https://altarchaeology.site altarchaeology.site Thu, 01 Sep 2022 00:29:52 +0000 https://altarchaeology.site en https://altarchaeology.site/Home-Page Thu, 01 Sep 2022 00:29:52 +0000 altarchaeology.site https://altarchaeology.site/Home-Page https://altarchaeology.site/Erotic-Geologies Mon, 20 Dec 2021 00:45:51 +0000 altarchaeology.site https://altarchaeology.site/Erotic-Geologies An ALTARCH FilmEROTIC GEOLOGIES 2024 –&nbsp; Directors Director, Producer, Writer, Researcher, Production Designer, Music Composer and Performer Natalie Tozer Director of Photography, Post-Production Supervisor, Editor, Compositor, Music Producer (Arrangement) Sam Tozer&nbsp;(Kāti Māmoe)– CastLiberté Amber Liberté Rangi Leighton Rangi(Ngāi Tuhoe)– Crew 3D Generalist Benjamin Round Costume Brooke Georgia Hair and Make-Up Lochie Stonehouse Gaffer Ollie Logan – Installation Notes: A 15min 10sec looped moving image, 10bit, 23.98fps. The resolution of this work is 7680 x 2160 pixels – with an aspect ratio of 3.6:1.&nbsp; This is wider than cinemascope and designed for two large thin bezel UHD flatscreens side by side. – Technical Notes: This work was made with green screen live-action shot on a 6K Red Camera at 48fps, to generate footage which was then composited in a 3D world with local land features based on NASA geodata e.g Tongariro. It also includes Lidar scanned geometry of performers, public art and architecture. – Special Thanks &amp; Acknowledgements: Thank you to LOT23 Studio and Xytech Lighting for your support in kind. To Liz Ngan, Brett Graham, Fred Graham, Marté Szirmay, Ana Iti, Paul Hartigan, Richard Shortland Cooper and Terry Koloamatangi Klavenes for permission to reference or include images of work in the ruins scene. – Ruins Scene: (artworks in order of appearance) Paul Hartigan Colony,&nbsp;Neon, Engineering Atrium, University of Auckland, 2004 Guy Ngan Bronze Sculpture, Newton Post Office, 1973 Frances Hodgkins Still Life in front of Courtyard, Oil on canvas, 1930&nbsp; Marté Szirmay Smirnoff Centenary Sculpture,&nbsp; Aluminium, Newmarket, 1969 Fred Graham Te Waka Toi o Tāmaki, Jurassic Stone, Toi o Tāmaki Auckland Art Gallery, 2011 Ana Iti Heavy to Hold,&nbsp;Basalt Rocks, Blue Oyster Art Project Space, 2016 Richard Shortland Cooper &amp;&nbsp;Terry Koloamatangi Klavenes Ako Ako,&nbsp;Andesite Boulder, Māngere East Library, 2002 – Ngā mihi me te aroha nui Nat Tozer Merchant bankers Rangi and Liberté are thrust into hostile and unfamiliar territory after an earthquake renders their office to rubble. Lost in a world they don’t understand, wandering the harsh terrain, seeking refuge in the sunken troves of geology. This is an underground that has no time and no exit. Trapped until they receive the necessary Chthonic knowledge, they’re finally released into the open air, emerging to find an age has passed. Taking what they learned from their captivity underground they ascend to the highest mountain top to complete their survival task, to throw the bones of the mother (stones of the earth). Erotic Geologies is a sci-fi parable that seeks knowledge from the underground. Myriad cultures across time have made sense of the ground and underground through folklore, fairy tale and science fiction. Erotic Geologies layers these modes of knowledge-sharing to tell a narrative about renewal, cyclical time, and a continually mobile geology - through the lens of the Anthropocene, perhaps the most recent narrative of the ground. At its core, Erotic Geologies is a contemporary story with characters inspired by both Māori mythologies surrounding the figures of Ranginui and Papatūānuku’s children, and the Greek figures Deucalion and Pyrrha. Referencing creator mythemes across time this work seeks to acknowledge the connective primordial geologies that these stories share.