The release of Iron marks the sixth anniversary of Yann Novak relaunching Dragon’s Eye Recordings, the record label originally created by his father Paul Novak in 1989. In previous years, this anniversary compilation has been a chance to look forward to the coming year of artists and releases. With Iron, we will be looking backward at the previous 6 years.

For Iron, artists featured on Dragon’s Eye were asked to contribute either a solo piece or a collaboration with another Dragon’s Eye artist. The results came together as a massive free download compilation, consisting of 24 artists, on 20 tracks and over 2 1/2 hours of sound. The compilation came together as a perfect mix of the styles and voices featured on Dragon’s Eye over the last 6 years. – Yann

1. Luigi Turra – Aura
2. Robert Crouch – A Broken Field I
3. Jamie Drouin – Trümmerfrau (improvisation 1)
4. Yann Novak – A Broken Field II
5. Pierre Gerard – Borderline Elements
6. Ælab – Moving Alignment
7. Moize – A Broken Field III
8. i8u – Apophis
9. Will Long – Transporting Away From Tomorrow
10. Lucia H Chung – A Broken Field IV
11. Mem1 – Embla
12. Stephen Vitiello + Simon Whetham – Prayers Return
13. Steve Peters – Solar Ring (Chamber Music 7)
14. Will Long + Corey Fuller + Tomoyoshi Date – Walk
15. Robert Crouch + Marc Manning – Charismatic Manifestation
16. Sublamp – Possible Steps
17. Ian Hawgood (feat. Warren Forrest Kroll + Sara Martin) – Grace Lines
18. Clinker + Blake Carrington – Dust Flights, Mirror Softly and Moan
19. Mise_en_Scene – Midrone
20. Shinkei – An Empirical Demonstration Of The Alchymical Properties Of Metals

Download

www.dragonseyerecordings.com

In February 2010, Simon Whetham was invited to perform at Audio Art in Krakow by Marek Choloniewsky, for which he proposed visiting the city for three or four days prior to the performance in order to record the sounds of the place, to compose a site specific piece for the event.

Whetham stayed in the Kazimierz area of Krakow, the old Jewish area that during the Second World War became a ghetto through Nazi persecution. Walking the streets, he felt a certain sadness and longing that was almost tangible. The buildings, the very fabric of the city there, had to bear witness to the atrocities of that time. The walls still stand, unable to impart their testament to the horrors committed – the roads that bore tanks and trucks that took hordes of innocents to nearby Auschwitz unable to show us the despair of families torn apart…

The Jewish people of Krakow believed their God would save them, and yet they still suffered terribly at the hands of the Nazis. Their prayers, along with the sounds of pain and suffering, have long since died away, unheard. But perhaps the stone and metal of the city retains some echo, some imprint from that time… – Dragon’s Eye

Some Info:

Simon Whetham has been capturing and composing with field recordings since taking part in a research trip to Iceland in 2005.

Since then he has been gaining a steadily increasing profile: exhibiting in Iceland; recording in the Amazon Rainforest of Brazil; performing at a large number of festivals and events, both nationally and internationally; having work accepted for release by labels Trente Oiseaux, 1000fussler, Mystery Sea, Entr’acte, Install, Lens and Gruenrekorder; commissioned by Creative Labs to build a surround sound installation to demonstrate their equipment and software; commissioned by painter Kathryn Thomas to compose a surround soundtrack to accompany her ‘Lightyears’ series of exhibitions; producing radio works for Resonance FM, Overlap.org and Kunst Radio Austria; commissioned to install new work ‘disPLACE’ at The Big Chill festival 2010; and invited to participate in two residencies at the Art Container in Tallinn, Estonia, the second to compose new work, collaborate with other artists using sound and run deep listening, field recording and composition workshops.

This residency has resulted in ‘Active Crossover’, a touring exhibition and exchange project which has been hosted by the Arnolfini in Bristol and The Grey Area in Brighton, incorporating a large scale sound installation in two sonically treated chambers. The exhibition also features performances by Simon and a number of invited guest artists, such as John Grzinich, Iris Garrelfs, Jez riley French, Douglas Benford, Daniel Jones and Dylan Nyoukis, as well as presentations and workshops.

