Art: How it Benefits Everyone

Written by Aleksandra Kaliszuk

Art is good for you! Yes, you read that right. The process of creating or experiencing art, whether it be a painting, music, writing, you name it, has positive benefits on one’s psychological well being! Engaging in a creative activity will result in ample health benefits.

Distraction From Everyday Life

Art is a great way to get distracted from that crazy daily routine. We are all constantly bombarded with information and notifications. Taking a moment (or two) to slow down and create something is a great way to unwind and get distracted from all those responsibilities and tasks you've been thinking about all day.

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Stress Relief

Its no secret as to why art and creativity are used as a form of therapy. Research has shown that the right kind of art can affect a hospital patients’ well being by stimulating their brain, taking their mind off their worries and decreasing their stress levels! Art is a form of meditation, and is used to nonverbally express emotions. So yes, go buy yourself that adult colouring book you were eyeing!

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Sense of Accomplishment

Creating something, anything, will trigger an individual’s sense of accomplishment. Feeling accomplished, could result in an increase in self esteem and happiness. Be proud of what you create!

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Problem Solving

By creating art, you challenge your imagination and ability to continue working on a project, making mistakes and facing potential obstacles. This can promote personal growth and problem solving skills which can be reflected in various situations in your life.

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Critical Thinking

Creating and experiencing art can help develop critical thinking skills that can be applied in all areas of one’s life. A recent study at the Crystal Bridges Museum of American Art in Northwest Arkansas found that students that were taken to the museum improved their ability to think critically! Other benefits of visiting the museum included historical empathy and a sparked interest in art museums.

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There is evidently a relationship between creativity, individual development and healing. So create something beautiful or visit a gallery… Art is for everyone!

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An Interview with Kim Puil, the Artist Behind Inner Landscapes, Arisings from the Space of Being

Written By Simran Birk

This month's exhibition at Twist Gallery, Inner Landscapes, Arisings from the Space of Being, features the extraordinary work of Kim Puil. Half way into the show, Kim’s work has met many positive reviews. Each piece is a big, bold and colorful collage that has its own backstory. We sat down with Kim to gain some perspective on how she was able to create such magnificent pieces.

I understand that you started off as a dancer, was art something you’ve always been interested in? or did you find it as another medium that you could express yourself?

 I have always been interested in art and cannot imagine a world without it. I had the privilege of being a young artist in a very exciting time in the art world. The 70’s were bristling with artists breaking boundaries and rules- and the independent art scene was thriving. The dance form that I trained in was technically very hard to do requiring discipline and commitment yet it was full of emotion, intensity and included the shadow side of the psyche. I have been drawing and creating alongside my dance since the beginning.

I understand Bon-Buddhism and yoga are important influences to this exhibition. Could you elaborate on this? Could you describe what Bon Buddhism is?

The dancer and yoga have always walked hand-in-hand so from a very young age I have practiced yoga and continue to do so. They are very complimentary to one another- i.e. movement and stillness etc. As a seeker in life, meditation was the next natural step and I even paused from my life to enter an ashram for a number of months to deepen my experience.

For me, meditation is not about “exiting” the reality of one’s life here on this planet, but it is to understand and work with the realities on all levels, of what it is to be a human. This includes all parts of us whether they are labelled “good” or “bad”, “pleasant” or “unpleasant”. I feel blessed that I was fortunate in my life to have an art form whose purpose of expression and content was to transmit these realities to the audience.

Buddhism has always peaked my curiosity because the teachings are about how to navigate the waters of this life. There is acknowledgement that suffering does exist but at the same time the idea is that we are responsible for and can mitigate how we cope with and react to the challenges that we come across.

Bon buddhism has its roots in the ancient shamans of Tibet and its culminates in the advanced meditative practices of Dzogchen- “The Great Perfection”. The Bon practices encompass the “whole” - our external world as seen in nature and the universe, and the internal world of our mind, emotions and thoughts.

I enrolled in a self-transformational program in the United States called The 3 Doors Academy that was started by my Bon teacher Tenzin Wangyal Rinpoche . Over a period of 2 1/2 years one had to practice various meditation techniques, do group and personal retreats and reflect on challenges, resistance or blockages (a.k.a.”pain”) in three areas of our life: personal self, family and work/community. This culminated in 63 written “transformations” where over a period of time by working with formal and informal mediation practices we “dissolved” or experienced a “shift” in the nature of our “pain”.

