Tabletop Zine | September/October

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a r t i s t

max pinckers

timothy mcmullen

grace helmer

bobby scheidemann

austin eddy

steve kim

frank zadlo

thomas albdorf

lonneke van der palen

featured: zoe berg

Still fromI MAKE THE WEATHER. Water Baby.

2012Performace, 12:01

Zoe Berg

https://vimeo.com/43709489

t a b l e t o p z i n e

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m a x p i n c k e r smaxpinckers.be

what was the worst nickname you have been given and what was the story behind it?

Pinky, from ‘Pinky and the Brain’.

if you be an artist in any art period, besides our current one, which one would it be and why?

Egyptian Hieroglyphicist in 2500 B.C. because I would know how the pyramids were built.

describe your best and/or scariest Halloween costume... ever

A meat eating plant.

What’s currently funding your art practice?

My art practice.

everlasting Influences

My subconscious.

Emphasis Applied Over a Single Line of Interest2012

A Bold Statement2012Graphite on paper40”x40”

Emphasis Applied Over a Single Line of Interest2012

Choices, Choices2012

Oil on panel 17”x12”

Muted Reaction2012

Blindfold2012

Muted Reaction2012

Supplementing the Pause with a Distraction2012

Common Visual Axis2012

Us and Them2012

Oil on panel12”x17”

t i m o t h y m c m u l l e ntimothymcmullen.com


A few years back a co-worker let it slip that I was referred to as “turtle” behind my back. It’s probably better if I don’t explain that one.


I would be Monet, kinda the ideal artist life situation. Eventually I would like to end up just painting flowers from my own personal moat.


In first grade I was a bag of jelly beans, which really means I wore a black trash bag with ballons taped to it. So it was a sort of inverted bag of jelly beans.


My lovely wife and student loans.


Trenton Doyle Hancock, Catherine Von Heyl, Mindy Shapero, Matthew Ritchie, Steve Roden, Jon Apgar, Annie Lapin, and Matthew Day Jackson.

Disruptions and Mysteries 2012

Acrylic on wall, mirror and wood, oil on canvas, gouache on paperRoom installation

False Mirror2011Oil on canvas22”x28”

Planks and Voids2012

Acrylic on wood, acrylic and glass, gouache on paper, oil on canvas

96”x44”x26”

Disruptions and Mysteries 2012

Acrylic on wall, mirror and wood, oil on canvas, gouache on paperRoom installation

g r a c e h e l m e rgracehelmer.co.uk


Gross Helmet. Partly because whenever someone said ‘gross’ I thought they were saying ‘Grace’. It evolved against my will and stuck. My friend Charlotte named a plate after it, so now it’s immortalised in ceramics...


I would want to go to the Bauhaus school. I like the idea of a ‘school’ that has all these clear ideas and opinions, especially in defending the art of design. I’ve been asked if I am an illustrator or an artist, but don’t think the distinction need be made. Design can be conceptual. Art can be crafted and mass-produced.


I don’t think I’ve ever had a scary Halloween costume, but I think my best was when I dressed up as Pikachu and covered myself in yellow face paint. We made pokeballs out of Christmas baubles and It took days to get my eyebrows back to normal colour.


At the moment: several jobs, and lots of willpower. Luckily no one I know seems to want their oil paints so I rarely have to buy my own art materials. Renting a studio is an extra expense but is worth the mental separation it creates between work and home.


Jeff Wall, David Hockney, Primo Levi, Google Image Search, friends, Hitchcock, diagrams, new stationery, Wikipedia Unusual Articles, shelves, and the books put on them.

The Fugitive2012

Oil and graphite on paper10”x6.2”

One Night 2012Oil and graphite on paper10”x6.8”

One Night2012

Oil and graphite on paper5.3”x7.1”

The Fugitive2012Oil and graphite on paper 10.3”x7”

The Fugitive2012

Oil and graphite on paper15.4”x9.1”

b o b b y s c h e i d e m a n n

bobbyscheidemann.net


The lacrosse team I was on in high school were Texas state champs the year before. When I joined, the majority of the senior talent on the team had graduated and 3/4ths of the new teammates we’re either brand new to the game or over enthusiastic 8th graders from down the block. Our coach wasn’t handling the shift in team dynamics very well. During a lacrosse game in high school my coach was having a bad day and was screaming at the majority of the team for a bad first half. So we have the ball and my team is on a fast break up the field and as I was running my coach started yelling, “BOBBY DON’T BOBBLE YOUR HEAD WHEN YOU RUN BOBBLE HEAD BOBBY!!!”. So I look over and my coach is still screaming red and the entire bench was sitting there pointing at me and bobbing their heads with their helmets on. So, after one doozy of lacrosse season, I quit the team and started up my high school ultimate frisbee club instead.