Available through Dragon’s Eye and soon to Experimedia

www.dragonseyerecordings.com
www.simonwhetham.co.uk

An Occupied Space is the debut full-length release by Los Angeles artist Robert Crouch. Each track takes as its point of departure a field recording of a public place where music is integral to the experience of these social constructs. Throughout the release, music is piped through loudspeakers across public plazas and boulevards, footsteps cross thresholds where reverberating guitars and vocals spill out into city. “I found it necessary to give myself a very strict set of parameters,” Crouch states, “in order to approach the idea of making music in the first place. I suppose it comes from my training as a visual artist.”

Furthering this analogy to a visual arts practice, An Occupied Space has perhaps more in common with the photographers from the Düsseldorf School, rather than the history of field recording or ambient music. Much like the photographers Andreas Gursky, Candida Höfer, and Thomas Ruff, and how they wrestle with both the psychology of their subject matter as well as the politics and constraints of their chosen medium, An Occupied Space can be considered to be a collection of landscape studies, with the artist fulfilling the roles of documentarian, composer, and observer simultaneously.

Structurally, the An Occupied Space operates within overlapping contexts; they exist as documents, as meditations on the psychology of place, and finally as self-reflexive “objects” that address the contingent nature of their own construction. They are as much about music as they are music. “I wanted to employ melody without necessarily being melodic, to explore texture without remaining static, and to respect the integrity of the original recordings while still allowing my hand as artist to remain evident.” – Dragons Eye

Available through Dragon’s Eye and soon to Experimedia

www.dragonseyerecordings.com
www.robertcrouch.com

For over 5 years, Dragon’s Eye Recordings has continued to introduce listeners to some of the most innovative and uncompromising emerging and mid-career artists in the field of contemporary electronic music and sound art. Named one of Textura’s ‘Top Ten Favorite Labels of 2009,’ and awarded label profiles by Tokafi and Headphone Commute in 2010, Dragon’s Eye is kicking off 2011 with another free downloadable compilation.

2010′s Flowers compilation was met with great enthusiasm and critique praise and with 2011′s Wood we will try and go above and beyond.

Wood is the traditional gift for a fifth anniversary and Wood is Dragon’s Eye Recordings fifth anniversary compilation. On Wood, Dragon’s Eye presents new and unreleased works by the upcoming 2011 roster of artists. The 2011 roster is made up of almost entirely newcomers to the label along with one veteran. This roster represents the artists that Dragon’s Eye considers to be at the forefront of contemporary electronic music and sound art. – Dragon’s Eye

1. Mimosa|Moize – Shared Moments
2. Simon Whetham – Music’s A Wood You Walk Through
3. Mem1 + Stephen Vitiello – Permila
4. Robert Crouch – A Body of Work
5. Chubby Wolf – Vocal Sounds Vibrate Air
6. Justin Varis – 1963
7. Blake Carrington – Scan N1: Not St. Elisabeth-Norwich

Download here

Blake Carrington (b. 1980) operates within the spheres of the sound, visual and media arts. His work in all of these forms is informed largely by cultural geography, landscape and architecture. The areas between these formalized spatial practices and the experiential qualities of sound and visual art practice are the main focus of his work.

In 2011 Carrington will be artist-in-residence at Lower Manhattan Cultural Council’s Swing Space on Governors Island, and has recently completed residencies at HIAP in Helsinki, Atlantic Center for the Arts in Florida, and Rustines Lab in Montreal, where he performed his piece Cathedral Scan at Elektra International Digital Arts Festival. In 2009 he received his MFA from Syracuse University and was recipient of the Dorothea Ilgen Shaffer Fellowship. There, he co-founded the platform for outdoor projections called Urban Video Project, and in 2010 curated a series for UVP featuring Trevor Paglen, Jill Magid, Thomson & Craighead and Miranda Lichtenstein.

In addition to his work in sound and video, he also creates hi-res digital prints from custom Max/MSP/Jitter patches. His print series Loci_, exploring the questionable translation of field recordings to abstract landscape imagery, is in The Drawing Center’s Viewing Program in New York. Blake was born in Indiana and currently lives and works in Brooklyn.

