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 <div style="width:310px;font-family:'times';letter-spacing:8px;color:#828282;text-transform:normal;font-size:10px;text-align:center;line-height:120%;"> <i>Nympea Serwazi, sweetheart hybrid. </i></div><br>

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 — <i>  O corpo pequenino carrega a imensidão do <b> reflexo lunar </b> nos olhos, a lua minguante adorna o sorriso da loba e não lhe falta delicadeza no toque.</i><br></div></div><br><br>

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<br/><center><div style="width:165px;font-family:times;letter-spacing:1px;color:#828282;font-size:10px;text-align:center;line-height:110%;"><i>Whispers in the dark. Steal a kiss and <s>you'll break</s> a heart. Pick up your clothes and curl your toes. Learn your lesson, lead me home.</i></div>

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Ravi Zupa - Chhinnamasta. Chhinnamasta (“She whose head is severed”) is a Hindu goddess. She is one of the Mahavidyas, ten goddesses from the esoteric tradition of Tantra, and a ferocious aspect of Devi, the Hindu Mother goddess. The nude self-decapitated goddess, usually standing or seated on a divine copulating couple, holds her own severed head in one hand, a scimitar in another. Three jets of blood spurt out of her bleeding neck and are drunk by her severed head and two attendants. Chhinnamasta is a goddess of contradictions. She symbolises both aspects of Devi: a life-giver and a life-taker. She is considered both a symbol of sexual self-control and an embodiment of sexual energy, depending upon interpretation. She represents death, temporality, and destruction as well as life, immortality, and recreation. The goddess conveys spiritual self-realization and the awakening of the kundalini - spiritual energy. The legends of Chhinnamasta emphasise her self-sacrifice - sometimes coupled with a maternal element - sexual dominance, and self-destructive fury.

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Amor Fati. Amor Fati is a Latin phrase that may be loosely translated as “Love of Fate” or “Love of One’s Fate”. It is used to describe an attitude in which one sees everything that happens in one’s Life, including suffering and loss, as good or, at the very least, necessary, in that they are among the facts of one’s Life and Existence, so they are always necessarily there whether one likes them or not. Moreover, Amor Fati is characterized by an Acceptance of the events or situations that occur in one’s Life. This Acceptance does not necessarily preclude an attempt at Change or Improvement, but rather, it can be seen to be along the lines of what Nietzsche means by the concept of “Eternal Recurrence”: a sense of Contentment with one’s Life and an Acceptance of it, such that one could live exactly the same Life, in all its minute details, over and over for all Eternity.

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‘Kinetic Sand’: A Tabletop Interactive Installation of Digital Particles that Responds to Touch. Digital particles swirl in response to the movements of a glass sphere in the tabletop interactive installation Kinetic Sand by digital art duo Adrien M / Claire B. The video highlights the uniqueness of the project, beginning with a crystal-like ball that drags the glowing sand particles across the interactive table to a backdrop of wind chimes. As the preview progresses the viewer gains more of an idea of how the ball and table interact, and how the sand responds to the different movements.

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Max Klinger - Eve and the Serpent, 1880.

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Gemma Gary - The Black Toad: West Country Witchcraft and Magic, 2012.

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Austin Osman Spare & Phillip Newton - The Grotesque, “Form: a Quarterly of the Arts”, 1916.

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Death, “The Antique Anatomy Tarot”.

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Lucas Cranach the Elder - Adam and Eve, 1528.

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Hugo Reinhold Karl Johann Höppener - Ouroboros, 1896.

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Francesca Woodman. From Angel series. Rome, Italy. 1977

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Title: Easter Lillies, Providence, Rhode Island, 1976

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Francesca Woodman, Self Portrait, 1979

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FRANCESCA WOODMAN UNTITLED / Self-portrait in her studio, 1976 - gelatin silver prints

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C. E. Fleck - Anatomy of Human Skeleton, 1911.