Last updateMon, 20 Apr 2020 1pm

La Quinta High School has produced many creative people, including singer/actor Tyler Hilton and singer/model Aubrey O’Day. While Zach Fleming-Boyles has not yet reached their levels of fame, he has accumulated local recognition—and he has a lot of big plans for 2020.

He lives in Palm Springs with his two parakeets and works as the manager of school programs at the Palm Springs Art Museum, but in his spare time, he is a painter and musician. Using the moniker The Fat’s Sabobah—a name he claims “has no meaning” and is “search-engine optimized”—he’s been making what he calls “ambient techno” since 2003.

Fleming-Boyles played his first show in four years at Bart on Dec. 30, and he is now branching out and performing/exhibiting in new and exciting ways. He will have an exhibition at the new Tim J Leary Studios at the Backstreet Art District throughout February, with a reception at Backstreet’s First Wednesday Art Walk on Feb. 5. From noon to 5 p.m. on Saturday, Feb. 15, Fleming-Boyles will perform his music as The Fat’s Sabobah at the gallery; he’ll also DJ songs that inspired him.

His paintings focus on a common desert-dweller: the cactus. He has painted works as small as 4 by 5 inches, and as large as 5 by 5 feet. He works with an almost-scientific approach (always using live cacti as references), and said he paints every day after work, spending three to four weeks on each painting. Painting daily gives him a way to stay grounded in a traditional medium, he said, which enables him to experiment in other ways.

“(The cactus is) a resilient object in one of the most inhospitable places on the planet,” Fleming-Boyles said. “The fact that they thrive in this environment—I think that’s fascinating. They’re such bizarre plants, really alien-looking, which contributes to the whole surreal feeling of the desert.”

Fleming-Boyles counts Cristopher Cichocki—another desert-inspired artist, who is taking part in this year’s Coachella Valley Music and Arts Festival, aka Coachella—as a mentor, friend and inspiration.

“The whole neon orange I use in my paintings is inspired by his work,” Fleming-Boyles said. “He’s using all those day-glo colors, too. He’s taken his art to a more-conceptual realm than me, with how he works with the desert and how the desert influences his work. I feel I’m more of a straightforward guy who says, ‘This is a cactus.’ His work with the Salton Sea, and his installations, and all the colors are dreamlike, or more of like a nightmare scenario. It’s fascinating.

“I’m looking forward to what he does for the Coachella festival. But I’ve never been to Coachella. The city, yes, but not the festival. Crowds aren’t really my thing.”

Fleming-Boyles grew up in the desert as an only child, and his parents instilled in him a love of performance. His mother was a writer, public speaker, teacher and performer; his father was a drummer.

“I’ve always had a compulsion to make music,” he said. “It’s been second-nature for me.”

He got started in the art world by doing graphic and web design, before moving to paint.

“I think if you want to improve at something, you have to do it every day,” he said.

He did just that, graduating with a degree in art practice from the University of California at Berkeley in 2009, where he focused on painting, performance and sound art. How about his technique?

“There’s a lot of glazing, a lot of layers, building up the image one layer at a time, and letting the colors underneath shine through,” Fleming-Boyles said. “My professor once said if I was born 500 years ago, I’d fit in with the old masters and their style.”

He considers the Richard Diebenkorn, Giorgio De Chirico, René Magritte and Marcel Duchamp his biggest inspirations.

“I’m a big fan of the surrealists—and the desert is an extremely surreal place, especially growing up here,” he said. “I don’t know; maybe it’s the sun that gets to everybody and makes them a little bit weird. It’s a beautiful place. Sometimes, when you’re out there in nature, out there in the desert, it feels like there’s something out there. I don’t want to say magic, but it’s something. It’s definitely a surreal place.”

Fleming-Boyles has previously exhibited at the Coachella Valley History Museum in Indio, and at Flat Black Art Supply in Palm Desert. His paintings are currently up at RD RNNR (pronounced “roadrunner”), a new restaurant in La Quinta. He has also participated in “crowd-sourced art” in the form of an experiment: He expanded a painted dot one millimeter in size for every Instagram “like” it received. Over the course of nine days, the dot got 452 likes—meaning he concluded with a 452-millimeter dot.

“I had a lot of fun experimenting and generating social-media interactive art,” he said. “It was fun to watch people’s reactions to the dot. People were cheering it on. I learned that art should be more interactive. People respond well if they feel they are contributing to the creation of art.”