Chubby Wolf is Danielle Baquet-Long, who also performed as half of the husband and wife duo, Celer, was an educator, poet, writer of prose, non-fiction, and social commentary, a painter, photographer, and an inventive musical multi-instrumentalist and vocalist.

As a permanent member of Celer through marriage, she has created many self-releases, many unique and hand crafted, as well as works for labels in Japan, North America, and Europe. She had extensive background in Gender Studies, Education, Photography, and Tibetan Studies, as well as having lived and studied in India, Sri Lanka, and Nepal. She passed away on July 8, 2009 of heart failure. She will always be missed, and loved by her husband, cat, and two wolf dogs. Her unpublished music, writing, and photography will continue to be published, and is managed lovingly by her husband Will.

Mem1 seamlessly blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia’s use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure).

Founded in Los Angeles in 2003, Mem1 has traveled extensively, performing at Issue Project Room, Roulette, REDCAT / Disney Hall, Los Angeles Contemporary Exhibitions, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). They have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their collaborative works with media artists Kadet Kuhne and Liora Belford have been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelenik, Frank Bretschneider, and Stephen Vitiello. Age of Insects, a full-length album with Vitiello, will be released in Fall 2011 by Dragon’s Eye Recordings. Together, Mem1 curates the experimental music series Ctrl+Alt+Repeat and the record label Estuary Ltd.,  on which they will be releasing their fourth full-length album, Tetra in December 2010.

mimosa|moize is sound artists Lucia H. Chung (Taiwan, b.1979) and Martin J. Thompson (UK, b.1978). Their work consists of creating concept-led minimal and ambient electronic music, utilizing resonant qualities found in sound, space and objects. They work with an attention to that of the experience found in the perception and reception of sound, and how this relates to the person and a given context. Mostly they work with sounds consisting of a more narrow frequency range, thus allowing other sounds heard outside the music the space to move into and out of the fore. This interest is fundamental in influencing their preference of sounds and is subsequently contributing to the continuing development of their style.

mimosa|moize have worked with Murmur Records in Japan, Duckbay Records in USA and Dragon’s Eye Recordings in USA.

Justin Varis (b.Cincinnati, OH 1979) is an American musician/composer living in Los Angeles. Drawing on the rich history of musique concrète while most recently exploring minimal single instrument composition, his music is one of contrast and contradiction. Abstract tendencies conjoin with basic intimate melodies. Disruptive sequencing is utilized alongside loops and repeating patterns. Meticulous audio editing creates calculated timing while improvised passages lend expressive mistakes. Ultimately working towards merging his audio with like-minded video and film artists, he is determined to create a body of work that explores the non-linear narrative while achieving accessibility to the greatest number of listeners.

After being featured on a number of stateside and international compilations, in 2006 he released his first EP with Frozen Elephants Music, a non-profit internet project/concert series based in Berlin. Later that year his debut LP was released on Audiobulb Records, located in Sheffield. In 2008, his work was featured along side noted artists such as Taylor Deupree, Dot Tape Dot, Biosphere, John Kannenberg, RF w/ Midori Hirano, Aaron Ximm, Build, Leafcutter John, and Nomand Palace. The project, Audiobulb Records first installation of their “Favourite Places” series, was described by WHITELINE as “encompassing all that is great in compositional field recording” and by Earlabs as “an excellent addition to Audiobulb’s discography demonstrating not only the label’s diversity and commitment to excellence, but also showcasing the talents of several exceptional musicians and sound artists from around the world.”

In addition to continuously developing/performing live sets, he is at present working on a number of collaborative projects set for release in the near future.

Stephen Vitiello is an electronic musician and media artist. His sound installations have been presented internationally including the 2002 Whitney Biennial, the 2006 Biennial of Sydney (with Julie Mehretu), the Marfa Sessions (with Steve Roden) and on the High Line in NYC. CD releases include Bright and Dusty Things (New Albion), Listening to Donald Judd (Sub Rosa), Four Color Sound (Texas Gallery), Box Music (with Machinefabriek) (12k), The Gorilla Variations (with Molly Berg) (12k), Stephen Vitiello – Soundtracks DVD (SMTG) and The Sound of Red Earth (Kaldor Public Art Projects). Originally from NY, Stephen is now based in Richmond, VA where he is on the faculty of Kinetic Imaging at Virginia Commonwealth University.

