Ἑ᾿ ὀᾼ᾽ᾒ᾽ ὀ᾽᾽᾽ ὀ᾽᾽, Ὄᾱ᾽᾽ᾯ᾽, ὄᾱᾺ᾽᾽ � covers, Ἐ᾽ᾶ᾽᾽
ndan shmiofm
ndan ved wives
Misd
ndan
ndan
ndan
ic
ndan
ndan
ndan
ab Jam
ndan
Ahm...
Tur nergoodit,
... crispy or Ter-brestly,
... it can be very much a human skin
... if you admire it quite strongly,
... then it gives a good name for You.
Si a longer period
You can always discover that it's not too powerful
to be more poetic than talking about
a small part,
soft one.
Or more importantly,
o famaera ʽasha ʽa ʲ���
Sporta çe nifiable
It is of a emotional point that the dinamica represents almost, say, the fourth four of my life
It is a technology that has gave me a lot thenร e
q nma
q dhy certified
n stable
ka ka koas
sh웋 d сделать lav 보고 a complet naisa
APPLAUSE
nd gender
nd quenogir
ndo mou dhe
it may pop trabajar.
So, we will be extremely positive
when when we...
we...
when we enter the protoss
we pass thEP
Like there is биKa
Les 찾
I'll let you down
귓 me よう
្្្្ ្្្ ្្្ ្្ ្្្
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nda empezar wo x Fansos collaboratively
dall' espoooo ke elders
nda vis render
nda bi en uneven
Babol myth
ndaăn subd
nda nas
ndana
nda bez
nda
qe qe sumplifikÎo
twina normalmen
disenha, mesthe forma
po' discutim la forma
qi on penlingsipis o longer
le하지 p'r Twenty不
y
llon
noun zelsad jel eaves bak ch
qiko parbar dotor
t amazed
bon
jel un
no
bo
inn
ап
N'est Alone
«Old credit o usun modfunmose ees volumes o uit teze ud z伊kę...
…sumisle rin zina gai tuan dak ique pin menevi'.
«Tти juqy ees dul y留 ttene veo menev p fuego jha e الم газ.,
…m donmi bo, menev wi cuts mena – Eush
اللہ nur 요� n statutory at le Quality rein.
B all is personal,
but if you didn't have thatesting,
that implication,
it's like some kind of...
romantic kind
for which you always work in a group.
All is fine with those of us.
It's down slope.
The unknown pieces.
Lead.
Blue.
That freeze must be locked.
and here you can put the hay.
Close to earth and it should.
ṣanthi...
ṣa, ṣa...
ṣa.
ṣa.
ṣa.
ṣa.
ṣa.
ṣa.
ṣa.
ṣa.
ṣa.
it is a bar États
you have to build it
you have plenty of apartment
we arepent extension
it is
it is the assembly of lot of units
l'unitat d'en molts fragments units.
Practicament n'enkexan, n'abuskan,
n-enkexan, n-enkexanu táp-nik.
Casu n-enek
santu' djuchata' e kuca wa studi djuchata'
© © © © © ©
© © © ©
© © © © © © ©
side of the ndo, as it has a color effected.
它s ndo, ndi, ndi, ndi ndi, ndi, ndi, ndi...
ndi, ndi, ndi...
ndi, ndi...
ndi, ndi, ndi...
ndi, ndi...
ndi, ndi...
ndi, ndi...
A mi, persoonalmen, al relaxa fè fórmular,
quán intrafeina, quán acagou na feina en konmenso naltre,
o, per exemple, ansan carregan alguna coson concret d'un color concret.
Bon, uska portem tans anys, aixon, ansanan molt bé.
Pogè fórmular ansan nosaltres fero,
i no tenen ca problemat.
Acafem is unha miques, allo qe uvis abans,
qe u fotografiad d'aquells colors,
qi avien sobre la taula, qi avien aquella tatera del color turquesa,
o i avien aqelles proves de colors.
Acafem is dixidim, dixidim un,
als colors ka, om els kem de traballar.
Acafem is quen fem els colors i qiremen de la mia.
Dintre d'un color ansan mo dhi,
qi amb una gama extensa de tons.
Wa sto.
Wa kam koma lakoh母 mahtas.
ț integrating co-wax frame
ț
arergir evajam ek jor damping m'akabata ek
dally sy lifestyle
uster
ous
ous
ous
nins
meni wg moge tularya dinti fulge,
n point hoar?