As for his music, his first band was a ska/punk project in middle school called the Jaywalking Superheroes. The drummer from that band, Jon-Paul Lapeña, introduced Fleming-Boyles to Benjamin Benitez, the singer with a Coachella-based indie-rock band called Courtesy Knave (which to this day has a cult following); he performed with the band through high school. Around the same time, he also began composing electronic music as The Fat’s Sabobah, a name he said is just a “random thing my friend said. And I thought was just a funny thing.”

He considers his music to be “ambient techno,” a term he said is oxymoronic.

“My music started very tongue-in-cheek and instrumental, but I started adding lyrics and pop sensibilities, which are a new direction,” he said. “The songs serve as a musical diary of sorts.”

Today, his setup is minimal—yet peculiar and tactile. He has a preference for analog synths and drum machines; he plays a Korg MS2000. But it works for him.

As for inspiration, he credits Björk, Animal Collective, Aphex Twin and The Postal Service as his favorite artists—and Daft Punk’s Discovery (2001) for igniting his interest in electronic music. Shortly after that album came out, he acquired a version of the digital audio workstation Fruity Loops and began making his own electronic music. In 2002-2003, he produced music for the game Flash Flash Revolution, an online Dance Dance Revolution simulator through which he made an internet friend named For Great Justice/SpookGoblin, with whom Fleming-Boyles credits for inspiring him to continue pursuing electronic music.

Today, almost 20 years later, Fleming-Boyles has just more than two hours of material. He said the reason for his infrequent performances is that he dedicates more time to painting.

“I wouldn’t even be doing electronic music if I was a better musician,” he said.

Today, he considers music as his escape from painting—and at Tim J Leary Studios, his art and music will finally intersect. This will be the first time he displays his art and performs in one space. He said he recognizes some similarities between his approach to painting and producing music.

“The way I work with color, and layering colors on top of each other, is very similar to how I layer various tones, melodies and rhythms in my electronic music,” he said. “I also consider my paintings to be ambient, passive and mostly pleasant—I would hope—and I think my music is that way, too.”

Published in Visual Arts

It’s 8 p.m., and Freddy Jimenez is taking a break from working on a project for local artist Cristopher Cichocki to practice playing drums—before checking Instagram regarding details for his next project.

At the age of 28, Jimenez is finally the self-sustaining artist he set out to become. The path was not easy, but his dedication to technique, artistry and community has sustained him and made him into a driving force in everything he does.

Jimenez is a simple guy: He wears plain black clothes; he has short hair and no visible tattoos; he doesn’t drink or smoke. Thanks to his passion for art and love of community, Jimenez has managed to create a name for himself by producing both high-quality art and events, collaborating with numerous local artists, musicians and designers along the way.

His company, Blue Hill Studios, is a homegrown operation, started out of his parents’ house in Coachella. His parents supported his desire to print shirts, but they initially didn’t see it as more than a hobby—because they didn’t really understand the work that goes into producing shirts. However, they’d soon learn.

“The screen-print dryers I was using were too powerful for my parents’ house. I could have blown out the fuses. I had to get generators for the dryers,” Jimenez said with a laugh. “The process was so loud, too. I don’t know why my neighbors never said anything for, like, two to three years.”

Today, Jimenez operates full-time out of a studio in downtown Indio, which celebrated its grand opening in March 2018. It’s adjacent to the Indio Performing Arts Center, the city’s artistic center; down the street from iconic Mexican-food restaurant Rincon Norteño; and a hop, skip and a jump from Club 5, Indio’s newest community-minded dive bar.

Jimenez comes from a musical background. He’s played music his entire life; his first instrument was the flute, then the trumpet, followed by bass guitar. His uncle and dad played music, and so did his brother, playing in a local cover band doing romanticas—a genre of Spanish adult-contemporary love songs.

“Seeing my family play music was my first inspiration, but I started going to local house shows in sixth- or seventh-grade with my friends Joseph and Michael Torres,” Jimenez said. “We would go to death-metal shows, which inspired me to play guitar. My brother had a drum set, though, and that’s how I picked up the drums. From there, I started bands here and there, but it wasn’t until my senior year of high school that I started a band called A Curious Case, which was an indie-dance band. That band lasted two years; then I started Tribesmen.”

