EXHIBITION #1
Amy Kaps/World Serves it's own Needs
HONORABLE MENTION
HONORABLE MENTION
Amy Kaps/But it'll do, Save Yourself
Amy Kaps/No Fear, Cavalier Renegade Steer Clear
AMY KAPS:
Amy Kaps works primarily in the realms of performance and installation in the United States and internationally. She was conceived in Columbus, Ohio, born in 1959 in Brooklyn, NY, raised in suburban New Jersey, schooled in upstate NY and Japan, lived in New York, and Köln, Germany. She currently resides in Venice, California and maintains a studio in Downtown Los Angeles
Known for her potent palette of black and white stripes accented by pink, her “Victus Versus” living sculpture performances and photo series led to large scale installations beckoning the viewer on a journey with this mythical striped creature. Her “Unraveled” series is a provocative statement on body image and ideals. And while many go high tech, Kaps began to create woodcut prints emphasizing the value of hand made and unique works of art. Her interest in perception and our ability to control it, has propelled her deep study of the brain and the development of an interdimensional work, Amy G. Dala, It’s all in her head”.
She has been Artist-in-Residence at MOAH Cedar in Lancaster, CA and in Germany, New York and France. A request to curate a painting show at the Museum of Art and History in Lancaster, CA morphed into a collaboration with Kaye Freeman that continues as HIBISCUS TV. Videos and performances have followed at the LA State Historic Park, DIVERSEart LA for the LA Art fair, ArtShare LA and Highways Performance Space.
IMAGES FOR SALE:
And I feel fine - 10.57”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
But it’ll do, save yourself, serve yourself – 10.18”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Eye of a hurricane, listen to yourself churn – 9.49”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Feeling pretty psyched – 14.22”H x 9.49”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
No fear, cavalier renegade steer clear – 9.51”H x 14.22W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
World serves it’s own needs, don’t misserve your own needs – 13.36H x 16.72”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Contact: Amy Kaps amy@amykaps.com
Hibiscus TV is Kaye Freeman and Amy Kaps
IF VIEWING ON A COMPUTER CLICK ON ARROW TO CONTINUE TO THE GROUP EXHIBITION
Amy Kaps works primarily in the realms of performance and installation in the United States and internationally. She was conceived in Columbus, Ohio, born in 1959 in Brooklyn, NY, raised in suburban New Jersey, schooled in upstate NY and Japan, lived in New York, and Köln, Germany. She currently resides in Venice, California and maintains a studio in Downtown Los Angeles
Known for her potent palette of black and white stripes accented by pink, her “Victus Versus” living sculpture performances and photo series led to large scale installations beckoning the viewer on a journey with this mythical striped creature. Her “Unraveled” series is a provocative statement on body image and ideals. And while many go high tech, Kaps began to create woodcut prints emphasizing the value of hand made and unique works of art. Her interest in perception and our ability to control it, has propelled her deep study of the brain and the development of an interdimensional work, Amy G. Dala, It’s all in her head”.
She has been Artist-in-Residence at MOAH Cedar in Lancaster, CA and in Germany, New York and France. A request to curate a painting show at the Museum of Art and History in Lancaster, CA morphed into a collaboration with Kaye Freeman that continues as HIBISCUS TV. Videos and performances have followed at the LA State Historic Park, DIVERSEart LA for the LA Art fair, ArtShare LA and Highways Performance Space.