No, sina no alun kristaо lifestyle
phariis co han t bilgik,
vent farema to maen dippa imes
at...
We have done many things, and at the design level we have done many things from textiles,
and the compositions of conceptual art.
We have worked very hard with conceptual art,
we have started with conceptual art.
We don't have time, but we have to work with hours.
We don't, of course, live, look at the camera, perfect, look at the camera,
I don't know what, we have fun, very good, but we have won this,
we have won this, we have made taters, we have done, I don't know what,
for many years we didn't do ceramics in the art world.
We didn't enter the world.
We moved more in the world of conceptual art,
of the poor art, of the stories of these,
that ideologically we were more popes in this.
And we, what we did was design,
for boutiques to look at, between pieces, to understand design,
and what we did was such pieces, piece of work.
Piece from fabrics, pieces from continuity boxes,
lightis, all type of pieces.
But we loved how they were,
how can we sell them...
I would say, the most important boutiques,
Pilegarnd...
Munfun, fec, dina.
We did buqegres in France, Italy
... la Caendingin, ga Citizen theatre
na, nín, nín, nín, nín, nín.
So, nín, nín, nín, nín, nín, nín.
I do not know how to say it, but...
What does it mean, you have not interpreted it?
Because the word design is designed.
Well, well.
Everything is designed.
Everything is designed.
But I would prefer that it is like this, right?
What is it?
What is it?
Don't shoot, don't shoot, don't shoot.
We want it.
Now I understand the fact that it is like this.
Now, now.
Now.
Now, now.
Now, now.
Is that you can, Jordi?
Yes, go up.
He stuck this吉 boom out of the tree.
Yes, you got that.
This one, too.
ƒʒʛBook
—??
— fifth?
—?
—?
—?
—?
feminism
сть  Vicίναι
nd primaibn goin
letzte  nd primaibn
nd primaibn
nd primaibn
y tuha mę zimaak
nd nd abbioch
til da me zimaak
nd mant drandun
nd tuha mę zimaak
nd nd drandun
nd oboq
d'espresu enfeshem aki.
Si no seria moll
moll repensant tot.
No tindria aqesta fresco.
Aqesta fresco ka té, no?
La feina ares enfesharla.
I aixon tallem una per una,
la polim,
la cuem,
la llabarans las esmaltem,
al prosesa aqet, las esmaltem,
llabarans las
se spina atien.
Aqet, aqet é 😈
ka sgut
ven magnesium
proses serp fein
eu antan e
no
We didn't know, we didn't know, we didn't find...
Maybe because of that...
Maybe because we didn't live here,
and here in the winter there was a lot of noise,
and it was very affected by the noise,
so we were very happy, maybe we liked it.
I don't know, but really,
it has been what we don't...
We also write,
when the children have written notes,
and this one,
I don't have to write anything,
so it has been what we don't...
Maybe there is a lot here,
I don't know,
I think that the word inspiration
is also a...
It is a bit like what we talked about before,
it is also a bit...
I think with the work,
but above all with the reflection.
If there is an inspiration,
if there is a moment when you say
I want to do this,
and you see clear things,
and the things that you have to do,
you get another work,
which is a sequel of this,
or that you have moments in your life.
And you reflect on this,
on your environment,
on nature,
on many things,
and we have been doing this for many years,
or for many years,
we have been doing pieces,
that were characters,
up to a certain point,
in a comic language,
but they were about the aggressiveness
of the world we live in.
About the animal-person relationship,
and vegetal,
and we have been working on a thing
that we have been doing for many years,
that were the interrelations,
and we still do it,
that is interrelations,
that we live in a nature,
and we are part of this nature,
like animals, like plants,
and we have been doing this for many years.
We can get more ideas
than we can do,
because the idea is,
it is an instant,
and it is,
but what we have to do
is materialising the idea,
and that is what is complicated.
We have moments,
We have moments, we have many ideas, I don't know what to do, we have to write them down.
We have carpets and carpets and so on, we draw them, we draw a lot.
And then we draw what we want.
And then you go back to read, you go back to meditate, you go back to...
Or no, or it has already happened.
A bernas, tapo mosquitos.
We are going through a year that we are doing only one work,
which is composed of many, of many, they are like paintings,
with which there are many pieces.
The will is that the work is complete,
that we travel to the maximum, which is a bit of a small space,
when you see the one that is not far away, you don't see it.
And when you see it on the side, you don't notice it.
It is this whole connection and this continuity, one side or the other.
As if you are a river.
We are already done, but we are a bit tired mentally.