Simon Whetham has been capturing and composing with field recordings since taking part in a research trip to Iceland in 2005.

Since then he has been gaining a steadily increasing profile: exhibiting in Iceland; recording in the Amazon Rainforest of Brazil; performing at a large number of festivals and events, both nationally and internationally; having work accepted for release by labels Trente Oiseaux, 1000fussler, Mystery Sea, Entr’acte, Install, Lens and Gruenrekorder; commissioned by Creative Labs to build a surround sound installation to demonstrate their equipment and software; commissioned by painter Kathryn Thomas to compose a surround soundtrack to accompany her ‘Lightyears’ series of exhibitions; producing radio works for Resonance FM, Overlap.org and Kunst Radio Austria; commissioned to install new work ‘disPLACE’ at The Big Chill festival 2010; and invited to participate in two residencies at the Art Container in Tallinn, Estonia, the second to compose new work, collaborate with other artists using sound and run deep listening, field recording and composition workshops.

This residency has resulted in ‘Active Crossover’, a touring exhibition and exchange project which has been hosted by the Arnolfini in Bristol and The Grey Area in Brighton, incorporating a large scale sound installation in two sonically treated chambers. The exhibition also features performances by Simon and a number of invited guest artists, such as John Grzinich, Iris Garrelfs, Jez riley French, Douglas Benford, Daniel Jones and Dylan Nyoukis, as well as presentations and workshops.

Robert Crouch is an artist, curator, and electronic musician based in Los Angeles, CA. He has exhibited work in San Francisco, Los Angeles, New York, and London, and released music on Untitled & After and Loøq recordings.

He is also co-founder VOLUME, an ongoing curatorial project concentrating on the nexus of sound, music, and visual art.

www.dragonseyerecordings.com

Earlier this year I had the pleasure of reviewing a reissue of Celer’s ‘Engaged Touches’ on Home Normal – that album was, for me, something of a revelation as I had never before heard their work and was astonished by its sheer elegant beauty…

I was, then, thrilled to have before me a new album to review – ‘Dying Star’ on Dragon’s Eye Recordings.

From the outset, it’s clear that ‘Dying Star’ is an entirely different approach to ambient music than that found on ‘Engaged Touches’. The sonic palette is reduced to the most minimal of elements – a single vintage synthesiser and mixing board (so the accompanying notes tell me). Gone too is the epic musicality of ‘Engaged Touches’- which was reminiscent of Stars of the Lid’s best work- and in its place are washes of vague and almost illusory ambience – undefined and restless, creating a forever morphing, ebbing and fading field of sound.

Owing to the structural and sonic similarity of the tracks, ‘Dying Star’ creates the impression of being a single piece of music rather than an album composed of individual tracks. The album flows, one piece into the next with indistinguishable beginnings and endings, feeling like an intentional aural modelling of the imperceptible liminal boundary of night and day alluded to
in the album’s title. The results are, needless to say, mesmerising and haunting.

The apparent simplicity of the music should not be confused with a poverty of ideas, nor should it be assumed that such sparse arrangements betray a lack of musical nous. Celer have proved, over their extensive discography, that they have a rich and certain grasp of the conceptual terrain of ambient music and have explored every inch of it. ‘Dying Star’ should be taken as
but one exploratory emission from within their oeuvre rather than a definitive statement of intent.

To my mind the album isn’t as strong as some of their other output, but I feel that, somehow, “strength” isn’t what is intended to be conveyed here. The hazy ganzfeld-like experimentation delivered through the album’s eight tracks is to be consumed almost incidentally as a subtle augmentation of naturally occurring waking dreams. This is true ambient music – to be enjoyed as an integrated part of the surroundings rather than attended to with focussed intent – and in this context, you couldn’t ask for a better example of the art.