The future future. I get excited about if we make it or not. There’s this scene in Children of Men where they’re eating at a dinner table with Picasso’s Guernica just chilling behind them as a backdrop. Also before that there’s a shot of Michelangelo’s David and one of his legs has been replaced with a shiny metal pole and a character says some mumbo jumbo about how they barely saved this one. But if I had to go back in time, it would have been cool to have kicked it with Magritte and friends back in the day.


Up until I was 6, my mom always made these incredible hand made costumes for me. I would wake up in the morning and there’d be like a peter pan costume that had real heft to it. I hate those costumes in the plastic bags in the always weird smelling pop-up costume stores at the mall. I mean they’re just super eco-nomically/comically thin onesies with a graphic printed on them.


I landed a pretty nice gig through a friend selling custom graphic t-shirts in Manhattan. So whatever money doesn’t get gobbled up by my apartment fund, I usually throw towards some film or into a nice breakfast at a diner so I can think about things. Aside from part-time gigs, one of my collaborative projects called kitchen_concert recently partnered with an internet youtube company to help us expand and to hopefully become self-funded.


Richard Feynmen, Larry Sultan, Ed Ruscha, Hemingway, Woody Allen, Akira Kurosawa, Jim Jarmusch, David Byrne, Elad Lassry, Travess Smalley, Ann Woo, Hiroshi Sugimoto, Tim Barber, Carl Sagan, Kubrick, Haruki Murakami, David Benjamin Sherry, Paul Thomas Anderson, Magritte, Mike Mills, and Vonne-gut... and Henry Miller.

All images apart of the seriesLeft Down Up Right

a u s t i n e d d y jaustineddy.com


I have never really been given too many nicknames, people sometimes call me Eddy, but that’s just cause my last name is Eddy. Some strangers and some times girlfriends have also called me Hun, or babe but I have not gotten either of those in a long while.


I don’t think I would want to be an artist in any other period than the one I am in now. I really like the work that is happening right now, there is room for everything and there is less of a predominate style or mode of making that defines the things being made. But if I had to pick a pervious era, I would have to during the post-impressionist period, the way people looked was rad and the world seemed to be quite grimey.


My best Halloween costume would have to be a circus clown, I was a clown when I was like 10. I really like the way clowns look, and it was fun to wear the puffy suit, the shoes, the nose and the wig. Not the most original or the most interesting but I really enjoyed the outfit. It felt fun.


As of right now I am working as much as possible to fund my art practice. I do freelance work for various spots around New York. I like working, there is something nice about being tired at the end of the day.


I would have to say the people I meet and the interactions shared would have to be the most influential thing in life and in the work. New perspectives are al-ways refreshing. Oh there is also Picasso, Matisse, and Hank Williams.

Clair2012

Acrylic, ink, oil pastel, cardboard on canvas20”x24”

Hank2012Acrylic, ink, oil pastel, cardboard on canvas20”x24”

Spying Stoner2012


Peek-a-boo2012Acrylic, ink, oil pastel, glittercardboard on canvas 20”x24”

Walt2012


s t e v e k i mstevekim.com


My cousin would call me “chump”. When I first started playing computer games over the internet (Duke Nukem 3d, Quake, Team Fortress) I needed to create an alias and thus “Chumps” was born.


Honestly, I wouldn’t want to be alive in any other period. Without the internet I’d be dead before I hit puberty for sure. I can barely tolerate right now as it is.


Never had one. Halloween isn’t for me.


My amazing family and occasional sales and illustration gigs.

everlasting influences?

Women. (I did not see a clause for originality)

Ghost2012

Gouache and colored pencil on paper 11”x14”

Untitled2012Mixed media on canvas 48”x24”

Untitled2011Oil on canvas36”x48”(Right)

Gone 2012

Gouache and colored pencil on paper11”x14”

Pill 2012

Colored pencil on paper11”x8.5”

Mucksnipe 2012Colored pencil on paper11”x8.5”

Grabby2012Gouache and colored pencil on paper11”x14”

Untitled2012

Oil on canvas36”x24”Grabby

2012Gouache and colored pencil on paper11”x14”

f r a n k z a d l ofrankzadlo.com


I was whining about something in front of my older sisters once when I was a teenager. They started calling me ‘panties’ because of my whining. It stuck for about a year.


The early/mid-20th century. But right now is a pretty amazing time to be an artist. I think if you ask artists this question 50 years from now, a lot of them might say the early/mid-21st century.


I don’t partake in Halloween.


I am an Adjunct Professor at LaGuardia Community College in Long Island City, NY, and at Kean University in Union, NJ. I am also a freelance video editor.


Glenn Goldberg.

The Highlands2012

Screen print on cement10”x10”x1”

This on This (Circleface)2011HD video, iPad, frame00:38 loop, 15”x13”x3”

This on This (Volcano 1)2012

HD video03:58 loop

The Desert2012Screen print on cement10”x10”x1”

Raillery2011Contact Print8” x 10” (Right)

Gas Station2010

Wood, plaster, paint, fluorescent lights, TV, 8-track recorder, reel-to-reel recorder, speakers, DVD player

t h o m a s a l b d o r fthomasalbdorf.com


I honestly can’t recall any bad nickname that was given to me, at least none I’m aware of.


I’d most definitely like to spend some time with Marcel Duchamp around 1912, before he created his first Ready-made; potentially the most ground-breaking period in 20th century art history.


When I was around 16 or so, we spontaneously partied at a friend’s place in the middle of nowhere, a house basically just surrounded by a few farms. Nobody was actually disguised (Halloween was not yet such a big thing in Austria), but after a few drinks we decided to work with the stuff we would find in the house to create some costumes and “visit the farmers”. A friend of mine managed to turn me into a stunning werewolf with solely her skills and tons of found make-up.


The Austrian State and it’s grant system until I’m done with studying, although I gotta admit that my artistic practice mainly involves cheap materials and therefore hopefully still can be financed after graduating.


Art history, vintage books, stock photography, litter, the webz, other artist’s work ...

All images apart of the seriesActualities2011-2012

l o n n e k e v a n d e r p a l e nlonnekevanderpalen.com


‘Zou jij Lonneke van der palen?’ Just ask a dutch person what it means exactly and you will understand.


I would say Andy Warhol’s Factory. Not only because of the flashy parties and being surrounded by the most interesting people, but because of this man who could have turned me into a famous artist worldwide in just one snap. And of course, because of Lou Reed.


Since we don’t celebrate Halloween in Holland, I can only describe my worst carnival costume ever; I was a crashed snowboarder.


I have a part time job in a theatre to support my creative endeavors. Besides that I’m trying to make money doing commercial assignments every now and then.


Everyday life with all it’s surprises.

African Girl2011

Inkjet print30”x40”

American Breakfast2011Inkjet print30"x40"

Sunset2011

Inkjet print30"x40"

Pyramids2011Inkjet print40"x30"

Norwegian Sweater2011

Inkjet print30”x40”

we’re here to embarrass ourselves with zoe berg

written by dustin gregory My first introduction to Zoe Berg happened in a bewildered flash when this yellow-haired girl sprinted into the frame, bursting with childish exuberance donning a pink flower headpiece and a vibrantly-colored dress that might have been Kelly Kapowski’s from some forgot-ten episode of ‘90s nostalgia. A daisy sprinkler spasmed in the center of a backyard like those dancing inflatable balloon characters that beckon cars from the front of used car lots as Zoe ran circles in the grass through the water, stopping time and again to take a spray to the face. She reveled in it, and I knew, having no chance to acclimate myself to the strange hilarity I was witnessing, that this would be one weird as-signment. At first Texas struck me as an odd place to find our whimsical feature performance-artist--and she’s Norwegian. Texas certainly is a divisive place. Its misplaced nationalism and ole-boy ways can be alien-ating, even dangerous for an outsider, someone who is different. It wasn’t until my conversation with Zoe that I began to un-derstand how the early immigrant Norwegian community could fare alongside such a nationalistic nightmare fresh off its own bloodshed for independence and on the cusp of an all-out war between America and Mexico. At first, they remained isolated. This was a good move, play-ing it cool, so that when the time came the Norwegians assimilated well enough to the culture that it was able to thrive through the years, and it continues to flourish today. But the cultural similarities I began to piece together from Zoe--an almost stubborn reverence to heritage, com-munion with the landscape, emphases on the collective narrative and storytelling along with rampant myth-mongering--made it easy to see how the two populations kept from clashing as the Texans and Mexicans did with such bitter viciousness. All this is to say we’re dealing with two groups of people who just wanted to be left alone to perpetuate their own sub-cultures. In a place known for everything being BIG, extravagant stories that over-shadow the truth are typical. Even Texas history has been muddled by the aggrandized accounts of it passed down through the generations, the battle cry of the Alamo still echoing through the Hill Country landscape recounting the most victorious defeat the world has ever known while men like Sam Houston and Davy Crockett are still depicted as larger-than-life figures of Texan mythology.

“It’s Texas: it’s just a silly place,” Zoe remarked fondly when asked why she returned to her home in Austin after studying for two years in Wisconsin, and why she’d remain there once her studies at the University of Texas conclude. This making light of things otherwise heavy-handed, extrapolating the silly from the serious--and Texas takes itself quite seriously--is a common thread through Zoe’s work.

Stills from2514 Glenwood Lane

2011Video, 03:18

No better example than her installation performance, Miami, where she mocks the excessive seriously-sexy pomp of South Beach. Not in any scathing or hostile sort of way, but in typical Zoe fashion--playful and light-hearted, depicting the ridiculousness in such an innocent way that the viewer could miss how she’s turning its self-importance and the obsessiveness of sex on top of itself, like Baywatch if it had intended to be a commentary. Her humor is evident, like when she bastes herself in tanning oil beneath a heat lamp or fast-forwards the cassette tape playing in her retro boombox, the way I compulsively skip songs on random on my Ipod. That the installation space is tiny and seems almost as though the walls are closing in on her adds to the dullness of the beach scene, Zoe having nothing to do for the eight minute performance but dig her toes into the sand, blow up a balloon picnic basket, reapply the tanning oil, and sit around. At one point she builds a castle in the sand that covers the floor of the installation. The scene reaches its hilarious high note when she waves a handheld fan around her face making faces of cross-eyed sexual pleasure, finally ending in her eating a blue Flav-Or-Ice freeze pop, the camera zooming in as she lets the juice drool down the corners of her mouth over her chin, then flashes a sick frosty smile as sexy as anything you’re bound to see on South Beach.

Still fromMiami

2010Video, 08:14

zoeberg.net



Zoe’s humor shines even in performances that touch on the sad-ness that’s inescapable in life. Her narratives attempt to depict the his-tories and themes of culture and ancestry, and in the gamut of human experience it would be a sham to neglect the darker side of existence that everyone must suffer. Still, Zoe provides the light of optimism and play to dampen the pains, to divert the viewers’ attention instead to things that satisfy the soul. “I think there are sad moments (in her performances). You don’t necessarily know if it’s sad--it’s funny at the same time...the mixed feelings...” She notes the sadness that can be found in Water Baby, or her flower-resembling troll figure that she considers “really hopeless and sad.” But even in these elements of her work, there is somehow a pleasing turn Zoe achieves as if to reassure her viewers that everything will be okay, that their faith is warranted if they choose to focus on the things that are fun and make them happy. Even her video, Bosque Coun-ty, which includes slides of cemeteries and headstones of long lost Nor-wegian elders, is more sentimental than morose, conveying a resounding calm and sense of peace in knowing that all is someday laid to rest. There is a morbid humor to it, really, and Zoe assured me that finding humor in her work is okay, that it’s something she strives for. Referring to videos like Daisy baby, Our Imperfect Pearl, or Strickland MS-Home of the Vikings, beneath any serious or tragic tones, Zoe af-firmed that “what’s going on is just totally goofy.” We joked about the use of laugh tracks, and how they may be useful in her work for those times where the scene becomes awkward because viewers are too cau-tious, afraid to perchance embarrass her by showing that they find what she’s doing humorous. “I like it when people laugh,” Zoe said, laughing herself. “A lot of times it’s weird because so many people don’t realize that they should laugh.” As to her own role in the performance she advised, “If you’re the central performer you shouldn’t be embarrassed, you should embrace how people respond. Humor is a special emotion. It can com-municate a lot. You can mask certain ideas, or heighten other ideas... it’s a special tool. We’re here to embarrass ourselves.”