IMAGES FOR SALE:
And I feel fine - 10.57”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
But it’ll do, save yourself, serve yourself – 10.18”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Eye of a hurricane, listen to yourself churn – 9.49”H x 14.22”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Feeling pretty psyched – 14.22”H x 9.49”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
No fear, cavalier renegade steer clear – 9.51”H x 14.22W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
World serves it’s own needs, don’t misserve your own needs – 13.36H x 16.72”W
C-print on Archival paper
$350 unframed
Limited edition of 11
Signed on back
Contact: Amy Kaps amy@amykaps.com
Hibiscus TV is Kaye Freeman and Amy Kaps
IF VIEWING ON A COMPUTER CLICK ON ARROW TO CONTINUE TO THE GROUP EXHIBITION
Amy Kaps/And I Feel Fine
Amy Kaps/Eye of a Hurricane
Charles Chao Wang/Away Way 1
CHARLES CHAO WANG:
"Central to the essence of "Tao" are the principles of "following nature" and "the unity of heaven and man." These core tenets find resonance within the thematic framework of the project, as articulated by Eckhart Tolly. Coming of age during a period characterized by rapid urbanization and a restrictive political environment in China, the artist's enduring aspiration has been to seek an avenue of "escape" and cultivate a utopian realm within their psyche.
Employing Taoist principles and harnessing the methodologies of meditation and walking meditation as guiding forces, the artist employs photography as the principal medium for delving into their inner reservoir of memories and yearnings. Through this creative process, they endeavor to construct a serene and childlike utopia, emblematic of their long-held dreams.
In the broader context of contemporary Chinese society, this artistic endeavor assumes a role of countering the forces of control and constraint exerted upon its denizens. It is the artist's intention that this project, in its entirety, serves as a wellspring of resilience and inspiration, enabling the audience to liberate themselves from the grasp of powerful totalitarianism and embark on a journey of self-discovery and comprehension.
For the artist, this project signifies both a profound voyage towards inner healing and a process of dismantling and reconstructing his inner framework, seeking to bring forth a harmonious order from the depths of his soul."
Charles Chao Wang is a London & Shanghai-based photographer as well as an artist, graduated from the University of the Arts London. His work draws from his own experiences and memories, and is influenced by a variety of fields including sociology, philosophy and psychology, in which concerns about social inequality and abuse of power can be seen. He offers a powerful social commentary, as well as an opportunity for spiritual healing, enabling the viewer and the artist himself to reflect on and respond to societal challenges.
Embodying the essence of Zen philosophy, Charles's work blends elements of nature with social issues by capturing the serenity and harmony found in nature through his lens. This fusion not only resembles Zen meditation in form, but also presents a profound dialogue in thought, emphasising the close connection between man and nature.
AWARDS:
2022 Canon Diversity Challenge finalist
2023 tokyo international photo awards Gold Winner
Click
2023 fine art photography awards third place winner
2024 European Photography Awards Gold Winner
2024 Medusa Photography Awards finalist
2024 TenMoir Open Theme Art Competition finalist
2024 International Photography Awards finalist
2024 Analogsparks Awards Gold winner
PUBLISHED:
Visual Art Journal #12
Al-Tiba9 #17
Divide Magazine #13
"Central to the essence of "Tao" are the principles of "following nature" and "the unity of heaven and man." These core tenets find resonance within the thematic framework of the project, as articulated by Eckhart Tolly. Coming of age during a period characterized by rapid urbanization and a restrictive political environment in China, the artist's enduring aspiration has been to seek an avenue of "escape" and cultivate a utopian realm within their psyche.
Employing Taoist principles and harnessing the methodologies of meditation and walking meditation as guiding forces, the artist employs photography as the principal medium for delving into their inner reservoir of memories and yearnings. Through this creative process, they endeavor to construct a serene and childlike utopia, emblematic of their long-held dreams.
In the broader context of contemporary Chinese society, this artistic endeavor assumes a role of countering the forces of control and constraint exerted upon its denizens. It is the artist's intention that this project, in its entirety, serves as a wellspring of resilience and inspiration, enabling the audience to liberate themselves from the grasp of powerful totalitarianism and embark on a journey of self-discovery and comprehension.
For the artist, this project signifies both a profound voyage towards inner healing and a process of dismantling and reconstructing his inner framework, seeking to bring forth a harmonious order from the depths of his soul."