- Review by John McCaffrey for Fluid Radio

Available soon from Dragon’s Eye Recordings

www.dragonseyerecordings.com
www.artificialcolors.blogspot.com
www.myspace.com/celersite

For all fans (and I am sure there are many) of the hugely successful Dragon’s Eye Recordings label and the impressive sound art installations created by the label’s front man Yann Novak will be intrigued to know of the upcoming events this August hosted by the exceptional SoundFjord outfit…

Stillness Exhibition

Stillness.Subtropical
August 4 – 28, 2010
Stillness.Oceanic
September 1 – 25, 2010

Opening Reception
August 3, 2010 7-9PM

SoundFjord are delighted to present the work of Yann Novak, who will inaugurate the exhibition programme with his delicately observed and absorbing, autobiographical work. Stillness, is a two-part immersive sound installation with integral visual elements…

Complimentary to the exhibition will be a talk and question and answers session with the artist. We are also happy to announce that Yann will be available for conversation at the private view.

Stillness takes its inspiration from the two climates Yann Novak has inhabited: Subtropical in Los Angeles and Oceanic in Seattle. In these works he investigates these climates’ almost static meteorological states and their emotional effect on their inhabitants.

Stillness takes form as two sound and video works presented as a large scale projection and 4.1 surround sound creating an immersive experience, each changing so slowly the effect is imperceptible to the audience, thus creating a nearly static state.

To create the sound piece, Novak made recordings of shortwave radio signal tuned to static in each location. Because radio waves are affected by both water vapour in the troposphere and ionisation in the upper atmosphere due to the sun, each recording, though similar, contains an unique signature from the atmosphere the waves travelled through. Similarly, the video elements are made up of numerous photographs, taken always pointed at the horizon, over a span of months in the case of Subtropical and years in Oceanic. These photographs capture a more literal portrait of these climates. All these elements are then digitally altered to create an ambiguous abstraction, leaving enough of the source to guide the experience and define the location, but abstract enough to create an immersive environment perfect for contemplation and personal reflection.

SoundFjord
Sonic Art Gallery and Research Unit
Unit 3B – Studio 28
28 Lawrence Road
London
N15 4ER
UK

More Info:
www.soundfjord.org.uk

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Immersound Performances

SoundFjord.Dynamic presents immersound
August 6, 2010
7PM doors | 8PM start – 2am
£5 adv | £7 door

SoundFjord.Dynamic – the live component of SoundFjord | London, is about to stage its first show, immersound, an evening of momentous sonic environments, absorbing, contemplative sound sculpture and sublime immersive sound art. Contribute to sonic art history: be there!

Performers:

Robert Curgenven
i8u
Yann Novak
Ian Hawgood
FOURM
mimosa|moize

The Others
6-8 Manor Road
London
N16 5SA
UK

Tickets:
www.wegottickets.com/event/85321

More Info:
www.theothers.uk.com
www.soundfjord.org.uk

www.yannnovak.com
www.dragonseyerecordings.com

Blau marks the first collaboration between Tomas Phillips and Jason Bivins…

A marriage of guitar improvisation and through-composition, its immediate reference point beyond lowercase sound art is the work of painter Barnett Newman. His solid color canvases, broken by vertical lines of various shades, reveal an aesthetic preoccupation with minimalist imagery aligned with a reverence for the philosophy of Spinoza. An equally pleasurable matrimony. – Dragon’s Eye

Original digital artwork Blue With Lines, (after Barnett Newman) by FOURM (BGN)

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Jason Bivins is from Washington, D.C. After playing in “rock” bands throughout high school and at Oberlin College (usually some amalgam of post-punk, metal, and prog), he went to graduate school at Indiana University, where he became active in free improvisation beginning in 1993. After playing in large ensembles, power trios, electroacoustic duos, and in solo performance, he formed the Jason Bivins Trio and, in 1999, Unstable Ensemble (which continues to exist and has recorded four albums).

After moving to North Carolina in 2000 (where he teaches Religious Studies at North Carolina State University), Bivins began a long-standing association with percussionist Ian Davis, with whom he performs in a duo, in large ensembles (the defunct Micro-East Collective and the eNtet, units which performed with musicians like Dennis Gonzalez, Frank Gratkowski, and Chris Cutler, among others), and in the long-standing groups UE and the Impermanence Trio (with Richmond-based reeds player Jimmy Ghaphery). He has recently collaborated on a project with pianist Nobu Stowe, reedist Ross Bonadonna, and sound artist Lee Pembleton.