&nbsp; The urgency and intimacy of the ground and how it can be accessed is important. Today, access to the ground is highly restricted and privatised by economic structures, but in this world the ground is raw, open and accessible. The environment erodes and reforms between Anthropocene and Holocene geology, which directly informs character development and reveals an instruction hidden in the stone. The transformative experience of going underground presents itself in distinct ways across many popular western science fiction narratives. When the protagonist emerges from their journey under the earth, the result is always the same – they know something new and an alternative future is possible. Prometheus, Katla, Dark, Dune, 12 Monkeys, Troll, The Half Men of O, The Outsider, Counterpart, Stargate, The Core, The Abyss, Stranger Things, The Cave, Annihilation, Blade Runner 2049, The Matrix, Journey to the Centre of the Earth, Alice in Wonderland - all contain digging, tunnelling, or exhumations that alter the future. Early epics inform these descent narratives such as The Divine Comedy of Dante Alighieri, The Aeneid, The Odyssey, Ovid’s Metamorphoses and earlier, the Mesopotamian Epic of Gilgamesh.&nbsp;Honouring this rich tradition,&nbsp;Erotic Geologies seeks to engage with narratives whose characters transition underground.Time is critical in the stratigraphy of this work. The work recontextualises the human experience of time, placing biological life within the deep time of geology. A structural playback loop is built into the narrative, so time becomes cyclical opposed to linear. And finally, the work is comprised of a single uninterupted shot, as a continuous loop, with no defined beginning or end. This one-take device removes the sense of passing time that we inherently know exists between cuts, another subtle but critical layer in the stratigraphy of Erotic Geologies.– Previous working titles during the making of and international test screenings: &nbsp; &nbsp; - Deucalion &amp; Pyrrha 2022 (Sluice, PADA) &nbsp; &nbsp; - An Alternative Archaeology 2021 (MFA) The title Erotic Geologies marks the works completion and premiere screening in Aotearoa, 2024. – ︎︎︎ CHTHONIC DESCENT &nbsp; &nbsp; &nbsp;[ view text ] ︎︎︎ Watch EROTIC GEOLOGIES &nbsp;&nbsp; &nbsp; &nbsp;[ full length ] – © NATALIE TOZER 2022&nbsp; &nbsp;︎ Website by Lovely https://altarchaeology.site/Media Tue, 16 Aug 2022 03:29:31 +0000 altarchaeology.site https://altarchaeology.site/Media ︎ nat tozer&nbsp; &nbsp; ︎&nbsp; info@natalietozer.com <img width="7689" height="4806" width_o="7689" height_o="4806" data-src="https://freight.cargo.site/t/original/i/01d6559f74338c0af38c3f33a6acb15f16e03d7577946411eb4727e709e0a134/Knowing-the-Living-Volcanic-Field-Poster.png" data-mid="233943196" border="0" src="https://freight.cargo.site/w/1000/i/01d6559f74338c0af38c3f33a6acb15f16e03d7577946411eb4727e709e0a134/Knowing-the-Living-Volcanic-Field-Poster.png" /> You are warmly invited to the panel discussion: Knowing the Living Volcanic Field The event is a LASER (Leonardo Art-Science Evening Rendezvous) and screening of Nat Tozer’s Erotic Geologies Thursday 29th May 2025 at 6:30pm at WG404, The Paul Reeves Building, AUT City Campus, Tāmaki Makauray The memory and prescience of future volcanic events are inscribed into the names of our maunga in Tāmaki Makaurau, existing and excavated, the subject of scientist and researcher Sylvia Tapuke’s Kaupapa Māori approach to toponymic research.