Kim Puil and In the Midist of It All

Could you also explain the processes behind these collages? They’ve must have taken hours and hours of work! Could you elaborate on the type of mediums you used?

The first step in my process is meditation practice either with or without a purposeful intention. My subject is my experience of “how things are living in me” at a particular moment in time and my working relationship with the meditation practices in any given moment. It’s funny that my work space is very, very tiny and yet the collages are big! I am choreographing in a new way - and at times I am moving my body all over the place as I cut and try to reproduce the kinesthetic sense of what it is that I have felt. I like to use handmade papers from around the world, discarded and found objects as well as the recycled cardboard that is the “canvas.” It takes usually 3-4 weeks to lay down the layers of paper and objects. The job I hate the most is the gluing as I do not usually glue as I go along. I have to make sure that I am well-centered and not tired as this is an arduous process that requires concentration and great patience - a practice of its own!

Inner Landscapes, Arisings from the space of being. Why this title?

“Inner Landscapes” refers to me, the traveler, and my reactions and feelings travelling through the different terrains of my life. “Arisings From The Space Of Being” alludes to what they refer to in Dzogchen as the base of all or on the elemental level - the element of space where everything in existence arises from and dissolves back into. These collages are my arisings- past, present and future and an expression of what it is to be alive.

Finally, what is your favorite piece in this work? Why?

I don't have a favourite piece. I know all of them very intimately as they are all “me” and are a visual, kinetic experience from a very real moment of time in my life. My connection to them is much like that of 2 lovers…we shared, we loved, we travelled the heart and corners of ourselves and now it is time to part, to continue the journey of exploration and share the love with others.

With many great reviews, Inner Landscapes, Arisings from the Space of Being is not to be missed. Come on down to Twist Gallery before June 30th, to see the work before it is gone!

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THINGS TO CONSIDER WHEN PUTTING ON A GALLERY EXHIBITION

Who knew so much went into planning an exhibition when making the artwork was hard enough in itself? Unfortunately putting on exhibition is more than simply printing photographs and framing them onto the wall but never fear, we have complied a small list of things for you to consider before displaying your lovely work!

1.     THE LIGHTING

It is important to consider the type of the lighting your work will be placed under. If you have fairly warm tones in your photograph and it is placed under tungsten or natural lighting, this could create an overall warm tone to your photograph that you may not want. It is key to view the space beforehand and colour balance your work to fit the lighting accordingly or bring in additional lighting as needed. Windows will also affect lighting and mixing different colour temperatures can cause an odd colour balance. Remember, the photographs will appear darker and less vibrant once printed than on your computer screen so it is always good to make multiple test prints!

2.     HOW TO DISPLAY IT

There is more than one way to exhibit your work than simply hanging it on a wall. You can use magnets to create a seamless and borderless look or use frames for a geometric structure but be sure to consider the reflection on top of the glass! The artwork could be tethered to wire and suspended from the ceiling or at the top of a wall to appear as if floating.  Depending on what surface you choose to print or paint onto such as a fabric, it can then be folded and draped across a wall. Light boxes are also a unique and innovative way to display photographs that further illuminate and intensify the details of the images.

3.     TYPES OF SURFACES

Depending on the type of surface your work is printed or painted on, the texture could create an unwanted appearance. Glossy paper is going to be highly reflective once a light is shone on it, however it makes coloured images look more vibrant and lively. Matte paper can appear quite flat and cause photographs to loose depth. It is always good to print on multiple surfaces and bring them into the gallery space to see how the look under the lighting. You could also print on: metal, wood, fabrics or glass; the possibilities are endless.

4.     SEQUENCING

If you’ve created a body of work that all flows and connects with one another, consider how they will be placed and sequenced on the wall. You can place the images chronologically as if to tell a story or if the images do not necessary belong together, they can be grouped by colour or content. Sequencing is important to keep in the back of your mind when arranging the images. Try to think as a viewer walking into the gallery and where their eyes will travel first and carry through onto the next image. How do you want the work to be observed? Be sure to leave space between each piece to allow it to be observed solely on its own or keep them together if you wish to create a different affect.

We hope these tips and tricks have given you some things to consider when planning your next exhibition! You can always draw inspiration from other galleries to see how they display their work or call on other artists for assistance and opinions. Best of luck!

