Room 4

 ‘ASMR’ represents an ongoing project of tableaux images focusing on the complex sexual politics operating within sterile, post-racial, hyper-capitalist Singaporean society. It is also a lyrical meditation on the invisible processes of inanimate objects and their effects on the maintenance of our intimate desires. 
Between the white headphones (and the music it purportedly is playing), the latex body suit, the corresponding painting, the expensive hotel room and even with that surreptitious piece of clothing the figure is clinging on to, a sort of poetry is evoked. It is one that is entangled with and informed by the fetishistic sexual nature of the scene. Almost everything in the room functions as a fetish signifier which compounds the carnal joy of its enigmatic occupier. It can even be said that the person present is no longer just a person or whoever they were before the suit went on; the figure here has transformed themselves into a fetish object, immersed in and intermingling with the unseen energies circulating through the other objects in the room.

@antibart on Instagram

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As COVID-19 drastically altered our personal lives and our wider world, our temperature became a sign of potential infection, and danger to ourselves and others. All images are taken in Istanbul, Turkey, my adopted home. They highlight how the perceived threat of the novel coronavirus can come from everywhere, and from everyone, and how our familiar habits and surroundings have suddenly become potential sources of anxiety.

As the fear and anxiety of contamination spread from our city streets to our bedrooms and living rooms, this series documents my pandemic life with a thermal camera, brining the invisible potential viral infection to life.  The second half of these diptychs are made of screenshots from Turkey's Ministry of Health COVID-19 contact tracing app, showing how the virus is spreading throughout Istanbul, as Turkey suffers the third highest daily infections in the world as of December 2020.  Very strange pictures for a very strange year.

@bsecker on Instagram

@bradleysecker on Twitter

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”No memory - no traditions, no traditions - no culture, no culture - no upbringing, no upbringing - no personality, no personality - no people.” / G. N. Volkov /
We live in the age of globalization, which is often identified with Americanization and It is associated with the increased influence of the United States in the world in the second half of the 20th century.
In my point of view, this formation is rather one-sided. Let's not forget that the main causes of globalization are: the transition from an industrial society to an informational one, the transition to high technologies; the use of new communication technologies: the Internet, the satellite television.
The Internet has no nationality, it has become what it is now, thanks to many scientists, it would be even more correct to say - thanks to groups of scientists from different countries: the USSR, the USA, the UK.
During the whole history, new technologies created by humans have had a significant impact on culture. In fact, always in the early stages of the novelties imposition, their influence and effect have been poorly explored.
Even Plato was anxious about dangers concerning the invention of writing and reading, and in due course the invention of the printing press was perceived as a threat to European culture, public order and morality.
This photo recounts the Slavic culture. This is a humble attempt to remind a nowaday Russian of the traditions of our ancestors.

@beegemot on Instagram

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As COVID-19 drastically altered our personal lives and our wider world, our temperature became a sign of potential infection, and danger to ourselves and others. All images are taken in Istanbul, Turkey, my adopted home. They highlight how the perceived threat of the novel coronavirus can come from everywhere, and from everyone, and how our familiar habits and surroundings have suddenly become potential sources of anxiety.

As the fear and anxiety of contamination spread from our city streets to our bedrooms and living rooms, this series documents my pandemic life with a thermal camera, brining the invisible potential viral infection to life.  The second half of these diptychs are made of screenshots from Turkey's Ministry of Health COVID-19 contact tracing app, showing how the virus is spreading throughout Istanbul, as Turkey suffers the third highest daily infections in the world as of December 2020.  Very strange pictures for a very strange year.

@bsecker on Instagram

@bradleysecker on Twitter

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En Garde!

@disparosaguedella on Instagram

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A portrait of my partner and baby boy just 24h before he was born. In the year when everything changed for us all, this was at the cusp of the moment it did for me.

@daveimms on Instagram

@davvydav on Twitter

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Tibetan prayer stones in Qinghai province

@guzco on Instagram

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From series 'Compost Stories'

@johndarwell8 on Instagram

@johndarwell on Twitter

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During 2020 alot of people went through mental health struggles, and when being so alone and disconnected your brain can start telling you things that aren't true.  The veil represents feeling like no one can see you, but you are still there looking to connect - but being isolated puts that barrier up and even though you can virtually see everyone and talk to everyone - there is still a part that you can't access.

@jordiehennigar on Instagram

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The birth of my son Otis, Chelsea & Westminster Hospital during lockdown July 2021.