&nbsp; Volcanologist Kate Lewis (Auckland Council) recounts the fiery formation of the lava caves and the intermingling of geological and cultural heritage. She works to transform imminent threats of development into opportunities to get to know our volcanic relations. In resonance with the process of connecting cultural narratives, artist and film-maker Nat Tozer explores the underground as a site of human meaning-making drawing on science fiction, catastrophe and mythic journeys to the underworld. Her moving image artwork Erotic Geologies, which presents cyclical time and highly mobile geology as main characters, will be shown during the panel. Moving image innovator Sam Tozer will discuss his work on compositing an emergent whenua from geo-data in this imagined world. The panel will be hosted by Janine Randerson and Ziggy Lever. https://www.aut.ac.nz/news/stories/panel-discussion-aucklands-volcanoes REVIEWS ART NEWS AOTEAROA 2024 ART NEW ZEALAND 2024/25 Art New Zealand Summer 2024/25 Victoria Munn <img width="7016" height="4961" width_o="7016" height_o="4961" data-src="https://freight.cargo.site/t/original/i/15fc7e6f6f71f3d6a02324d044f5987b070b62482b56e42c34039759f78e627f/Art-New-Zealand.jpg" data-mid="227604632" border="0" src="https://freight.cargo.site/w/1000/i/15fc7e6f6f71f3d6a02324d044f5987b070b62482b56e42c34039759f78e627f/Art-New-Zealand.jpg" />“With Erotic Geologies, Nat Tozer continues her artistic inquiry into the ground and the underground on an impressive scale. Drawing from a complex myriad of conceptual sources encompassing science fiction, te ao Mãori, and Maori and Greek mythology, Tozer digs into the contemporary relevance of the ground and the knowledge that lies below. Doing so, she subvert Western, anthropocentric concepts of knowledge, ownership and time to proffer an alternative ecology. The 15-minute-long film tells the story of two characters, performed by Amber Liberté and Leighton Rangi, who find themselves in a post-earthquake world. Clad in corporate attire, they embark on a quest for survival and draw critical knowledge from their journey underground. In the initial, anthropogenic stage of their journey, the pair encounter some of Auckland's public artworks, such as Marté Szirmay's Smirnoff sculpture in Newmarket and Guy Ngan's Newton Post Office Mural. As well as helping&nbsp;the characters to navigate the rubble of their built environment, these references connect local audiences to this apocalyptic place. Tozer has described the film as a 'fever dream', and indeed the rich array of sources, imagery and ideas means some layers of the work are not immediately available to the viewer, and instead elucidated by the gallery notes. Erotic Geologies feels less like a public manifesto, more like a personal paean to the ground as record keeper, as bearer of knowledge and as a fertile site of inquiry. Tozer's lessons from the ground are most effectively expressed when they find form in the film's construction. Exploring the constant cycle of geological activity, Tozer challenges temporal linearity, favouring a cyclical, non-Western concept of time as a way to interpret current ecological pressures. This is embodied in the continuous looping of the film, which lacks a clear start or definitive end point. The film and the figures are in a constant cycle of renewal and, owing to this interminable quality, I struggled to find the right moment to withdraw. The cinematography also functions as an effective messenger. The insistent dynamism of Earth's rock is manifest in Erotic Geologies with the constant movement of the camera. Seemingly one continuous shot, the camera constantly pans and sweeps, at times to almost dizzying effect, altering the viewer's perspective of the figures, the ground, and their interrelationship. Rangi and Liberté's environment is also constantly changing. The characters experience the shifting, eroding, renewing and re-forming of geological formations that occur over deep time, usually imperceptible on a human time scale. Viewing the film, this sense of constant change is impossible to shake. Whether the physical movement or narrative progression of Rangi and Liberté, or the drifting of the clouds, no element of Erotic Geologies is left motionless. While the ground is central to Tozer's recent practice, on this large (9-metre-wide) scale and with extensive technological production, in Erotic Geologies it is elevated as a site of great cultural and social significance. The wide-aspect ratio afforded by dual