Behind the drum kit with Tribesmen—an instrumental, post-rock band—Jimenez has played many shows in the Coachella Valley and beyond, including the Tachevah festival in Palm Springs.

The late ’00s—as he was graduating high school and shortly thereafter—were a particularly creative time for Jimenez, as he started both doing shows and doing screen-printing. He started screen-printing using a small Yudu machine, but his practice expanded once he got a full-sized manual screen press. However, it wasn’t easy.

“It was so much harder to use the press, learning to make screens; I kind of underestimated it,” Jimenez said. “I was going to sell the press, but the guy I bought it from, Sam Orozco, told me not to sell it. He had moved out of town (which was why he sold the press); he promised to come down to teach me how to work it. But he died a week later, and he never showed me.”

Jimenez kept the press out of respect for Orozco and his wishes, and committed himself to mastering it. He learned mostly through trial and error.

“I fucked up a shit ton of shirts. Prints, too,” he said.

Today, however, Jimenez knows what he’s doing, and he has steady work, thanks to a good reputation, mostly through word of mouth. He’s printed shirts for many local businesses and organizations, including Fresh Juice Bar, Palm Springs CrossFit, Raices Cultura and Cactus Tattoo, among others. He’s also made items for local bands such as Pathos, Plastic Ruby and Black Market Jazz, as well as his frequent collaborator, the Coachella-based artist and illustrator ANTA.

Learning how to produce serigraph prints, the hand-made prints made popular by Andy Warhol and Shepard Fairey, proved to be his most challenging yet most rewarding artistic pursuit.

“Printing serigraphs is different from a shirt. It’s a lot harder. It takes up so much time,” Jimenez said. “Everything must be aligned perfectly. That’s why nobody really does this kind of print. It’s also expensive, but it does result in a certain quality and unique effects that cannot be achieved with digital prints.”

Jimenez endures, however, in part because of his love for the eastern Coachella Valley and the local artistic community. He employs the serigraph technique to produce instantly recognizable show posters for the music events he produces.

The name Blue Hill Studios came to him one day as he was driving home.

“Blue Hill signifies the east valley to me. As the sun was setting one day, I looked at the mountains, and they looked blue to me,” he said. “I immediately thought Blue Hill Studios would be a great name for my production company.”

Jimenez has ambitions to also create a full recording studio and record label, along with the printing studio. Jimenez said he has engineered recording sessions with many local bands, including Ocho Ojos, CIVX, Kayves, and Venus and the Traps. However, the printing aspect has taken off much faster, though Jimenez is still collecting gear and improving his recording techniques.

Collaborating with other artists and having the means to make products is the most rewarding part of Jimenez’s work, he said.

“All my friends are artists and are really supportive,” he said. “That’s the reason I keep doing this. They give me work to do. I’m lucky to be part of this scene. Blue Hill also gets a lot of respect, because what we do is seen as more of a craft.”

In a sense, Blue Hill Studios is sort of a miniature, local equivalent of Warhol’s Factory. Jimenez has collaborated with many well-known artists, including Armando Lerma/The Date Farmers, Albert Reyes, Cat Cult and Tommii Lim, among others.

In his early days as a printer, Jimenez admits that he tried to rush jobs and move quickly between orders. Now that he is more successful, he takes things slower, and he gets to be more selective about the jobs he takes on. His next step would be to perhaps hire an employee.

“But I don’t want to get too commercial. I don’t want to be just another print shop,” he said. “Taking my time and putting out good work is always the most important thing for me.”

Immediately after our interview, Jimenez went back to playing the drums and working on shirts. When you’re your own boss, the work doesn’t stop … unless you want it to.

Blue Hill Studios is located at 45130 Smurr St., No. 6, in Indio. For more information, call 760-501-8766; visit; or check out @bluehillstudios on Instagram.

The desert isn’t just a place to create art for Cristopher Cichocki; the desert is also his muse—and at times, his art includes actual pieces of the desert. His works have showcased the beauty, the darkness and the catastrophes of the desert and its ecosystem.

Cichocki’s work has been shown around the world, and he’s taking many of his pieces to the Museum of Art and History in Lancaster for an exhibition called Divisions of Land and Sea; it’s part of a larger exhibit called The Robot Show, which features eight artists, each with their own solo exhibition. It will be on display from Saturday, Aug. 4, through Sunday, Sept. 30.