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4 Tips for Tapping Into Your Creativity

Written by Leah Concepcion-Vanderbyl. 

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It’s 11 PM and your deadline’s tomorrow morning. You’ve had a whole month to get your act together and create something, but that “lightbulb moment” just never came and now you’re left staring at a blank canvas/document/page. Pencil in hand, you pray for inspiration to strike, but to your dismay, nothing comes out. 

We’ve all been there: a creative rut. Whether you’ve been feeling blocked for a week, month, or year, most artists can relate to the dreaded sensation of drawing a creative blank. Luckily, there are also countless ways to stimulate your imagination and, to learn a few, we asked the experts: young artists. Specifically, the students from the Claude Watson arts program at Earl Haig. 

This month at Twist, we’re proud to be showcasing the work of these incredibly talented art students. Featuring work from grades nine through twelve, the exhibition is not only a celebration of the dedication and talent they’ve demonstrated over the past school year, but also a testament to the remarkable level of creativity coming from these young creative minds. Figuring that we could stand to learn a thing or two from them, we spoke to a few of the participating artists during their opening night about how they tap into their creative selves and got some truly sound advice. 

TIP #1: INPUT BEFORE OUTPUT

One of the most popular tips we received was to prepare for any project by looking outside of yourself for inspiration; in other words, input before output. 

“I feel like a growing trend right now is honestly just going on Instagram and following artists—it’s really helpful,” said grade 12 student Vera Wang. For her piece—an ode to her favourite pen brand, Muji—she looked to the heritage and urban landscapes of Japan for inspiration and created a pen drawing that depicts five different locations where Mujis are found. 

Sofie Kreidstein, also in grade 12, agreed: “I go on a sort of art binge — I don’t do that much planning ahead of time, so when I start it’s mostly just these ideas and then problem solving using other ideas, and building on top of them from there. The key is to set aside a certain amount of time in the beginning to get your materials together.” 

TIP #2: JUST DO IT (PRODUCE, PRODUCE, PRODUCE) 

When it comes to stimulating your creativity, a common theme among the practices of the Claude Watson students seems to be just that: practice. Levana Katz, a grade 12 student at Earl Haig, recommends just putting pen to paper as a start. 

“I get blocked a lot, and I can’t always produce,” she said, “so I just try to do observational sketches and then from there—from the forms that I draw and that I like—I’ll keep developing off of that.

“I feel like the most important thing is to actually produce art,” added Ruby Zheng. “As long as you put something on paper or produce something, you will continue to improve and get some results.” 

TIP #3: BE SUBJECTIVE

After speaking with Brennan Lu about his conceptual piece, featuring a series of pen lines that illustrate the depletion of his own pen’s ink over time, it became apparent just how important it is to trust in your own subjectivity while starting any creative work.

“I was given only a blue pen to use for this project, so I decided to do a more conceptual work and focus on the pen itself and the ideas that it brought to my mind,” said Brennan. “The main idea that it brought up for me was manufacturing, because blue pens are so common in office jobs. Creating the piece was just drawing a lot of lines… a lot of lines. It was supposed to mirror that monotonous, manufacturing process.”

His advice? Though it’s helpful to try and think objectively in the revision period, one of the best ways to find inspiration for a project is to consider your own unique point of view.

“I think it’s best to look towards what you personally associate with in any sort of project,” Lu said. “I try to look for what I personally feel attached to. Sometimes people think that they want to give a big idea and they want to force their way into working with a particular concept, but when you try to focus on what you see in a certain project, it makes your art a bit more authentic.” 

TIP #4: LIGHTEN UP

Their fourth tip for getting out of a creative rut is perhaps the simplest, yet also the easiest to forget: try to lighten up! If you’re under too much pressure, you’ll never be able to produce anything, whereas it’s easy to be imaginative when taking a more playful approach. Kreidstein described her creative process as a sort of give and take between her imagination and her materials. 

“We were given the guidelines of having to do a painting on cardboard, so we took the visual data that was already on the surface and found ways to incorporate that in the piece,” she explained. “I saw that my cardboard piece had all these ‘fragile’ stickers on it, so I decided to depict fragile objects in motion, as if they’re falling.” The result is a playful comment on the fragility of these objects which could, in theory, have been protected by the cardboard box they were painted onto. 