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Tomas Phillips (b. 1969) is a composer, novelist, and teacher whose sound work focuses on improvisational performance and minimalist through-composition. He began composing electronic music in the early 1990s, releasing limited edition cd-rs, most notably under the moniker Eto Ami (with Dean King), and has since created music for installations and collaborations in dance and theatre. Labels to release his music include Trente Oiseaux, Line, Non Visual Objects, and Koyuki. Tomas has taught in the disciplines of literature and fine arts at various universities in the US, Québec, and Finland. Having completed an interdisciplinary PhD at Concordia University in Montréal, he currently lives in the US, where he teaches literature at North Carolina State University.

Purchase from Dragon’s Eye Recordings here
Purchase from Experimedia here

www.dragonseyerecordings.com
www.myspace.com/tomasphillips

It doesn’t get much better than discovering new material from Celer, and so it was with great excitement mixed with sad emotions that I came across a new project forthcoming on Dragons Eye Recordings…

Dying Star was recorded in the fall of 2008, using only a vintage analog synthesizer and mixing board. It was completely improvised, with no overdubs or post-processing. The intention was to produce a completely improvised work while remaining completely pure and secluded, the resulting recording stands as a fading presentation of memory, time, and loss, set against the ending day.

Pouring Me Into The Rest Of You

Presented at a low volume, the ideal and intended procedure for listening is with headphones, with the volume set specifically at 80%. Through intimacy, tenderness, and isolation, the resulting imaginings are stately presented, yet consistently withering away; and throughout the duration, energy pushes forward, strains, explodes, but eventually crumbles. – Dragon’s Eye Recordings

‘We are nothing but a view of the world.’
- Maurice Merleau-Ponty

1. The Brightness Of Faraway Life
2. Pouring Me Into The Rest Of You
3. How I Imagine My Hand Holds Yours
4. On The Edges Of Each Season
5. The Feeling Of Trancing Through A Silent Expanse
6. I Could Almost Disperse
7. Distant Explosions
8. Flickers (Goodnight)

Format: CD
Edition: 500
Release: September 2010

Full review will be coming in the next few weeks.

www.dragonseyerecordings.com
www.myspace.com/celersite

Live at Unit 3.03 is a sequence of sound sketches that were spectrally deconstructed and reconstructed live, with intentions of engaging the listener with the space.

Each sound used was mono allowing any stereo effect of movement perceived to be those created from the influence of the space itself.

The nature of performing at Unit 3.03 is generally one of a more domestic gathering than that of a public event. This shared domestic-come-temporary-social situation creates an interesting interaction with the sounds to be heard coming from within and beyond this personal and intimate space. Interestingly, this situation also directs ours attention inwardly to the sounds that we carry with us and outwardly to the ones that people carry with them.

This recording was taken during our very first live performance held at Unit 3.03, where we shared tea, coffee and cake, met old friends and new ones, and shared old stories and made new memories.

Recorded on the afternoon of March 20th, 2010, at Unit 3.03, London, UK.

Thanks to Dead Wood and Jonny Hill who also performed that day and to everyone who visited our home on that memorable afternoon.

Also, special thank you to Kimvi Nguyen for providing the artwork, a gift on that day.- Yann

Download here

www.dragonseyerecordings.com

Nightfall was created at the Jentel Artist Residency outside Banner, WY in February 2010. Based upon a simple field recording of the start of a snowfall at dusk…

The composition explores the shifting point between day and night in the dry and overcast winter month. The original recording begins with the dry, empty silence of the landscape, slowly enveloped by the piling of snow upon the microphone’s windscreen.

Each copy of Nightfall is accompanied by a unique watercolor based on the cover photograph of the landscape taken at dusk through the studio window.

Thanks: Robert Crouch, The Jentel Artis Residency & all my fellow Residents. – Yann

19:20
3″ CD-R
Edition of 40 signed + numbered with unique watercolor
2010

Purchase here

www.yannnovak.com

Excerpt: