F_I+F_II+F_III )=1.473 Вт/(м^2∙℃),
Here, λ_I,λ_II… is the thermal conductivity coefficient of the materials that make up the individual layers, Вт/(м^2∙℃) ; F_I,F_II… surfaces of individual layers,
Then R_2=R_6=0,044 ( м^2∙℃)/Вт.
So, R_⊥=R_I+R_2+R_3+R_4+R_5+R_6+R_7=3,311 〖(м〗^2∙℃)/Вт.
The heat transfer resistance of a non-homogeneous structure is determined using the following formula. [1.2]
R=(R_II+〖2R〗_⊥)/3 = (3,157+2x 3,311)/3=3,259 〖(м〗^2∙℃) / Вт,
We determine the total heat transfer resistance of a non-homogeneous wall structure made of foam concrete.
R_ум=R_и+R+R_T=0,114+3,259+0,043=3,416 〖(м〗^2∙℃)/Вт;
Therefore, the total heat transfer resistance of the non-removable formwork wall construction made of foam concrete that we recommend meets all the requirements of the level of heat protection specified in QMQ 2.01.04-97*.
Conclusion. The following can be concluded from the above theoretical and practical studies:
1. As a result of the calculations, it was found that the thermal protection of the non-removable formwork wall construction made of foam concrete is sufficient for the conditions of Uzbekistan and meets the requirements of QMQ 2.01.04-97*;
2. Heat transfer resistance of non-removable formwork wall construction made of foam concrete, thickness 38 cm. and it is 4.9 times greater than the heat transfer resistance of a brick wall with a density of 1600 kg/m3 and 1.3 times greater than the heat transfer resistance of a non-removable formwork wall structure made of polystyrene foam;
3. If this wall construction is based on thermal-physical practical experiments, it will provide an opportunity to build various energy-efficient buildings.
References
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Body PositivityCorbin. Acrylic on canvas.JesusChristJusticeSon of ManIt’s Not a Crime! It’s Not a Sin! Selfitis: The Obsessive Taking of SelfiesThe Transfiguration
Fernando Carpaneda has been creating sculptures and paintings within the punk and homoerotic genres since the 1980s. His voracious involvement in the cause of diversity and punk culture led him to exhibit at: the CBGB art gallery, The Heckscher Museum of Art, The Tom of Finland Foundation, The Leslie Lohman Museum of Art, and on the LED panels in Times Square, New York. Carpaneda also created illustrations for The Best of Punk Globe Magazine: a book that brings together interviews with Debbie Harry, Boy George, Jamie Oliver (UK SUBS), Earl Slick, John Lydon, The Adicts, Glen Matlock, Joe Dallesandro. Carpaneda’s works were published in the book Treasures Of Gay Art, by the Leslie Lohman Museum of Art, alongside Andy Warhol, Robert Mapplethorpe and Keith Haring. Recently, the artist made it two in a row returning to the Long Island Biennial.
From Fernando Carpaneda:
I come from an Italian family but I was born in Brazil. I had my first exhibition of paintings at the age of 13, in the early ‘80s in Brasilia: the capital of Brazil. I came to New York City by chance. In the late ‘90s, I met “Dumpster”, an American Crust Punk who was on vacation in Brazil. We became friends and I ended up moving to New York and living in the C-Squat on Avenue – C.
C-Squat and CBGB were two very important influences on the creative process of my works. My work has always illustrated the Underground scene, the Punk scene, and the LGBTQIA+ scene. In early 1995, I got in touch with CBGB, and ended up scheduling some exhibitions at CB’s 313 Gallery. A few years later the gallery invited me to participate in an exhibition called “Back to the Bowery”. That brought together some of the remaining artists from Andy Warhol’s famous The Factory, as well as new artists who portrayed the city’s underground scene.