@julianwardphoto on Instagram

@julianwardphoto on Twitter

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This project called "The ghost project" was a response to my emotional breakdown during the pandemic. Each image tells a different story about the different phases i went trough when we was quarantined. 

At the beginning of this pandemic i was kind of angry because of the sudden changes that the pandemic had on our lives. All of a sudden you can't no more go outside, you can't see your family, you can lose people that wasn't expected to be gone soon. All this things was having a bad effect on my mental health. It took me several days to convince myself that it was for the wellness of everybody that we had to quarantine. 

I chose to use a combination of color gels and motion blur as a common thread because i wanted my still images to be moody and not so static. Even if we are no more quarantined i still feel the pressure that this modern society put on us. I will keep the experimentation going on until i find a peaceful place of freedom.

@kalingbe on Instagram

@akaniphotograph on Twitter

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Whatever consumes us serve as a purpose. either it makes us stronger or helps us to outcome our fears and become better 



@kalingbe on Instagram

@akaniphotograph on Twitter

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This project called "The ghost project" was a response to my emotional breakdown during the pandemic. Each image tells a different story about the different phases i went trough when we was quarantined. 

I almost had an heart attack the day i've learned that my grandmother, mom and my brothers were in contact with someone that had covid. It was even more stressfull for me because they all live abroad (in Africa) so if anything happened i would'nt have been able to do anything. Hopefully they got tested and the results were negative. 

I chose to use a combination of color gels and motion blur as a common thread because i wanted my still images to be moody and not so static. Even if we are no more quarantined i still feel the pressure that this modern society put on us. I will keep the experimentation going on until i find a peaceful place of freedom.

@kalingbe on Instagram

@akaniphotograph on Twitter

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This project called "The ghost project" was a response to my emotional breakdown during the pandemic. Each image tells a different story about the different phases i went trough when we was quarantined. 

This one explain very clearly how i was feeling when i discovered that one of my close friend had covid. He was in the coma for a couple of weeks. I was feeling so depressed and lost at the time. I didn't really know what to do. I was just praying that he get better soon. Fortunately he recovered but all the people that was in the same room as him didn't made it. Then i was happy and sad at the same time. Since then my motto is "Carpe diem quam minumum credula postero". 

I chose to use a combination of color gels and motion blur as a common thread because i wanted my still images to be moody and not so static. Even if we are no more quarantined i still feel the pressure that this modern society put on us. I will keep the experimentation going on until i find a peaceful place of freedom.  

@kalingbe on Instagram

@akaniphotograph on Twitter

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March 29, 2020, Buenos Aires, Argentina.

In the early weeks of the first COVID-19 lockdown in Argentina and right after 8pm -the hour when the whole city of Buenos Aires came together in applause to thank and cheer the health workers- a young couple kisses and holds each other in the confinement of their apartment, unveiling the love, closeness and companionship among the fatigue, a state of mind that all quarantined “porteños” (citizens of Buenos Aires) shared.

@luciavazquezph on Instagram

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Bonfire during the Egodrop music festival, in the summer of 2021. The bonfire was a symbolic center of the family's life. It was believed that the guardian spirits of the ancestors were around the fire.I took this photo because during the pandemic I understood how much we have primal needs as humans: a fire, warmth, other people, nature.

@lugreatwizard on Instagram

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Maiky Emanuel Díaz de León, 10, is chronically malnourished, as do his six siblings. 80% of the family´s crops were lost in this year’s drought, as a consequence of El Niño climate phenomenon. (Cuilco, May 2021)

According to Mayan mythology, man was created out of maize and growing it was a sacred duty. But today, the guardians of this culture in Guatemala are suffering huge losses in their crops due to climate change. The result is that 1 in 2 Guatemalan children suffers from chronic malnutrition, the highest figure in Latin America.

@lys_arango on Instagram

@Lysarango on Twitter

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On the morning of September 9, 2020, San Francisco was shrouded in an impenetrable, orange smog. The cause was 500,000 acres of wildfires burning across the state, the smoke intermingling with the city's fog to create a hazy gloom that blotted out the sun.

@particulr on Instagram

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You May Kiss the Bride (3 months later). After marrying virtually over Zoom in a ceremony celebrated across continents on June 10th (after New York sanctioned virtual weddings), bride and groom were reunited 3 months later in Taipei.  When midnight struck after 2 weeks of mandatory quarantine, the couple met at Dr. Sun Yat-Sen Memorial Hall to exchange their rings, share their first kiss and excitement for their new life together.

