Carl test
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this is cool
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Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings. Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings.
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Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it
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Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings. Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings.
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Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings.
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Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings. Not only the edges and background, though: also the paint in the centre at first appears to have been put down with a force that does not take much account of to what it has been applied. Splats and splotches, some just beginning to smear, fill the central areas in a way that leaves an inchoate whole of nevertheless distinct elements and layers, but one has to concentrate to distinguish one from another. One could (as I did) at first glance make a mistake, and think it just a, if not random mess, then maybe an uncomposed one. Just how mistaken, and not mistaken, one might be at that point provides one of the key interests of Michaela Zimmer’s paintings.
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Bojan Šarčević
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London
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United Kingdom
Europe
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