Charles Chao Wang is a London & Shanghai-based photographer as well as an artist, graduated from the University of the Arts London. His work draws from his own experiences and memories, and is influenced by a variety of fields including sociology, philosophy and psychology, in which concerns about social inequality and abuse of power can be seen. He offers a powerful social commentary, as well as an opportunity for spiritual healing, enabling the viewer and the artist himself to reflect on and respond to societal challenges.
Embodying the essence of Zen philosophy, Charles's work blends elements of nature with social issues by capturing the serenity and harmony found in nature through his lens. This fusion not only resembles Zen meditation in form, but also presents a profound dialogue in thought, emphasising the close connection between man and nature.
AWARDS:
2022 Canon Diversity Challenge finalist
2023 tokyo international photo awards Gold Winner
Click
2023 fine art photography awards third place winner
2024 European Photography Awards Gold Winner
2024 Medusa Photography Awards finalist
2024 TenMoir Open Theme Art Competition finalist
2024 International Photography Awards finalist
2024 Analogsparks Awards Gold winner
PUBLISHED:
Visual Art Journal #12
Al-Tiba9 #17
Divide Magazine #13
Charles Chao Wang/Away Way 2
Charles Chao Wang/Away Way 3
Charles Chao Wang/Away Way 4
Charles Chao Wang/Away Way 5
Lee Dong-Seon/The Scenery Inside Me (1)
BEST SERIES
BEST SERIES
LEE DONG-SEON
'Landscape in Me'
'These doll-like objects do not convey a single narrative or message. Rather, they constitute a field of pictorial/photographic sensibility that directly shocks the audience. Just as ‘Gilles Deleuze’ sought in ‘Bacon’s’ work, I also tried to compose images of how the senses collide and shake without stopping or reconstituting the senses in this work. Images are alive in the traces of the senses, the density of the senses, the suspension of the senses, and the state. My work ultimately centers around the question of how to visualize ‘what is sensed’ rather than ‘what is seen’. ‘Dolls’ are my one response to that question and a specific device that practices the logic of the senses.I used a 4"×5" Linhoff film camera.
Starting with the 2010 solo exhibition (Reminiscence) <Seoul> at the Now Gallery in Insa-dong, I held my last exhibition at the Incheon Art Platform B-dong Exhibition Hall <Incheon> at the 2024 Incheon Bank New Collections Planning Exhibition."
'Landscape in Me'
'These doll-like objects do not convey a single narrative or message. Rather, they constitute a field of pictorial/photographic sensibility that directly shocks the audience. Just as ‘Gilles Deleuze’ sought in ‘Bacon’s’ work, I also tried to compose images of how the senses collide and shake without stopping or reconstituting the senses in this work. Images are alive in the traces of the senses, the density of the senses, the suspension of the senses, and the state. My work ultimately centers around the question of how to visualize ‘what is sensed’ rather than ‘what is seen’. ‘Dolls’ are my one response to that question and a specific device that practices the logic of the senses.I used a 4"×5" Linhoff film camera.
Starting with the 2010 solo exhibition (Reminiscence) <Seoul> at the Now Gallery in Insa-dong, I held my last exhibition at the Incheon Art Platform B-dong Exhibition Hall <Incheon> at the 2024 Incheon Bank New Collections Planning Exhibition."
Lee Dong-Seon /The Scenery Inside Me (2)
Lee Dong-Seon/The Scenery Inside Me (3)
Lee Dong-Seon/The Scenery Inside Me (4)
Lee Dong-Seon/The Scenery inside Me (6)
Lee Dong-Seon/The Scenery Inside Me (6)
Ellen Jantzen/A Cloak of Haze
ELLEN JANTZEN:
'Life Out of Balance'
"I feel that "Life Out of Balance" is a perfect description of our current state of affairs, both environmental and political. Humanity has grown apart from nature and I strive to show that with my photo montages. I hope to provoke my viewers to raise questions and come to their own conclusions.
The Hopi word for "life out of balance" is Koyaanisqatsi. This was a film directed by Godfrey Reggio and released in late 2004 (created between 1975 and 1982). I was immediately enthralled by the imagery and music (by Phillip Glass)."