Her best advice for tapping into your creative self?

“Take the time to listen to music and view art, and just enjoy yourself, so that it’s not necessarily a chore. It shouldn’t be a chore!” 

While any artist will tell you that they’ve gone through creative low periods, it’s helpful to remember that these moments will pass. Speaking with the students from Claude Watson, it became clear that when you unburden yourself from expectations and trust in your ability to produce, new ideas and creative impulses will always come… eventually. And, of course, getting inspired by their brilliant works here at Twist could be a great way to get started.  

“Following [us on Instagram] at @c.w.art is also super helpful!” Wang added with a laugh.

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Thank you to all the Claude Watson art students who were interviewed and contributed to this month’s exhibition at Twist. To view their work, stop by Twist Gallery at 1100 Queen Street West before March 28th. 

Joseph Connolly

October 1st, 2016 marked a day in history for 94-year-old Joseph Connolly. It was on this day that an effervescent smile brushed his face while watching twenty-eight of his large-scaled paintings being installed before his eyes. It is now, several years later, that Connolly is reunited with a few of his beloved paintings, which were concealed in a Montréal storage. That Montréal storage was a time capsule of over a hundred pieces of Connolly’s artwork. A selection of his paintings are now being featured for the first time ever and Toronto’s Twist Art Gallery is playing host.

Before paintbrushes and stretched out canvas, Connolly was formally trained as a businessman; the owner of a women’s clothing company. By the time he was 50, he had sold the successful company to explore the road untraveled.

Connolly swapped his commerce way of thinking for an abstract way of looking at the world. He originally wanted to dip his toes in the arts by participating is a class or two to learn the various painting techniques. After being informed that he wasn’t allowed to take one class, and that he had to be a registered student, he took the plunge and enrolled at Concordia University, in Montréal, Québec. It was during the 1970’s that Concordia University embraced the young-at-heart artist and reconnected Connolly with an artistic passion that would consume him in his Montréal studio for 35 years.

Connolly’s current solo exhibition reflects the influences of his generation. His artwork varies from bold geometric abstraction to passionate brush strokes that paint the flower beds that resemble the fervor techniques of French Impressionist painter, Claude Monet.

It is now - because now is a better time than any – that the wisdom passed on from businessman and artist is being told with the support of his family. Connolly embodies the true meaning of art, what it means, and why we value it. At 94, Connolly is living proof that a person’s creative ambition is the patient warrior guiding us to our triumphant accomplishments.

Joseph Connolly. Photo Taken by Amie Lovan 

Joseph Connolly and his family. Photo taken by Amie Lovan 

 Joseph Connolly’s solo exhibition is being held at Twist Gallery, located at 1100 Queen St. West, Toronto. It is open to the public from Tuesday – Saturday: 11am – 6pm, October 1st to October 29th, 2016. 

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KINO SPACE: Artist Feature

Kino Space is currently on at Twist for the month of September. The show consists of several artists who work in the film industry with a diverse background in photography, painting and mixed media works. KINOSPACE began as a way for artists working in the film industry to get out of their working studio environments and create and collaborate together.  

This week we’d like to take a closer look at Shari Lee Hollis’s work and her process behind it. Shari creates large scale oil paintings on wood. Her work is inspired by personal notes to self, and things we need to remind ourselves of. A particular standout piece of hers in the show is three wood panels titled 'Let Go or Be Dragged'. Shari says this piece evolved from the idea of human nature’s pattern to often repeat a behaviour over and over hoping for a different outcome when what we really need to do is just let go for change or to move forward, saying that “sometimes we need a fix foot painting with a relevant message to push us forward!”

Shari was kind enough to share some images of work in progress.

Kino Space runs until September, so be sure to come by the gallery to see this and more in person.

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Peep The Technique: Gary Barnett

Gary Barnett is an abstract painter residing in Kitchener, ON. This month Gary's best works are being featuring in his solo exhibition, 'One Concept' here at Twist Gallery. We caught up with Gary at the opening reception for his show to learn about where he gets his inspiration and the techniques he uses in his work.

How have your past experiences in music and graphic design led you to pursue painting?

Well music, I got involved with music when I was very young actually. I started taking piano lessons when I was about ten years old. A little bit beyond that I got into new age music, which really is a more natural, organic type of music, so I think that got me interested in other forms of art, which led me into graphic design. I took graphic design in college and in that program I studied life drawing, which really inspired me to go more in the direction of fine art rather than graphic design.

Explain the philosophy or concept behind the artistic style in your paintings.

The concept for my paintings when I first started painting, I used to draw landscapes, flowers, trees, I think I was inspired by nature like most artists are. But I soon realized I was just copying nature and I wasn’t really happy with the results I was getting, so I wanted to experiment with trying to re-create nature. I guess it comes from the concept that all nature, all life in the universe is just chemistry and energy, we’re basically just a mass of energy floating through time and space, that was kind of the initial concept behind my art. Then I started using paint, mixing it with different chemicals, applying forces to the paint rather than controlling the paint with a brush or a knife or other traditional tools. I started blowing the paint, using gravity to control the paint, vibration, and mixing different chemicals with the paint to see what kind of results I could get. Basically the idea is that I wanted to create a natural event on the canvas, actually re-create life on the canvas, or as close as I could get to that.

You have a unique method of painting that combines paint and natural forces. Can you explain this technique?

The technique is again based on the fact that all life is chemistry, and through experimenting with different chemicals , mixing different types of paint together, I use different forces to control the paint. I have a table that I work on that’s about eight feet long and about four feet wide with a glass top. So what I do is I lay a canvas on the table, soak it so it’s really flat, and then I start pouring the paint on the canvas and start using forced air to blow the paint, add different chemicals with the paint, I mix different types of paint together. One thing I’ve discovered is that at a molecular level, acrylic paint and different types of paint are very similar to organic life. So when you mix them together and apply energy to them you can get very interesting, natural results that appear, fine details and things that happen in nature that you see in plants or frost on a window for example, and you can get that by manipulating the different types of paints.

What do you want people to feel when they see your work?

I guess I want them to feel the same way that they would feel looking at a sunset or looking at an ocean or just looking at nature. I think a lot of paintings, they create the mood or they depict that scene but you don’t really feel that energy or feel that connection with nature and that’s what I’m trying to depict with my paintings, to re-create that emotion that you feel when you look at nature.

What sets your work apart from other abstract painters?

What would set me apart is the fact that all of my paintings are all based on this one central concept of energy, nature and life, and in effect trying to re-create nature on the canvas, and I think a lot of painters, they create a concept, each painting has its own message or it own concept, whereas for me all of my style of paintings relates to one central concept, which I think makes me different than most painters.

Where/how can people learn more about you and get in touch?

The best way to get in touch with me is through my website at www.garybarnett.ca. There’s links to all my social media on there and also my e-mail.

Gary's exhibit, 'One Concept' is open to the public until December 12th, check our Exhibitions section or go to www.garybarnett.ca for more info on the exhibit and Gary's work.

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Planning Your Event at Twist

Whether it is a wedding, corporate event, seminar or any kind of celebration, it is our passion to deliver to our clients a personalized and unforgettable experience here at Twist Gallery. Over the past 6 years we have hosted countless events ranging from wedding receptions, to yoga seminars, to corporate conferences to virtual reality film festivals and we have had a blast doing it. In working with our event partners we have the ability to give our clients an acting role in planning their event down to the smallest detail, and this is what keeps our clients coming back.

Through working with some of Toronto’s most notable catering organizations we are able to make the food at your event a major hit with your guests. With top-notch presentation, quality control and creativity our caterers can impress even the most skeptical foodies. Whether your event calls for a 5-course meal, or simply snacks and appetizers, our caterers have proven over the years that food will be a major hit with your guests.

Consider our 5,000 square foot venue as a blank canvas that can be fully customized and transformed into your ideal event space. With fully customizable furniture, bar, food, lighting and sound options you can make your dream event a reality. Call us today to get started on planning your next big event with Twist Gallery.

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KINO SPACE

Kino, the word for cinema in several languages, has become synonymous with a cinematic movement that encourages non-competitive creativity and community amongst filmmakers internationally. KINOSPACE is committed to spotlighting Canada’s screen-based artists by showcasing works from a diversity of backgrounds, provinces, mediums and formats including: film imagery as photographic stills; short films; painting; photography; and mixed-media works.

                                                                                                                      Works by Youri Makovski

KINOSPACE began as a way for artists working in Canada’s film industry, unionized and independent filmmakers, craftspeople and technicians to get out of the studios and collaborate together. Launching this exhibition during the month of September enriches the film festival spirit in the city by broadening and opening doors for artists to participate and engage in Toronto’s major celebration of cinema while exhibiting a broad spectrum of image art talent from Canada’s community of film makers.

                                                                                                    Works by Annie Bradford Metheany

The exhibit features work by Chagall Velleneuve-Hollis, Shari Lee Hollis, Youri Makovski, Jack Ruttan, Jeremy Kane, Frances Mckenzie, Annie Bradford Metheany, Debbie Wong and Jasmine Mujkanovic. Each artist brings a unique artistic style to the table and showcases their creative abilities aside from those they demonstrate in Canada’s film industry. Twist Gallery invites you to experience the pieces on display in KINOSPACE that cumulatively resonate a deeply genuine and organic portrayal of each artist’s talents apart from the film industry. 

                                                                                                                      Works by Shari Lee Hollis

                                                                                                                        Works by Debbie Wong

                                                                                                              Works by Jasmine Mujkanovic

                                                                                              Works by Jeremy Kane and Jack Ruttan

                                                                                                                  Works by Frances Mckenzie

                                                                                                       Work by Chagall Velleneuve-Hollis

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Output - Spring at Twist Gallery

This month at Twist Gallery we are proud to be featuring photographic work by alumni of Humber College’s renowned Creative Photography Program. The diversity of approaches to photography is quite broad and each artist has done a stunning job of putting their own twist on the conventions of photography.

 In the spirit of the annual CONTACT photography festival that spans across Toronto for the month of May, we have focused this month’s exhibit on photography. It is an interesting time in the world of photography as the tools needed to experiment with photography are now readily available to almost everyone. Almost all mobile devices these days now have built-in cameras to utilize, many more people have their own camera, and quality has become evermore affordable. Social media has also opened the door for the masses to photography, with apps like Instagram that allow anyone to have a chance to develop their own photographic style.

Last month’s exhibition “Reverie” featured the portfolios of photographic work by students graduating from Humber’s Creative Photography Program this year. If you checked it out you would have seen the works of talented emerging photographers. It is interesting to see where the artists in this month’s exhibit are at in their photographic journey knowing they too were once curating their own portfolios for graduation. We invite you to experience the work that these alumni have produced in their artistic journey since their graduation from Humber’s Creative Photography Program.

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Weddings and Other Events at Twist

Over the years we have hosted so many beautiful weddings and created memories that will last a lifetime for all of our guests. Whether you are looking for a space to hold your wedding ceremony, corporate or social event, Twist Gallery is happy to meet all of your event needs. From catering, to sound equipment, to furniture and floral design, our guests have been able to plan with us and our partners to create the perfect atmosphere for their special day and/or event. Give us a call or send us an e-mail with any inquiries you may have regarding hosting your event at Twist Gallery and we will work together to make your desired event a reality. 

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Still Life Opening Reception

This month at Twist Gallery we are hosting the Still Life Group Exhibit, featuring a group of talented Canadian artists who have each put their own dynamic touch on the Still Life art form. Similar to real life, Still Life isn't always a bowl of oranges. As beautiful as a simple bowl of oranges can be, the artists featured in the exhibit have each brought something new to the timeless art form of Still Life. Come check out the Still Life Group Exhibit until February 27th, Tuesday to Saturday 11am - 6pm.

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Abstraction: An Exploration into the Unknown

When one thinks of abstract art generally what comes to mind is a broad art style for which no rules apply. When an artist embarks on an abstract project it does grant them a great deal of artistic freedom however some rules do apply. Colour, line, shape and form must all be present and there must be very little indication of a visual reference to real-world objects.

Abstract art came about in the early 19th century when artists were gaining more artistic freedom and the ability to make a living out of their art due to the public’s growing interest in art and the diminishing need for artists to depend on the church for business. This caused artists to leave behind the artistic ideals that lingered since the renaissance in which art’s main goal seemed to be to imitate as closely as possible real life settings and to represent three-dimensional perspectives. Rather, artists began incorporating styles derived from Romanticism, Expressionism and Impressionism and began an exploration into the unknown.

This month we invite you to experience how a handful of talented Canadian artists have continued that exploration into abstraction through a variety of mediums in A Departure from Reality: The Abstract Collective.

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