@peikwen on Instagram

@peikwen on Twitter

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Portrait of Miguel in my studio surrounded by reflective walls.  I wanted to capture the feeling of loneliness and introspection that we all have been going through during quarantine in this photograph.

@ryankevin on Instagram

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People playing in the water outside Haji Ali one of the main mosques of Mumbai

@sureshnaganathan on Instagram

@reshman19 on Twitter

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Sanitize your hands, scrub your restless mind, rinse your anxieties and soak your fears.

@verity.fitzgerald on Instagram

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The lonely monotony of static time and artificial light. I take my restless mind for a walk to meet my shadow.

@verity.fitzgerald on Instagram

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Reportage image taken in New York City on May 31st 2020, in response to the murder of George Floyd and so many other countless black lives lost needlessly to police brutality.

@Ameadowsphoto on Instagram

N/A on Twitter

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A photographic intervention for drivers on automatic-pilot in their cars. A reminder of the urgency of what lies ahead.

@Linda_Marlena_Ross on Instagram

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"Supermoonrise II" and "Harthill, 19th May 2020" are from my called project "Rage Against The Dying" Of The Light"  is based around the rural village in Cheshire where I grew up. As a result of the impending restrictions due to the COVID-19 pandemic, I returned home. This project documents the familiar at night and finds beauty in objects and landscapes people wouldn't think as beautiful during the day.

Rage's story began when my mental health was at a low point. I had witnessed overnight my friends and my own livelihoods in the live music sector vanish overnight. Rage was my release from the anxiety and depression that was plaguing my mind. It fulfilled my need to escape the same four walls I saw everyday, even of some of the locations were within walking distance of my family home.

Rage Against The Dying Of The Light is inspired by the landscapes of Sir Don McCullin and is named after a line in the Dylan Thomas poem "Do Not Go Gentle Into That Good Night"

@_jonny_nolan on Instagram

@_jonny_nolan on Twitter

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Volunteers from a NGO of the Blue Sky Rescue team disinfect at the Qintai Grand Theatre in Wuhan, Hubei province, the epicentre of China's coronavirus disease (COVID-19) outbreak, April 2, 2020. 
Infections have been reported in more than 210 countries and territories since the first cases were identified in Wuhan of China in December 2019.

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"Supermoonrise II" and "Harthill, 19th May 2020" are from my called project "Rage Against The Dying" Of The Light"  is based around the rural village in Cheshire where I grew up. As a result of the impending restrictions due to the COVID-19 pandemic, I returned home. This project documents the familiar at night and finds beauty in objects and landscapes people wouldn't think as beautiful during the day.

Rage's story began when my mental health was at a low point. I had witnessed overnight my friends and my own livelihoods in the live music sector vanish overnight. Rage was my release from the anxiety and depression that was plaguing my mind. It fulfilled my need to escape the same four walls I saw everyday, even of some of the locations were within walking distance of my family home.

Rage Against The Dying Of The Light is inspired by the landscapes of Sir Don McCullin and is named after a line in the Dylan Thomas poem "Do Not Go Gentle Into That Good Night"

@_jonny_nolan on Instagram

@_jonny_nolan on Twitter

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I took this photograph whilst watching a live CCTV camera fixedly stalk the workers of a cubicle divided office in Vietnam. 

By this time, the UK had been in lockdown for several weeks. Elsewhere the Covid-19 pandemic had already caused havoc for a majority of the world’s global infrastructure. Naturally, the news stories were grand, sweeping, and generally based on the state of the world internationally. Like many, I felt incredibly isolated & found myself desperate for human connection.

At first, apart from a glowing computer screen, the office seemed empty. This was nothing new. Naturally I had found myself photographing empty spaces for a majority of the pandemic so far, and after making the captures I felt necessary, I went to click off of the feed. As my cursor began to embark on it’s journey across my screen, I was interrupted. I wasn’t alone.

Transfixed, I watched as one of the office’s workers placed down paperwork on the desk and began to work as normal. Initially, I was baffled by how captivated I found myself  by this simple scene. I was totally enamoured by the banal sight and I couldn’t quite fathom why. It wasn’t until much later that I registered, this was the first ‘normal’ scene I had witnessed since the initial days leading into  lockdown.

As I sat besotted by this 480p quality feed, streaming 6,000 miles across the world, my subject sat solemnly staring at their screen. Suddenly their posture broke, and the CCTV camera’s four frames per second updated to reveal them defeated, with their head falling into their palms. I wasn’t alone.