projectors, the resolution and the varied instrumental soundtrack (composed by the artist) impart on the work a cinematic quality, enhanced by the generous space afforded to Tozer's exhibition in Gow Langsford's Onehunga gallery. Erotic Geologies has the feel of a feature film in which the ground stars as protagonist. Previous iterations of the work have held different titles, but Tozer has landed on Erotic Geologies as its permanent title. Yet as the ecological crisis before us unfolds, I suspect the relevance of the work will constantly shift and evolve, much like the ground beneath us.” VICTORIA MUNN (Photograph: Sam Hartnett) Art News Aotearoa Summer 24 Eddie Giesen <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/35975e2118d16ee47518a31572b901592e40e2368b13ef71b31ae2606cf53e59/Art-News.jpg" data-mid="227604480" border="0" src="https://freight.cargo.site/w/1000/i/35975e2118d16ee47518a31572b901592e40e2368b13ef71b31ae2606cf53e59/Art-News.jpg" />“A world at once alien and familiar, in much sharper focus than the one we call home, strikes and engulfs me. A universe so dark and crisp I can feel its grit under my nails. Two humans lost and alone venture forward, emerging from a glowing pink cave. Perhaps disaster is pending; perhaps it has just struck-either way, the landscape is harsh and unforgiving, morphing from volcanic to celestial to industrial wasteland. My lack of breakfast leaves my stomach just a little sickly, and I find this gentle nausea the perfect place from which to experience the dust-choked anxiety of Natalie Tozer's film, Erotic Geologies. The pensive duo draws me into a wretched yet somehow beautiful landscape. Even in their desolate circumstances, the pair seem to be yearning to always push forward, onward, upward; a dance on a quiet Earth. In this way, there is also a sense of acceptance, purpose-a serenity. The work is sensory and immersive, such that I can almost imagine the smell of space, recounted by numerous astronauts as burnt raspberries and welded metal. It's this smell that lingers with me afterwards, reminding me of the sweet, raw, aggressive gentleness our protagonists must impart on their journey home. I consider whether, like these characters, we all struggle towards destiny. We are so often compelled to imbue life with meaning while simultaneously holding the knowledg that all we have made and all we are will one day be returned to dust. The mad grapple-parry and peace of this knowledge is made evident in the strange and exquisite world depicted in Tozer's work. Ultimately, annihilation is both behind and ahead of us as a species and ecosystem. As is beauty. Standing before Tozer's work, I feel both phenomena coexisting inside me. I am entirely encompassed. I am embraced, and then let go. I wander, ponderous and hungry, back out the giant glass doors and back to work.” EDDIE GIESEN(Photograph: Sam Hartnett)ARTIST TALKS GOW LANGSFORD / SEPTEMBER 2024Download the full transcript from the artists talk <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/4a1262ae88960ee5dfb8ca8da248e6c696ac1c73684d345cdff911aef3e63d8b/e33e68a8-d228-4c5e-845d-f61ee2f28962.JPG" data-mid="227605459" border="0" src="https://freight.cargo.site/w/1000/i/4a1262ae88960ee5dfb8ca8da248e6c696ac1c73684d345cdff911aef3e63d8b/e33e68a8-d228-4c5e-845d-f61ee2f28962.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/440f00bc3e8e8a36e45b0317f622a706f3556570880ee84e4a25dcf9ab656c58/IMG_4205.jpg" data-mid="227605460" border="0" src="https://freight.cargo.site/w/1000/i/440f00bc3e8e8a36e45b0317f622a706f3556570880ee84e4a25dcf9ab656c58/IMG_4205.jpg" /> INTERVIEW CIRCUIT ARTISTS MOVING IMAGE / OCTOBER 2024Listen to the podcastThere is a vitality that is held in the earth." In this kōrero, artist Nat Tozer and CIRCUIT director Mark Williams talk rubble, dust and green screens, recorded on the occasion of the Aotearoa premiere of Erotic Geologies, Tozer's most complex work to date. GOW