IMAGES FOR SALE:
A Cloak of Haze - 24 x 36 $1,650 (available in smaller sizes)
Ambiguity - 24 x 36 $1,650 (available in smaller sizes)
California Unbalanced - 24 x 36 $1,650 (available in smaller sizes)
Fluctuate - 24 x 36 $1,650 (available in smaller sizes)
Mirage - 24 x 36 $1,650 (available in smaller sizes)
Sandia Equipoise - 24 x 36 $1,650 (available in smaller sizes)
'Life Out of Balance'
"I feel that "Life Out of Balance" is a perfect description of our current state of affairs, both environmental and political. Humanity has grown apart from nature and I strive to show that with my photo montages. I hope to provoke my viewers to raise questions and come to their own conclusions.
The Hopi word for "life out of balance" is Koyaanisqatsi. This was a film directed by Godfrey Reggio and released in late 2004 (created between 1975 and 1982). I was immediately enthralled by the imagery and music (by Phillip Glass)."
IMAGES FOR SALE:
A Cloak of Haze - 24 x 36 $1,650 (available in smaller sizes)
Ambiguity - 24 x 36 $1,650 (available in smaller sizes)
California Unbalanced - 24 x 36 $1,650 (available in smaller sizes)
Fluctuate - 24 x 36 $1,650 (available in smaller sizes)
Mirage - 24 x 36 $1,650 (available in smaller sizes)
Sandia Equipoise - 24 x 36 $1,650 (available in smaller sizes)
Ellen Jantzen/Ambiguity
Ellen Jantzen/California Unbalanced
Ellen Jantzen/Fluctuate
Ellen Jantzen/Mirage
Erica Kelly Martin/Bright Future
ERICA KELLY MARTIN:
"I’m Fine, Everything’s Fine assembles the artifacts of our ever faster unraveling—ritual objects for an apocalypse on many fronts. Fast food and pink relief for heart burn and nausea. Tarot cards and shipping labels. Each still life is part obituary, part altar, documenting the strange comforts and consumer detritus we clutch as the news cycles spin, the planet burns, and the current occupant spins unhinged yarns. The compositions walk the line between sincerity and satire. What if this is the new normal? The tableaux are both a self-portrait of daily life, and more generally of a country in chaos, as well as a quiet scream into the void of late stage capitalism. The world keeps glitching—climate collapse, indictments, an algorithmic spiral—and we keep lighting scented candles and hitting "add to cart." Perhaps this is what the end looks like: not a fireball or a reckoning, but a pile of Amazon boxes, half a bottle of tequila, and a Magic 8 Ball, which is as good an oracle as any. That and a cat quietly judging us all."
Erica Kelly Martin is a photographer and visual artist based in Los Angeles. Her work examines the artifacts and absurdities of American life through meticulously staged still lifes, human inflected landscapes, and portraits that straddle the sacred and the profane. A former environmental activist turned fine artist, she brings a documentary eye to surreal domestic rituals—fusing humor, dread, and beauty in equal measure. Her work has been exhibited nationally and internationally, including at MIA Fair in Milan and Photo London, as well as galleries in Paris, and across the United States.
Her various series explore misplaced faith: in objects, in institutions, in the stories we tell ourselves, in the idea that meaning can be arranged on a shelf. Whether unpacking the emotional residue of consumer culture (I’m Fine, Everything’s Fine), exploring the American psyche on road trips through the West (West of Truth), or reimagining women from myth and scripture through a feminist lens (A Bee in the Rose), Martin’s work probes the shaky scaffolding of belief systems—personal, political, and patriarchal. Also, she is a partner , a metalsmith, and the mother of two, with two children, two dogs, two cats, and a lot of boxes.
IMAGES FOR SALE:
Bright Future - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Deliverance - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Empty Nest - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Happy Deal - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Ounce of Prevention - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Small World - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Contact:
labokeh@gmail.com
"I’m Fine, Everything’s Fine assembles the artifacts of our ever faster unraveling—ritual objects for an apocalypse on many fronts. Fast food and pink relief for heart burn and nausea. Tarot cards and shipping labels. Each still life is part obituary, part altar, documenting the strange comforts and consumer detritus we clutch as the news cycles spin, the planet burns, and the current occupant spins unhinged yarns. The compositions walk the line between sincerity and satire. What if this is the new normal? The tableaux are both a self-portrait of daily life, and more generally of a country in chaos, as well as a quiet scream into the void of late stage capitalism. The world keeps glitching—climate collapse, indictments, an algorithmic spiral—and we keep lighting scented candles and hitting "add to cart." Perhaps this is what the end looks like: not a fireball or a reckoning, but a pile of Amazon boxes, half a bottle of tequila, and a Magic 8 Ball, which is as good an oracle as any. That and a cat quietly judging us all."
Erica Kelly Martin is a photographer and visual artist based in Los Angeles. Her work examines the artifacts and absurdities of American life through meticulously staged still lifes, human inflected landscapes, and portraits that straddle the sacred and the profane. A former environmental activist turned fine artist, she brings a documentary eye to surreal domestic rituals—fusing humor, dread, and beauty in equal measure. Her work has been exhibited nationally and internationally, including at MIA Fair in Milan and Photo London, as well as galleries in Paris, and across the United States.
Her various series explore misplaced faith: in objects, in institutions, in the stories we tell ourselves, in the idea that meaning can be arranged on a shelf. Whether unpacking the emotional residue of consumer culture (I’m Fine, Everything’s Fine), exploring the American psyche on road trips through the West (West of Truth), or reimagining women from myth and scripture through a feminist lens (A Bee in the Rose), Martin’s work probes the shaky scaffolding of belief systems—personal, political, and patriarchal. Also, she is a partner , a metalsmith, and the mother of two, with two children, two dogs, two cats, and a lot of boxes.
IMAGES FOR SALE:
Bright Future - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Deliverance - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Empty Nest - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Happy Deal - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Ounce of Prevention - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Small World - 13"H x 19" W
Archival pigment print (Viveza inks) on Hahnemuhle paper
$750 unframed
Limited edition of 15
Signed on back
Contact:
labokeh@gmail.com
Erica Kelly Martin/Deliverance
Erica Kelly Martin/Empty Nest
Erica Kelly Martin/Happy Deal
Erica Kelly Martin/Ounce of Prevention
Jennifer Fox Armour/Aground
JENNIFER FOX ARMOUR:
"I have been working on this series, but this lyric: “Eye of a hurricane, listen to yourself churn…” speaks to how I am feeling.
The Creep of Uncertainty.
The United States is morphing into a place I only somewhat recognize. The dizzying pace of the country’s dismantling has left me feeling angry, uncomfortable, afraid, and, most of all, unmoored. I am not sure what to do.
This series, made in 2025 during a train trip across parts of eastern Canada, uses motion-induced distortion as a metaphor for political disruption, societal transformation, and personal loss of footing.
Canada—often seen as the U.S.’s closest counterpart—provided a setting that was familiar yet not mine. But what I’m exploring isn’t about a place; the disorientation is internal. Depending on lighting, setting, and speed, the blur reshapes each scene—alarming or lulling, tangled or flowing, ominous or serene. Often, all at once. The dreamlike images mirror the conflicted feelings I have about my homeland.
As I traveled, the scenery shifted and the pace changed. Yet at every junction, the train’s horn sounded its warning. When the gate lowers, you are left on one side of the track or the other. There is no halfway.
This work is not a conclusion. It is an inquiry—an invitation to sit with uncertainty and consider how movement, whether across geographic borders, through political activism, or within one’s own perspective, might lead to clarity or at least create momentum."
Relationships and rhythm. Humor and humanity. Empathy and engagement. Jennifer Fox Armour is a visual storyteller, with a strong interest in mass media’s impact on society.