@destructionmanual on Instagram

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Bebe Kim
Life
2021
Digital Pigment Print 
50x75cm


@bebe.j.kim on Instagram

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This image was candidly captured during the BLM protests of Summer 2020 in London, just outside of the gated entrance to Downing Street. To me, the image is symbolic of a few notable things. Darker skinned people having to deal with a disproportionate amount of injustices where a system is flawed and doesn't protect them. Lower-income people being more likely to work a job where they exposed to the coronavirus at a higher rate while there being limited PPE. Despite the stay-at-home order given by the government, hundreds of thousands of people took the street and risked their health to stand up and protest against the police, the Tory government, the patriarchy and white supremacy. Regardless of where this was captured, the relevance of this image is global.

@Glodimiessi on Instagram

@glodimiessi on Twitter

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On June 6, 2020, more than 15,000 people protested against racism on Alexanderplatz in Berlin, Germany. Dressed in black and with face masks on, participants showed up in solidarity with demonstrations around the globe protesting against systematic racism and police brutality, which ignited after the violent death of George Floyd in police custody in the U.S.

The organizers expected 1,500 people to show up. Instead, over 15,000 came and protested with signs that read “Black Lives Matter” but also “Germany is not innocent”, calling out the racial discrimination in their own backyard.

@guzinmut on Instagram

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On June 6, 2020, more than 15,000 people protested against racism on Alexanderplatz in Berlin, Germany. Dressed in black and with face masks on, participants showed up in solidarity with demonstrations around the globe protesting against systematic racism and police brutality, which ignited after the violent death of George Floyd in police custody in the U.S.
Protesters came and protested with diverse signs that read “Black Lives Matter” but also “Germany is not innocent”, calling out the racial discrimination in their own backyard. Here is another sign that simply says "Fuck Racism".

@guzinmut on Instagram

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In the West, the Black body has been historically brutalized and marginalized – linked to a vile past of slavery and colonialism. Today, anti-Black racism and violence continue to violate the Black body. My work, therefore, seeks to reclaim divine bodily autonomy and agency for African diasporic peoples through the sacred perspective lens of Black bodies. Spirituality, sex and race are the foci of my photographic portraits where I explore and center concepts of femininity, masculinity, movement, belongingness and space.

@kellyannbobb_photography on Instagram

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In the West, the Black body has been historically brutalized and marginalized – linked to a vile past of slavery and colonialism. Today, anti-Black racism and violence continue to violate the Black body. My work, therefore, seeks to reclaim divine bodily autonomy and agency for African diasporic peoples through the sacred perspective lens of Black bodies. Spirituality, sex and race are the foci of my photographic portraits where I explore and center concepts of femininity, masculinity, movement, belongingness and space.

@kellyannbobb_photography on Instagram

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In the West, the Black body has been historically brutalized and marginalized – linked to a vile past of slavery and colonialism. Today, anti-Black racism and violence continue to violate the Black body. My work, therefore, seeks to reclaim divine bodily autonomy and agency for African diasporic peoples through the sacred perspective lens of Black bodies. Spirituality, sex and race are the foci of my photographic portraits where I explore and center concepts of femininity, masculinity, movement, belongingness and space.

@kellyannbobb_photography on Instagram

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A potential narrative,  investigation of a threat, illustration of our deepest fears. How life might be tomorrow? Are we safe? Our lives sinking into fear.

@leonidas_toumpanos_photography and @elena_kollatou on Instagram

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My son Oliver and myself enjoying a walk on the Fylde Coast.

@loomariannevan on Instagram

@VanlooMarianne on Twitter

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Ordered by you, delivered by her

@mari_s_gold on Instagram

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Taken from the series ‘SALT’ by Photographer Phil Yeo, the portraits were produced during and greatly influenced by, the Covid-19 global pandemic. The work was formulated in conjunction with the participants, the people of Te Tairāwhiti (Gisborne) New Zealand and are a consideration of identity and place through ethnographic consideration. The diptychs sought to provoke discourse on the predilection of humanity to stereotype, challenging the preconceived notions of identity, and reflect issues that permeate the world.

@philyeophotography on Instagram

@PhilYeoPhoto on Twitter

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Taken from the series ‘SALT’ by Photographer Phil Yeo, the portraits were produced during and greatly influenced by, the Covid-19 global pandemic. The work was formulated in conjunction with the participants, the people of Te Tairāwhiti (Gisborne) New Zealand and are a consideration of identity and place through ethnographic consideration. The diptychs sought to provoke discourse on the predilection of humanity to stereotype, challenging the preconceived notions of identity, and reflect issues that permeate the world.