During a recent phone interview with Cichocki while he was in Guadalajara, Mexico, he explained his exhibit.

“It’ll be an installation of new paintings, video works, sculptures, photographic works and my audio work,” Cichocki said. “It relates to the collision that we’re in between humankind, the natural world and industrial production.”

Some of Cichocki works are not what they appear to be at first. For instance: If you look at his photos, you’ll discover he’s combined them with paint.

“After Palm Desert High School, where I graduated in 1997, I went directly to CalArts,” he said; also known as the California Institute of the Arts, the renowned school is located in Valencia. “CalArts is potentially one of the most multidisciplinary art schools in the world, and I was exposed to highly experimental and conceptual practices. They were completely mind-blowing, and to challenge myself and experiment, and I’ve always been striving to take my practice and insights to a different level. CalArts was a laboratory for me to work through this hybrid framework.

“As to when the work came into this cohesive relationship, I feel that really came around 2010, when I started combining my elements with the video, the photography, the painting and the performance. They came together and started to work together as a cross-reference—meaning they’re all pieces of a larger puzzle. I’m producing paintings that are photographs; I’m producing videos that are paintings, and vice versa. I find it necessary for exhibitions such as Divisions of Land and Sea to combine all of these elements into a larger narrative.”

Cichocki was part of a KCET documentary on the Salton Sea. He voiced his concerns about the growing ecological and environmental threat the lake poses to the Coachella Valley.

“The Salton Sea is one of the largest pending airborne catastrophes threatening the United States, and it’s right in our backyard,” he said. “It’s this issue that I feel is out of sight and out of mind for a majority of people in the area—not only in the Coachella Valley, but even spanning all the way into Los Angeles, people don’t even know about the Salton Sea.

“The Salton Sea was a manmade accident in 1905 when the Colorado River split and started filling what was then the Salton Sink, which was a huge basin ready for this water to enter it. Now we have California’s largest lake … and if the dust or particulate matter begins to advance further with the receding shoreline, we’re going to have major problems with the air quality. We already do have major problems. The high school in Mecca has one of the highest asthma rates in the nation. It’s not just dust that’s blowing around in the air; it’s particulate matter entering into people’s blood streams and causing asthma, especially in younger generations. There’s selenium, arsenic and all of these other things. It truly is this synthesis of nature and industry because of 100 years of agricultural runoff.”

His work gets quite detailed at times. His latest painting, “Shoreline,” includes barnacles, fish bones, sand and salt from the Salton Sea.

“I look at (Divisions of Land and Sea) as a hybrid between natural history and contemporary art. I’m bringing in elements of land art, minimalism and other historical points of trajectory,” he said. “Also, I’m bringing in raw organic materials. My paintings have actual barnacles; they have actual soil and things that are transforming within them. There’s black-light reactivity, which I actually refer to in the technical term—ultraviolet radiation. There’s evidence that there’s a metaphysical property under these elements. I’m interested in reality and also the biological and phenomenological structural makeup of these elements. There’s this idea that there’s something constantly in motion, and the work is alive.”

I asked Cichocki if there was a spiritual element to his work. He seemed to struggle with the question at first.

“I certainly feel that nature has a certain awareness to it. It can be as simple as we water a tree, or we don’t,” Cichocki said. “Or it can be as simple as we have classical music playing, and the tree thrives beyond the other trees in areas where there isn’t any classical music.”

Cichocki will be going out of state for his next exhibition.

“In September in Taos, New Mexico, I’ll be performing Circular Dimensions at a large video and installation festival called The Paseo Project. Circular Dimensions is ever-evolving, so I have new tricks up my sleeve for Taos.”

Cristopher Cichocki’s Divisions of Land and Sea, part of The Robot Show, will be on display from Saturday, Aug. 4, through Sunday, Sept. 30, at the Lancaster Museum of Art and History, 665 W. Lancaster Blvd., in Lancaster, about 135 miles northwest of the Coachella Valley. For more information, call 661-723-6250, or visit Below top: “Center of the Sea,” 2018, Salton Sea barnacles on wood composite with LED video panel. Below bottom: “Property Division,” 2016-2017; left side is a tilapia nest at Riviera Keys, Salton Sea, Calif.; right side is algae with birds, Salton City, Calif.

Published in Visual Arts

For four days, the Palm Springs Convention Center’s main exhibition hall will essentially become a $100 million pop-up gallery.

The third annual Palm Springs Fine Art Fair (PSFAF) will showcase the full gamut of modern and contemporary art from Thursday, Feb. 13, through Sunday, Feb. 16.

In just three years, the Palm Springs Fine Arts Fair has become a must-do event for art-lovers. From 2012 to 2013, attendance increased from 9,500 to 12,000. This year, Rick Friedman, the show’s organizer, projects attendance will exceed 14,000.

Every available inch of the Convention Center’s Exhibition Hall is reserved for art, presented by some 60 participating galleries. Only a quarter of the exhibitors are from Southern California; in fact, participants come from all over the United States and the world: This year, the Palm Springs Convention Center will become the temporary home to galleries from Great Britain, London, Brussels, France, South Korea, Canada, and Argentina.

The Fine Arts Fair celebrates artists both well-recognized and emerging. Artists in the spotlight this year include Karel Appel, Le Corbusier, Fernand Léger, Henry Jackson, Frank Stella, Raymond Jonson, Addison Rowe, Pablo Picasso, Kenneth Noland, Cecily Brown, Eric Orr, Claes Oldenburg, Melissa Chandon, Chul Hyun Ahn, David Middlebrook, Devorah Sperber and Mel Ramos.

One of the fair’s central pieces, literally and figuratively, will be Steve Maloney’s "Ride-em-Cowboy." This sculpture was created using a decommissioned Bell JetRanger helicopter and a longhorn steer skull. Maloney adorned both the inside and the outside with thousands of colored gemstones; it also includes a Swarovski crystal chandelier and old cowhide chairs. Finally, an iPad serves as a virtual flight simulator. (Of course it does!) Palm Desert’s Heather James Fine Art gets credit for bringing Maloney’s work to the fair.

Beyond allowing attendees to experience great art, the Fine Art Fair sponsors educational programs for everyone one from non-collectors and novices to the most seasoned collectors.

Some highlights on the schedule (which, of course, is subject to change; visit for an up-to-date schedule):

• Non-collectors and collectors alike can meet the four artists showcased in the fair’s public exhibition, DRY HEAT—4 Artists in the California Desert. On Saturday, Feb. 15, from 4:30 to 5:30 p.m., the exhibit’s curator, Steve Biller, will moderate a panel featuring the four artists: Kim Stringfellow, Phillip K. Smith III, Cristopher Cichocki and Scott B. Davis. These artists have been creating site-specific works focusing on the desert’s natural, social and cultural landscape.

• Beginning collectors can gain insights from the panel discussion Art of Collecting 101, slated from 1:30 to 2:30 p.m. on Saturday, Feb. 15; meanwhile, other programs are geared toward particular interests of serious collectors. From 1 to 2 p.m. on Friday, Feb. 14, a panel discussion, The Art of Giving, will discuss philanthropic aspects of giving fine art to a charitable organization or museum. And on Sunday, Feb. 16, from 1 to 2 p.m., Art as a Legacy will be a panel discussion geared toward those who recognize that their collection needs to be a meaningful and distinct part of their estate.

• Palm Springs resident and philanthropist Harold Matzner will be honored as 2014 Arts Patron of the Year. Matzner’s commitment to the arts here in the desert is unparalleled; he is chairman of the Palm Springs International Film Festival, chairman of the McCallum Theatre, and vice president on the board of trustees at Palm Springs Art Museum. Matzner will receive his award at 7:30 p.m., Thursday, Feb. 13, at a VIP event.

• At 5 p.m., on Friday, Feb. 14, Los Angeles-based photographer Greg Gorman will receive the 2014 Photographer of the Year award. From celebrity portraits and advertising campaigns to magazine layouts and fine art work, Gorman has developed and showcased his own unique style.

“I try to capture the essence of each individual,” Gorman says about his photography.

When looking at Gorman’s imagery, it becomes clear that his most successful photographs leave something to the imagination.

Gorman will be interviewed by Desert Outlook editor Will Dean, following an introduction by actor Udo Kier.

• Acclaimed artist Jennifer Bartlett will receive the 2014 Lifetime Achievement Award at 11:30 a.m., Friday, Feb. 14. Throughout her 50-year career, this Long Beach artist, now 73, has remained a prominent and controversial force in the creative world. She keeps evolving as an artist: Her work consistently contains both paradoxes and contradictions. Irrespective of medium, size and subject, she creates imagery that requires viewers to take a second look.

A mini-retrospective of Bartlett’s work, Jennifer Bartlett: 50 Years on the Grid, curated by exhibitor Imago Galleries (of Palm Desert), will be shown near the entrance to the fair.

The Palm Springs Fine Arts Fair takes place Thursday, Feb. 13, through Sunday, Feb. 16, at the Palm Springs Convention Center, 277 N. Avenida Caballeros. Tickets range from $25 for a day pass to $250 for an all-access black card. For passes or more information, call 631-283-5505, or visit

Based in Cathedral City, Victor Barocas is a photographer, author and educator/business coach. He can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it..

Below: Greg Gorman's "Andy Warhol."

Published in Visual Arts

When you see Cristopher Cichocki's art installations, you senses will experience contradiction. He’s an organic artist, yet his works are illuminated by his signature neon paint, and often black lighting, creating an edgy yet natural composition. He brings attention to his underlying theme: the collision of man and nature.

Cichocki is the Palm Springs Art Museum’s 2013 Artist-in-Residence. His large-scale installation Desert Abyss: Cycle in Cycle opens Friday, Aug. 16, and will be on display through Saturday, Sept. 28. (Editor's note: The exhibit has been extended to run through Oct. 27.)

He often uses materials found in nature—such as on the desert floor. His works of art merge photography, painting, sculpture, video, sound and installation, creating a multi-sensory experience. Art-lovers raved about his Epicenter exhibition, at the Pacific Design Center's See Line Gallery in West Hollywood, earlier this year.

The Illinois native and Coachella Valley resident has been inspired by nature and the ever-present threat to an environment that is vulnerable due to man's actions and inactions. Water is a constant in his works; he often focuses on the Salton Sea and its problems, which threaten to affect everyone in Southern California.

Neon-painted dead fish and videos of water and life that coexist along the desert's edge are found in his works. There’s even a hint of nuclear catastrophe, perhaps, at his intersection of art, science and nature. Topography, art and geological forces are beautifully represented in his art forms, which include audio and visual stimulation.

Desert Abyss: Cycle in Cycle pays homage to the ancient body of water that once covered the Coachella Valley, and the remnants of that sea’s life, which are found along the mountains as fossilized fish and plants. Water was also his subject at his exhibits at ROJO Nova Museum in Rio de Janeiro and in São Paolo's Rojo Nova Museum of Image and Sound. Using locally drawn materials from the Amazon River and surrounding forests, Cichocki reflected the conflicts between civilization and nature—yes, it’s a worldwide theme.

I have watched Cichocki evolve throughout the years, and it’s exciting how he has been able to find a voice for the many issues that we face. This exhibit is a must-see; Cichocki has found inspiration in the desert and is making a difference by educating the public while also entertaining people with his eclectic art, showing both environmental beauty and the perils we face as a society.

I asked Cristopher where he sees himself in five years, and he replied that he wanted to be traveling the world with his curated exhibitions from museum to museum—kind of a nomadic artist at large.

See his work at the Palm Springs Art Museum while you can.

Cristopher Cichocki’s Desert Abyss: Cycle in Cycle will be on display at the Palm Springs Arts Museum, 101 Museum Drive, Palm Springs, from Friday, Aug. 16, through Sunday, Oct. 27. The museum is open from 10 a.m. to 5 p.m., Tuesday and Wednesday, and Friday through Sunday; and noon to 8 p.m., Thursday. Admission is $12.50 for adults; $10.50 for seniors; $5 for students; and free to military members, museum members and children 12 and younger. Admission is free to all from 4 to 8 p.m. on Thursday, and the second Sunday of the month. For more information, call 760-322-4800, or visit An artists’ talk will be held on Thursday, Aug. 22, and a symposium on the future of the Salton Sea will be held from 3 to 5 p.m., Sunday, Sept. 22.

For more on Cichocki, visit

Richard Almada is the CEO and president of Artistic Relations and heads up Desert Art Tours. He can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it.">This email address is being protected from spambots. You need JavaScript enabled to view it.. Below: "Deep Breath" by Cristopher Cichocki.

Published in Visual Arts