LANGSFORD ONEHUNGA / SEPTEMBER 2024 Premiere screening of Erotic Geologies in Aotearoa at&nbsp;Gow Langsford <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/fd48626bc173dda98024a59b7e2d1e6f57faaf27956573ed01f7cd566dba7f1f/Tozer_2024_Erotic-Geologies_Installation-View_Sam-Hartnett_web-26.jpg" data-mid="227600632" border="0" src="https://freight.cargo.site/w/1000/i/fd48626bc173dda98024a59b7e2d1e6f57faaf27956573ed01f7cd566dba7f1f/Tozer_2024_Erotic-Geologies_Installation-View_Sam-Hartnett_web-26.jpg" /><img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/4fb695124b6ba16aad8f7d90d0b2747858bd30b04104fa4e2ef55e6f406a8232/Tozer_2024_Erotic-Geologies_Installation-View_Sam-Hartnett_web-9.jpg" data-mid="227600637" border="0" src="https://freight.cargo.site/w/1000/i/4fb695124b6ba16aad8f7d90d0b2747858bd30b04104fa4e2ef55e6f406a8232/Tozer_2024_Erotic-Geologies_Installation-View_Sam-Hartnett_web-9.jpg" /> <img width="5551" height="4016" width_o="5551" height_o="4016" data-src="https://freight.cargo.site/t/original/i/8347a807d1f65ccba78143a266b7e4463209d76bae551099d8c1b4670267a29a/Untitled-1.jpg" data-mid="227605163" border="0" src="https://freight.cargo.site/w/1000/i/8347a807d1f65ccba78143a266b7e4463209d76bae551099d8c1b4670267a29a/Untitled-1.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/39d08634f31f7e01b3a7d153767f861ef3e1e6906907beb9eac864736b36a2e6/IMG_2148.jpg" data-mid="227605028" border="0" src="https://freight.cargo.site/w/1000/i/39d08634f31f7e01b3a7d153767f861ef3e1e6906907beb9eac864736b36a2e6/IMG_2148.jpg" /> <img width="3722" height="2814" width_o="3722" height_o="2814" data-src="https://freight.cargo.site/t/original/i/8057b89eb4e38dcfa34f21fe414b7068c83cf9f31948f908b8ceebcd7fd6bff9/IMG_2176.jpg" data-mid="227605088" border="0" src="https://freight.cargo.site/w/1000/i/8057b89eb4e38dcfa34f21fe414b7068c83cf9f31948f908b8ceebcd7fd6bff9/IMG_2176.jpg" /> Previous working titles during the making of and international test screenings: &nbsp; &nbsp; - Deucalion &amp; Pyrrha 2022 (Sluice, PADA, Lisbon)&nbsp; &nbsp; - An Alternative Archaeology 2021 (MFA, Elam, University of Auckland) The title Erotic Geologies marks the works completion and premiere screening in Aotearoa, 2024. IMT GALLERY LONDON / DECEMBER 2022 Sluice Screens at IMT is part of ‘Assembling’, a new program to open up space for external research and organisationsSince 2006 IMT has provided a free public programme of critical and innovative contemporary art exhibitions. They commission artists and invite independent curators to take risks and create unique audience experiences to develop a local, international and research based community engaged with critical art practice. Assembling presents a selection of 7 projects from the Sluice Lisdon: Territory, including Deucalion &amp; Pyrrha SLUICE PUBLICATION / NOVEMBER 2022 Territory II: Lisboa expo edition, published, November 2022 “What deep histories shape today’s behaviours? What porous borders, rich soils, strategic navigational routes, ideological imperatives resulted in these people living here (anywhere) and sharing a broadly similar outlook? And do they, and in these fractured times are these territorial claims constructive, divisive or just inevitable? Contributions by&nbsp; Agencia de Borde, Yanelys Nuñez Leyva &amp; Luis Manuel Otero Alcántara, Natalie Tozer, Nithya Iyer , Jonny Roberts, Alistair Gentry. <img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/8e8e3d475a731a3263d7da86a658a00d2f8b831f574faa6958300b738696aac9/_DSF7985web.jpg" data-mid="235160596" border="0" src="https://freight.cargo.site/w/1000/i/8e8e3d475a731a3263d7da86a658a00d2f8b831f574faa6958300b738696aac9/_DSF7985web.jpg" /><img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/4ed549b344554d85e3f93c2799032a5b930e784eafadc7ce4db321dc5340490b/_DSF7975web.jpg" data-mid="235160595" border="0" src="https://freight.cargo.site/w/1000/i/4ed549b344554d85e3f93c2799032a5b930e784eafadc7ce4db321dc5340490b/_DSF7975web.jpg" /><img