@philyeophotography on Instagram

@PhilYeoPhoto on Twitter

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The series Act Of Protection, whilst born out of events of the last 18 months, is about politics, health and the environment.
 
Protection has many forms.
 
At its most basic form it is about preventing harm to ourselves and others. We wear masks not just to prevent others catching covid-19 from us but ultimately to “protect the NHS” from being overwhelmed with patients.
 
It is also about protecting the planet from adverse effects of climate change. Blue surgical masks have become a ubiquitous symbol of the fight against Covid-19. However, these disposable forms of protection are found discarded on our streets and have became a sign of waste caused by the pandemic.
 
“Seeing all these masks on the ground demonstrated to me a lack of consideration for those who might have to clean up the streets and little regard for the impact this behaviour would have on the other’s health and the environment”.
 
Tom chose to channel his frustration about the pandemic the environmental emergency into a project that led him to work with cyanotypes for the first time.
 
“I initially began to photograph these masks in-situ on the street, but felt this didn’t work so I started to collect the masks, quarantined them and then overlaid each mask on a page of the original 1946 National Health Service Act, creating a series of 90 unique cyanotypes”.
 
The blue of the cyanotype echoes the colours of the NHS logo and the mask imprint is reminiscent of X-rays.
 
The Act of Protection asks us to consider who we are protecting, how we protect them, and why.

@photosbytomtom on Instagram

@photosbytomtom on Twitter

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This is Claire the midwife that bought our baby boy Jacob into the world during the Pandemic. Claire is the reason that the first accent baby Jacob heard was from Liverpool. I don't know why an accent makes a difference but hearing her tell me everything was okay, and that Katherine was doing great was the most calming thing I could have heard.

Claire was in her second year of training to be a midwife and will be a great one for years to come. Not only was she constantly checking all of Katherines and Jacobs vitals she managed to keep our minds right too. As it was all such as rush Katherine had nothing, but gas and air and I had no real concept of how much that could make Katherine lose sense of what was happening. Twice asking me if I could go make sure her mum and Toby the cat was okay. When Jacob was being stubborn in entering the world for several contractions Katherine was in tears and said she couldn't do it. Claire grabbed both of Katherine's hands and stared right into her eyes through her mask and PPE and told her how well she was doing, and it wouldn't be long. I don’t know why I am welling up writing this, but she just had Katherine's back. I know it’s her job but it's a far more intimate job than probably anything else and she absolutely bossed it.

It may be that she has had two of her own kids and knows what it is like but personally I just think she is an amazing person has a natural ability to connect with someone. Again, Jacob will certainly be taught when he hears a scouse accent that Clair Winchcombe was first.

@portrait_per_day on Instagram

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Forms and lines at Hackney Marches cricket ground

@rafhuggins on Instagram

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Shot in the height of the pandemic earlier this year, it features a lone masked woman in the practically deserted capital city of Malta, Valletta.  I waited across the street until someone walked out of the shadows into the bright sunlight and although I did around 4 different images, this resigned old lady fitted the bill perfectly. I wanted to give this message of hope. From darkness to light. The background helps to enhance the narrative. The decaying green woodwork, the emergency assembly sign and the arrow pointing in her walking direction all add to the mood and message.  The Half Price advert is ironic and poignant particularly during this difficult period when the majority of shops were closed and most people stayed at home. The angular shadow running perpendicular to her slightly hunched back completes the slow forward motion of the pedestrian.

@smithfoto59 on Instagram

@smithjp59 on Twitter

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An East End resident attending his local bar for the last time due to the sudden rises in Covid-19 cases.

@sofiaconti.photography on Instagram

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Origin

@terivarhol on Instagram

@TeriVarhol on Twitter

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Spotlights

@terivarhol on Instagram

@TeriVarhol on Twitter

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This is one of the first portraits I have taken of my daughter Mila and my husband Maciek one sunny morning in January 2021.

@toriferenc on Instagram

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Despite the high risk of getting infected with Covid-19 and also for fear of losing his job,  he continues to  work in the chicken slaughterhouse.