It was a historic exhibition, and where I met Billy Name (He created the design for The Factory, Andy Warhol Superstars, and was Warhol’s photographer) as well as several other artists from the ‘70s. I ended up becoming friends with Billy Name and we stayed in touch until his death in 2016. The CBGB exhibitions definitely opened several doors for me on the city’s art circuit, and it was a turning point in my international career. It was also at CBGB that I met Arturo Vega, we became friends and we stayed in touch until his death in 2013. Arturo invited me to participate in an exhibition called The Bowery Electric Festival (A Tribute to Joey Ramone) with Dee Dee Ramone paintings. I will be forever grateful to have participated in those celebrated exhibitions.
My style has grown through experience across several mediums for decades. I work with sculptures, paintings, and drawings. I try to show in my works: relevant social taboos, often dense, linked to the punk/underground universe or to LGBTQIA+ contexts. My works talk about exclusion, belonging, racial, gender, social discrimination, and anti-fascism, especially at this moment. In a world of exclusion, art for me generates dialogue. It doesn’t matter who you are, how old you are, or how innovative you are in society. I highlight ordinary people, natural and real bodies and this brings people closer to my work and, consequently, to ourselves.
Interview with artist Fernando Carpaneda
Carpazine: How did you end up on Long Island? Tell us a little about your early career and the influences that led you to where you are today.
FC: I come from an Italian family but I was born in Brazil. I had my first exhibition of paintings at the age of 13 in the early 80’s in Brasilia: the capital of Brazil. I came to Long Island by chance. At one of the first exhibitions I did in New York, I met an artist who invited me to visit his studio on Long Island, and I ended up moving there. My work has always portrayed the underground scene, the punk scene, and the LGBTQIA scene. In early 1995, I got in touch with CBGB, and ended up scheduling some exhibitions at CB’s 313 Gallery, which was the CBGB art gallery. At that time, the gallery organized an exhibition called “Back to the Bowery” which brought together some of the remaining artists from Andy Warhol’s famous The Factory, as well as new artists who portrayed the city’s underground scene. It was a historic exhibition, and where I met Billy Name (He created the design for The Factory, Andy Warhol Superstars, and was Warhol’s photographer) as well as several other artists from the 70’s. I ended up becoming friends with Billy Name and we stayed in touch until his death in 2016. Various artists from The Factory, like Lou Reed, Candy Darling, and Joe Dallesandro lived here on Long Island in the 60’s and 70’s. I think Joe Dallesandro was living in Babylon at that time. The CBGB exhibition definitely opened several doors for me on the city’s art circuit, and it was a turning point in my international career.
Carpazine: You had an exhibition of your work in Times Square, right? How was that exhibition?
FC: I exhibited paintings in Times Square. The paintings were portraits of friends and acquaintances, my own superstars. The works were shown on giant bright LED screens and were displayed on the screens of NASDAQ, Thomson Reuters, Clear Channel Spectacolor, and A2a MEDIA’s Port Authority. The opening of the event was attended by singer Twin Shadow, DJ’s AndrewAndrew, and musician Questlove from the band The Roots. The host of the night was Jimmy Fallon of NBC’s Late Night show and the event was organized by Art Takes Times Square. It was a unique experience.
Carpazine: How was it to have your sculptures in the film The Nearest Human Being?
FC: It was a fantastic experience to see my sculptures in director Marco Coppola’s film. It won an award for best feature at the Manhattan Film Festival, and it is incredible. While filming, my friend: actor Robert W. Smith, made the connection between me and director Marco Coppola. The director liked my work, and he included my sculptures in the movie. Also, it was great to meet Charlie Hofheimer. I met him by accident when I arrived to leave my sculpture on the film set. So, I saw this guy there, and said, “Hi, how are you?” and shook his hand and talked to him a little bit. It was only after that that I realized it was Charlie Hofheimer. LOL. He was very cool. Charlie is in two of my favorite films. Black Hawk Down and The Village. I was happy to meet him.
Carpazine: How do you view the reactions from the conservative part of society in relation to artistic manifestations in the contemporary world and issues such as sexuality and discrimination?