width="6467" height="4850" width_o="6467" height_o="4850" data-src="https://freight.cargo.site/t/original/i/3a6ec7897fbdf20f5e8c35e3eeab92203f3e2bd1161f1a2605ec16aa3f0ff664/_DSF7980lrg.jpg" data-mid="235160588" border="0" src="https://freight.cargo.site/w/1000/i/3a6ec7897fbdf20f5e8c35e3eeab92203f3e2bd1161f1a2605ec16aa3f0ff664/_DSF7980lrg.jpg" /> <img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/0563e21f24e2dfcd6db882d4f12802fcaebb99169736fe1315a916b441a8a64c/_DSF7982web.jpg" data-mid="235160597" border="0" src="https://freight.cargo.site/w/1000/i/0563e21f24e2dfcd6db882d4f12802fcaebb99169736fe1315a916b441a8a64c/_DSF7982web.jpg" /> SLUICE LISBON / NOVEMBER 2022 mothermother presents work by Natalie Tozer at Sluice Lisbon: Territory Sluice and PADA are bringing together an interdisciplinary selection of artist and curator-led projects to explore the impact and interconnections of the ecological, environmental and political consequences of territory. Territory is a year-long focus which culminates in Lisbon on 11-13 November 2022, running in conjunction with Lisbon Art Weekend. Exhibitions, performances, screenings and talks featuring over 80 artists are situated throughout the Barreiro district (on the south side of the Tagus River). Aotearoa artist Natalie Tozer is presenting a large-scale, digital video installation titled Deucalion &amp; Pyrrha, a sci-fi parable that seeks knowledge from the underground and merges the art forms of dance, animation and sculpture in an experimental artwork about archaeology, time and kaitiakitanga.︎︎︎ Purchase Sluice (Territory) Magazine&nbsp; <img width="3500" height="2475" width_o="3500" height_o="2475" data-src="https://freight.cargo.site/t/original/i/8590d648fb7695f77bcc434b8073ce6ad0c97520f6ff19e6c6a6854ecd970013/Territory-Expo-2022-1.jpg" data-mid="161435850" border="0" src="https://freight.cargo.site/w/1000/i/8590d648fb7695f77bcc434b8073ce6ad0c97520f6ff19e6c6a6854ecd970013/Territory-Expo-2022-1.jpg" /> BOOK RELEASE / OCTOBER 2022 Chthonic Descent Narratives about Digging, Debt and the Collective: Accessing the Ground in the Anthropocene – by Natalie TozerTo purchase a copy of Chthonic Descent please contact:&nbsp;hello@mothermother.co.nz ︎︎︎ View book online <img width="4961" height="1346" width_o="4961" height_o="1346" data-src="https://freight.cargo.site/t/original/i/48aed3a4e941d8304d3528f0b3129a9341e2067de075bb2336d659865d39e053/Chthonic-Descent-Cover.jpg" data-mid="157678572" border="0" src="https://freight.cargo.site/w/1000/i/48aed3a4e941d8304d3528f0b3129a9341e2067de075bb2336d659865d39e053/Chthonic-Descent-Cover.jpg" /> PLAYPEN MAGAZINE / FEBRUARY 2022 <img width="2000" height="1402" width_o="2000" height_o="1402" data-src="https://freight.cargo.site/t/original/i/10dd50ca88e4b0dc94fb8434a143fdf996f4091471f5e13fd766105f82934391/PLAYPEN_Turbulence-of-Deep-Time_sp-1.jpg" data-mid="150503151" border="0" src="https://freight.cargo.site/w/1000/i/10dd50ca88e4b0dc94fb8434a143fdf996f4091471f5e13fd766105f82934391/PLAYPEN_Turbulence-of-Deep-Time_sp-1.jpg" /> <img width="2000" height="1402" width_o="2000" height_o="1402" data-src="https://freight.cargo.site/t/original/i/10ef26860ffbdfd00670f70c2540477512840e2f5e979b7ff8bd31afd087670e/PLAYPEN_Turbulence-of-Deep-Time_sp-2.jpg" data-mid="150503159" border="0" src="https://freight.cargo.site/w/1000/i/10ef26860ffbdfd00670f70c2540477512840e2f5e979b7ff8bd31afd087670e/PLAYPEN_Turbulence-of-Deep-Time_sp-2.jpg" /> <img width="2000" height="1402" width_o="2000" height_o="1402" data-src="https://freight.cargo.site/t/original/i/b2f0126bd4c66274fa56b13ba51604ea0f28e9c6269081655eb7aee94e285a4f/PLAYPEN_Turbulence-of-Deep-Time_sp-3.jpg" data-mid="150503163" border="0" src="https://freight.cargo.site/w/1000/i/b2f0126bd4c66274fa56b13ba51604ea0f28e9c6269081655eb7aee94e285a4f/PLAYPEN_Turbulence-of-Deep-Time_sp-3.jpg" /> © NATALIE TOZER 2022&nbsp; &nbsp;︎ Website by Lovely