I am living at this moment, which is very intense, very obsessive, very tough,
but very pleasant too, and very unique.
Because we don't know much about it, we don't know that it will bring us all this.
We started to do something similar, not like this, or origins,
which was the concept of the fousco.
And then there were small plafonds,
we took 80 per 80 or something like that.
There were four that were put on top of each other,
which were all black with light spots.
And we were a bit, here it began,
the concentration of matter,
the concentration of black space,
and here the birth of life,
a bit following the argument of Genesis,
but with a contemporary reading of Genesis.
But they were different, they were not these forms,
they were different forms.
And we saw that this was interesting to us,
we saw that we wanted to continue working,
and then we simplified this type of form.
A bit more poetic.
A bit more poetic and fitting.
First of all, we understood how we painted,
and made a solid brush.
This, in the background, would be a solid extraction,
a brush.
And then we have this texture of skin or skin,
that we do not know,
I guess we will call it skin,
but it is also very similar to a skin that has been made.
It is the same, a synonym.
We live in the middle of nature,
and sometimes we think about nature.
Of course, because...
Or an author, for example,
there is an author who made us,
at a given moment, a long time ago,
but he made us change a bit
the concept of incorporating the textures of nature
in our life,
which is the Joseph Pepenone, for example.
This concept of nature, of skin,
is more the...
Of course, this,
with elements of nature,
the sea, the fire, the void, the night.
It is all nature,
it is a reflection of nature.
In the background,
it is this thing that we have
very much in our life,
the water, the elements.
It is very important where we live,
because when we came to live here,
precisely, it was what gave us this place,
to live in a place inhabited,
in a middle-city, in a big town,
we came here in the middle of nature,
and we noticed a brutal change with us.
But there is...
Nature has touched us a bit.
With these extractions, for example,
there are paintings,
for example, of...
There is one in concrete,
which is the Pinchellas de Blat,
that many people say,
this seems a field of Blat
when you move very well.
Yes, of course.
Because we look at the window,
you are here on my shoulder.
I pretty much like this,
that this is not seen on camera,
that the movie is not seen on time.
That is placed as a pawn,
ʃlʒʜlʔ ʒʜlʔʜʒa ʐɕʒʒ qɑm ʔlʒʒəʔ ʒɪm ʒɪm ʒɪm ʒɪm ʒʒʒʒʒjʒʒʔ ʒʒʒʒʒ ʒɪm ʒɪm ʒɪm ʒɪm ʒɪm ʒɪm ʒʒʒʒʒʒ ʒʒʒʒʒʒʒʒʒʒ ʒɪm ʒɪm ʒʒʒʒʒʒʒʒʒʒʒ ʒʒʒʒʒʒʒʒ
din.
ɒḝᵒᵉᶁᵉᶉᵉᵉ ᶜᵒᵒᵉᵉᶁᵉᶉᶁ ɒᶂᵉᵉᵉ ᶀᶁᵉᵉᶗᵉᵉᶁʷᶁᵉᶁ ᵗᵒᵉᵉᶉᵉᶁ ᵗʷᵉᵉᶁᶁ ᶁᶁᵉᶁᶁᵉ ᶜᵉᶁ ᶁᵉᶅᵉᵉᶁ ᵗᶁᵉᶁᵉᶁᵉ ᶜᵉᵉᶁˈ�
Yu we amps mthe,
agon chabашu jibidze.
Na chabashu jibidze
Mamase o pork chab delegates
jibidyze jibidyze
It becomes th기 ones that say they need it we can sit for at a hanganda only and,
they notify themselves that they need that
to know about this matter.
I always saw this place.
I traveled back since鍾 Gras companions
because they had a deal with my dorm magnasses.
Their entire lives
were built above my books.
If from the test we would be well positive,
We always live in the present moment when we create and when we project.
We are living in that moment, we don't know where we are going to live.
What we are doing we don't know where we are going to live.
Neither who will live, nor who will understand,
who won't like it, who will criticize it, it's the same.
I like that people like it.
I like that there are people who like it.
There are times when there are people who say
I'm wrong or this person can't be.
I don't know, but I think I do it for us.
I do it because I need to do it.
I don't think, I'm not thinking about it.
Ȓẅẅẅ
Ȓẅẅẅḵ ȓẅẁẄ
ẃẄȎẄ
გლვლლ჉ Ⴤლლეეე აგლელლ ვვვეეო ვვეგ
ძივოეენიებეედფდეე
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