Raised during a time when parenting philosophy tended to be more hands-off than helicopter, Jennifer spent a lot of time alone as a child. Navigating a gritty inner-city neighborhood with one of the highest crime rates in the country was unnerving, so having keen observation skills and being street savvy was a necessity. These traits became innate and are the foundation of Jennifer’s practice, which often includes street photography. As human beings grow more divided, Jennifer’s search for unification becomes more urgent. Her photographs are invitations to connect.
In addition to appearing in print, Jennifer’s photographs have been featured in group exhibitions in galleries, museums, and online. She holds a bachelor’s degree in journalism from the University of Georgia and lives in Los Angeles.
Fun Fact:
Jennifer was a DJ at WUOG in Athens, GA in the mid-late 1980s and I had Peter Buck and Mike Mills on as guest DJs on my radio show, “Sound of the City.” And (this makes two fun facts and you didn’t ask for one, so I apologize): I own a t-shirt with the lyrics to “End of the World” printed on the front.
"I have been working on this series, but this lyric: “Eye of a hurricane, listen to yourself churn…” speaks to how I am feeling.
The Creep of Uncertainty.
The United States is morphing into a place I only somewhat recognize. The dizzying pace of the country’s dismantling has left me feeling angry, uncomfortable, afraid, and, most of all, unmoored. I am not sure what to do.
This series, made in 2025 during a train trip across parts of eastern Canada, uses motion-induced distortion as a metaphor for political disruption, societal transformation, and personal loss of footing.
Canada—often seen as the U.S.’s closest counterpart—provided a setting that was familiar yet not mine. But what I’m exploring isn’t about a place; the disorientation is internal. Depending on lighting, setting, and speed, the blur reshapes each scene—alarming or lulling, tangled or flowing, ominous or serene. Often, all at once. The dreamlike images mirror the conflicted feelings I have about my homeland.
As I traveled, the scenery shifted and the pace changed. Yet at every junction, the train’s horn sounded its warning. When the gate lowers, you are left on one side of the track or the other. There is no halfway.
This work is not a conclusion. It is an inquiry—an invitation to sit with uncertainty and consider how movement, whether across geographic borders, through political activism, or within one’s own perspective, might lead to clarity or at least create momentum."
Relationships and rhythm. Humor and humanity. Empathy and engagement. Jennifer Fox Armour is a visual storyteller, with a strong interest in mass media’s impact on society.
Raised during a time when parenting philosophy tended to be more hands-off than helicopter, Jennifer spent a lot of time alone as a child. Navigating a gritty inner-city neighborhood with one of the highest crime rates in the country was unnerving, so having keen observation skills and being street savvy was a necessity. These traits became innate and are the foundation of Jennifer’s practice, which often includes street photography. As human beings grow more divided, Jennifer’s search for unification becomes more urgent. Her photographs are invitations to connect.
In addition to appearing in print, Jennifer’s photographs have been featured in group exhibitions in galleries, museums, and online. She holds a bachelor’s degree in journalism from the University of Georgia and lives in Los Angeles.
Fun Fact:
Jennifer was a DJ at WUOG in Athens, GA in the mid-late 1980s and I had Peter Buck and Mike Mills on as guest DJs on my radio show, “Sound of the City.” And (this makes two fun facts and you didn’t ask for one, so I apologize): I own a t-shirt with the lyrics to “End of the World” printed on the front.
Jennifer Fox Armour/Beyond the Swamp
Jennifer Fox Armour/Blinds Drawn
Jennifer Fox Armour/Choose A Side
Jennifer Fox Armour/Fading Fast
Jennifer Fox Armour/Grass is Greener
www.JenniferFoxArmour.com
www.instagram.com/jen_eration_x
__________________________
EXHIBITION #2:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-2/1
www.instagram.com/jen_eration_x
__________________________
EXHIBITION #2:
https://laphotocurator.com/it-s-the-end-of-the-world-as-we-know-it-andi-campognone-shana-nys-dambrot/exhibition-2/1