Zoe has felt compelled, especially in these years following the loss of her grandfather, to become even closer to her grandmother in Denton, Texas, which, she added, is a special place for her and her work. Her video titled Freezee daisy where she appears as the “troll figure” wearing the flower headdress takes place in her grandmother’s backyard, and she filmed Drøm om meg og sjokolade (senior exercises)--a video where she and her grandmother do neck and shoulder exercises sitting side by side in chairs before rocking out to Abba--in the sunny studio of her grandmother’s home. The bond between them is apparent. Zoe acknowledges her Texan heritage as well as her Norwegian ancestry, a self-identified Texwegian, as she put it; but while Texas is broadly known for its own folkloric beliefs and hero reverence, it is her Norwegian roots that most notice-ably pervade Zoe’s work. “My Scandinavian studies are important to how I think,” she said with conviction, likening it to yet another form of art, as another way of communicating. Her decision to spend two years at the University of Wisconsin at Madison was based in large part on the school having the oldest Scandinavian Stud-ies department. It was also where she changed the direction of her own artistic en-deavors, telling TtZ, “I thought I was going to do printmaking then, but that quickly changed because I started curating this video and performance series, and realized that’s what I wanted to do.” Her reasons for leaving Madison to return to Austin were motivated by the same longing to access her Norwegian ties that took her away in the first place. Only now, she can explore closer to home those different aspects of her Norwegian cul-ture that are more personally enriching than scholarly. Her interests extend to both, but her Scandinavian studies in Wisconsin couldn’t afford her the opportunities to research at the provincial level the Norwegian-Americans “that still magically persist in Texas,” and could never share the family history Zoe craves, or the stories of her grandfather she learns constantly the more time she spends with her grandmother. This hunger for close family relationships is crucial to our humanity and makes each of us who and what we are, but the strong appeal to storytelling, the sharing of myths that attempt to explain culture, nature, and ancestry is an emphati-cally Norwegian tradition. At the time of the first Norwegian settlements in revolu-tionary Texas, across the Atlantic Norway was experiencing its own nationalist up-heaval. The mid-late 1800s was a time of extreme cultural pride as the people there assessed what it meant to be “Norwegian,” not having a national identity of their own since their land had belonged to Denmark for hundreds of years. The essence of Norwegian cultural identity that the people came to espouse manifested in the era known as Norwegian romantic nationalism, a period which Zoe considers “a re-ally disgusting movement,” and I’m sure it was...best to be leery of all things ending in -ism. The rugged, overwhelming Norwegian landscape and the quaint lifestyles of the rural peoples spread across it lent to the romanticized nostalgia that came to be the Zeitgeist of their emergent national character. With the newfound spirit of acquired independence Norway seemed to withdraw upon itself, looking to its past in a circular cultivation-assertion that celebrated its unique heritage and emphasized its own ancestral identity to combat, in true romantic fashion, the threat of industry and urbanization.

Still fromDrøm om meg og sjokolade (senior exercises)

2011Video, 02:22


Zoe is a third-generation Texwegian born a century-and-a-half after the settlement of Bosque County, but the romantic ethos brought by the early Norwegian immigrants serves as a guiding light for her artistic spirit. Despite the last decade’s overt tones of American nation-alism and fearful anxiety, Zoe appears the gleeful, proud torch-carrying beacon of Norwegian identity in a state that’s foreign even to its own country where her people have been displaced for generations, albeit well-adjusted in their community and this dehumanizing digital age. Her work continues to explore the potentialities of the narrative, blending action and abstrac-tion with the common oral form. In her Water Baby performance, Zoe reads from a book reminiscent of a captain’s log as water pours over her in her yellow slicker. She stands in two plastic pools of water, displacing the water from one pool into the other. InDrøm om meg og sjokolade (Dream about me and chocolate) she lies on her back sweeping her arms and legs in wide motions making angels in fake snow as mermaids continue to pour more over her before she reads, even sings to the audience Ja, vi elsker dette landet, the Nor-wegian national anthem. Zoe emphasizes at length the role of nature in her performances, appealing to both the local Texan vistas and the sublime Norwegian scenes depicted in its romantic traditions. “The idea of landscape is really important to the visual aesthetics of my work,” Zoe acknowledged. “The landscape is so essential to Scandinavian culture--and Norway especially is so beauti-ful-- but it’s marked by these extremes, the kind of nature that is so overwhelmingly beautiful that it’s scary.” Technology affords Zoe’s performances more interesting effects than the early roman-tic artists had at their disposal, perhaps could have ever imagined. Those early works offered an alternate view of the world as it began to change and modernize into something no one had seen or had ways to cope with. People in the late nineteenth century had two options: accept the new age and way of life, or reject it by appealing to an older, dying time, as in the Norwegian romantic nationalist movement. Zoe’s work follows in this romantic tradition, but it offers a perspective rather than a disavowal of the modern age. Today’s digital age is marked by its inherent love-hate relation-ship. We rely on it, be it for communication, entertainment, information, or the work that seems to be impossible nowadays without the use of programs or systems. Still, we have this sense that something about ourselves is being lost; we don’t tell stories through tweets, texts, or posts. It could be overindulgence, but it could be inevitable in a world so quickly progress-ing toward singularity. Zoe’s performances all involve some use of technology, and it should to stay pertinent to today’s times. The appeal to nostalgia is still present in the use of land-scapes, storytelling, and mythology, but is more contemporary and relevant than the first ro-mantics in that she employs the very things she at once confronts with suspicion. She records her performances with cameras, and even layers her shows with past videos she’s made which she displays on screens using media instruments. This juxtaposition of romantic nostalgia and appeal to nature--to simplicity--with the necessary use of technological elements accomplishes a more effecting statement about our time and condition than we see from the early romantics. The ultimate purpose is still the same as that set out by the artists of two centuries ago: to tickle and enlighten our sensibil-ity. “Art is about feeling.” It was clear that Zoe does not waver on this. “I think a lot of times people forget that. They try to analyze the work or reduce it in these weird ways...it’s good to feel something from it--emotionally.”