FC: Art aims to promote freedom of expression and knowledge, however, not everyone has the knowledge and sensitivity to understand or discuss the subject. Conservatism and lack of information are recurrent. Our society is formed by people with different realities and lifestyles and we have no right to compel people to follow our reality, just as no one has the right to impose theirs on us. Human sexuality is complex and it is not up to anyone to judge it. I know people who have been sexually abused by pastors, priests, and family members and they obviously don’t see the world the same way I do – If an artist’s sexuality bothers you, think twice before criticizing or discriminating against it , because not everyone has had the same life as you.
Carpazine: Can you tell me a little about the Long Island biennial?
FC: The Long Island Biennial, is an exhibition held by the Heckscher Museum of Art, and had his first edition in 2010. The Long Island Biennial offers professional artists a unique opportunity to share their work through a prestigious exhibition and offers a unique space for visitors. This year the museum celebrates its 100th anniversary, and the proposal of the biennial on this occasion was aimed at showing contemporary artists residing on Long Island. For the first time, most artists will exhibit two or three works of art, presenting visitors with a more complete picture of their most recent works. I thought it was incredible to have been selected, and I think it is a positive point for my work, in such a unique moment in which we live. At a time when minorities are persecuted, I think it is a victory to participate in this exhibition.
Carpazine: Tell me about your sculptures, you did some reinterpretations with classic art scenes. What was your inspiration to reinterpret Rodin’s sculpture (The Age of Bronze)?
FC: I always loved Rodin’s sculptures, and I always thought of making a hyper-realistic version of one of his works and I ended up being inspired by the work The Age of Bronze. My version was inspired by Keanu Reeves. I turned him into Punk Rodin. I have always loved Keanu Reeves, I like his character, his personality, and attitude as a person. I was inspired by a phase in his movie My Own Private Idaho which is one of my favorites. Eroticism for me is something natural and I show that in my works.
Carpazine: How do you see the role of tattoos in Punk Rodin?
FC: Some tattoos on Punk Rodin sculpture refer to the relationship between Rodin and Camile Claudel.
Carpazine: Homoerotic Art has always been part of the underground in the 20th century, recently it started to boom and to be part of the mainstream. How do you see this interaction between amateurs and queer art? Not all nude is art … or is it?
FC: I think that interaction and the boom in homoerotic material is happening in the same proportion as the boom that abstract, geometric or conceptual painting had. At the beginning of these movements, they also suffered from the interaction of amateurs with contemporary art … not all contemporary art work is art … or is it?
Dear Past,
I thank you for revealing life’s art,
For letting me taste its every part,
In pains, joys, words unkind or sweet,
You shaped me whole, made me complete.
Stronger now, forged by your embrace,
Wounds and scars adorn with grace,
Etched like art on canvas, body and soul,
Each story they tell, making me whole.
Those scars, in sorrow’s shadow born,
Became my drive, my fires were sworn,
You spurred me on, fanned my inner fire,
Turning pain into purpose, soaring higher.
For every tear, a clearer sight ahead,
Each ache a milestone, towards goals I tread,
Truly, you’re the gift that keeps giving still,
Turning trials into strength, an iron will.
Through trials akin to the inferno’s maw,
Earthly challenges seem but straw,
Betrayals and falsehoods left thorns to find,
Yet deeper pain I’ve met, a crucible of the mind.
Now I stand strong, a conqueror in grace,
Thankful for the storm that shaped my pace,
Thankful for a tempest of lessons and more,
A past complex and layered, its wisdom I adore.
Defined not solely by what’s already done,
You’re a prologue, a journey, a rising sun,
A force that propels me into the unknown,
With lessons as my armor, confidence has grown.
Past, I’m grateful for your steady hand,
Guiding me through this intricate land,
Now I step into Future, arms stretched wide,
Prepared for an adventure, with hope as my guide.