The local chicken industry has faced unprecedented disruption from the pandemic.  Infections has impacted the workers as they are working in tight quarters on production lines, making it especially vulnerable. 
To prevent transmission, the workers were told to mask on and to avoid close physical contact. 
 In such challenging environment, this worker apart from having to wear those yellow rubber boots, he has no alternative but to mask on.  He could not wear a single mask for the entire  8 - 12 hour shifts. Masks must be changed when they become wet or soiled and he will find it very inconvenient wearing them especially in such hot climate. There is the problem of face irritation, sweating, difficulty in breathing, ear pain and much discomfort. However, he is left with no choice but to adhere to the safety measures. The mask is one tool kit for his safety until that day arrives when herd immunity is created against the virus.

I  saw him at the  entrance dragging away stacks of plastic boxes with chickens inside. He appears to be an interesting subject and  I gave a fleeting shot at the decisive moment in his workplace illuminating his work life and surroundings.

@toheesiew on Instagram

@tesiew on Twitter

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These ladies swim every day in Oxfordshire . Their friendships have been bonded though bounding into freezing cold water during the pandemic. This bracing daily ritual has an amazing positive effect on their mental health, body confidence is improved and they feel empowered. Each woman has a different story as to why they swim, each one feels that swimming in cold water has helped them through difficult times during the pandemic. Their sense of freedom, liberation and joy is so powerful.

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"Bread or air!" 

Has it happened before? In Albert Camus’s ’the plague’ published in 1947, the narrator remarks,” The town was inhabited by people asleep on their feet…”. Have things changed now? Have you been watching? people succumbing to the virus, inequality, hunger or captivity. Do you think we played a part in it as well? Do you think it’ll happen again?

The above captions have been taken from "the plague" by Camus to show their resonance with our current circumstances, even a century later.  The story aims to dwell deeper into the psyche of it’s protagonists, in this recurring phenomenon of suffering with an aim to overcome the inertia of it’s audience with questions.

@tothinkornottonotthink on Instagram

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Once a bicycle factory, ROG building in Ljubljana, Slovenia, was since 2006 an Autonomous zone. It was used as a painting and sculpturing place, a hall for low budget concerts, a skate park, a social centre where local NGO's gathered with refugees and a place where martial arts group and a circus group held their practices. It was an area where market forces did not govern. The building itself was deteriorated. 
In early morning 19 January 2021, after years of conflict between the municipality and the users of ROG, security backed by police special forces entered ROG unannounced and started demolishing the buildings in the ownership of the municipality. Immediate protest against the demolition was held in front of ROG. Protesters did not achieve much apart from media coverage. A place that was an alternative to touristic coffee bars and fancy discos was demolished, our freedom to choose an alternative impoverished. Municipality is planning a modern exhibition space building in place of ROG.

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A protester on the demonstration against the populist government of PM Janez Janša at the Trg Republike square in Ljubljana, Slovenia (2020). Protesters are protesting for now record 79 Friday evenings in a row. They demand the resignation of the government accused of corruption, autocracy,  revisionism, government that stoped the funding of the Slovenian Press Agency 10 months ago and is insulting it's opponents publicly daily. Protesters managed to organise a national referendum in which the government's law, that would liberalise construction on the river banks, was rejected by a big majority of voters. Protesters are also demanding the resignation of the unresponsive president of the Republic.

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Visit Traces in Time

Visual research of machine vision techniques. Treces of  a child running in the forest emerge from the recorded images and reveal semi-random structures.

@lukasopekar on Instagram

@lukasopekar on Twitter

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Traces in time - running in the forest

The Masses is part of a audiovisual mass participation installation which was exhibited at the LINE London - Contemporary Art Space in 2020. The project involved over 200 participants from around the globe lending their voices to create a series of artworks based on the poem 'The Masses' which was written by the artist during the lockdown.

TITLE: A poem for the masses

We are the masses. We are one.

I lay down my flags,
so you can see underneath.

I lay down my weapons,
because I long for peace.

Beyond my flesh and bone, I am a soul.
And my soul, knows your soul well.

Even though we may have never met.
Although we may never meet.
We see eye to eye.
You are my comrade.
You are my brother.
You are my sister.

Your scars are uniquely yours,
but our stories
at their very core,
are not too dissimilar.

We may be on parallel lines,
but we are all human.
And tonight, like most nights,
we all bleed blue.

We employ polite disguises in public,
so as not to spook the masses.
But we are the masses. We are one.
If I hurt you, I hurt me too.

So, today, I choose me.
And blissfully, and by default
that means I choose you too.

@hello_levesque on Instagram

@hello_levesque on Twitter

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Many voices reading a poem. Visuals include a dance performance.