Installation shots fromTilbedelse (Worship) III

2012

Mipwamps2012Performance, 12:03


Our Perfect Pearl2012

Collaboration with Chantal WanukVideo, 02:41


The day after we spoke with Zoe she left on her “big West trip” to Lubbock, Texas on the two-month, six-thousand mile adventure that is the selective Land Arts of the American West program, during which she’ll be capturing video for her upcoming performances. She noted how important it is to use the landscape there in Texas, and intends to make drawings of it on her travels to use in her work. She’ll also be sculpting goddess symbols in the coming months to use in her show in Febru-ary, which she added is her first major solo show. This will be her sixth exhibition in addition to the handful of other performances she’s appeared in around Texas. Having been featured in various engagements around Wisconsin and Texas, Zoe just this year received a full scholarship to attend a two-week residency at Ox-Bow, a summer art school program in Saugatuck, Michigan. In April she’ll be joining the artists from the Land Arts of the American West program for a group show in Lub-bock at a warehouse that Zoe told us “looks like a really beautiful space--a great opportunity to make something with the space--a good space to perform in.”

Still fromDaisy Baby

2011Video, 02:47

Unsure whether TtZ will be sending a representative to cover her February exhibition, Zoe offered us an inside look at how she, at least for now, expects to set up her installation at Center Space Gallery in Austin: “One wall is going to have a lot of my Norwegian-American things on it, and on the opposite wall I want to paint the color of my grandmother’s floor in her studio, and that will have all sorts of sculp-tures, photocopies, images, video and projection, and different interior spaces. In the middle of the space Zoe will construct a viking ship-building platform, only it will have a Nordic Track ski machine situated on top of it. When she’s done with school she plans to move to Denton to live with her grandmother before eventually making her way to Scandinavia. She discusses going to graduate school there to continue her Scandinavian studies, ceding that in order to

learn the language she really needs to be surrounded by it, and education is free in Norway. She won’t be able to live there on a permanent basis for a while though, something to do with Norway having strange, very strict quarantine rules that would make trouble for Zoe’s cat. She likes the idea of bouncing around, anyway, maybe living there for only a few months at a time. It’s a recent fantasy of Zoe’s to start a ranch compound there in Texas where she could invite artists to live and work, providing them the studio space they need and the as-pect of community that helps artists thrive. In the meantime, Zoe will continue her work, exploring the narrative and her interest in using visuals to craft stories, retell myths. She likes how myths offer interpretations of reality, and how even these can be reinterpreted, even altered. Her work strives to add mystique or importance to elevate otherwise ordinary things, which allows her to fashion her own myths through what she knows of the old, timeless ones carried on through generations, and of the actual world around her, perpetuat-ing the tradition of using stories to explain the world around us in an age where science and technology succeeds in taking all the wonder out of life. Still, Zoe continues in the old romantic ethos.

“There should be more myths in the world.”

Still from Freezee Daisy2012Video, 04:30


t h a n k y o u

to the participating artist

to be considered for the next issue email the following:

8 images at 300dpi, minimum size of width 14xin- word document containing -

title, year, medium, dimensions contact information (website or email)

t a b l e t o p z i n e @ g m a i l . c o m

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Tabletop Zine | September/October