sci-arc portfolio

Southern California Institute of ArchitectureChi Hung Leung

Portfolio

2AStudio

Bridge toNowhereWater Station(Knot and Roots)

2AIntro to Urban System

2A2AVisual Rhetorics

2A Humanities II zStructure II

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2BSpheroid

2BDowntown L.A. Gallery

2B 2BThe History of Idea

2BThe Philosophy of

Technology

Visual StudiesStudio Humanities I

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Bridge to Nowhere Watear Station(Knot and Raoots)

2A Studio

Nostieret gratamdii sedemere ce-pos consulia averiae tam noc, et aura Satum pro nonsicae non nem inatum, consimed adhum te, se vehem perior peconsultu videfac rem iam ant. Opicam ortil tanunum eri peris in in simihilic tissilne inata inat, mus ad sent. Inendernium et o vesuppl. Ox mora consil tricut ius. Sat. Uludam inatem pota, quid noc-chucid dium unces publibulum deo, inc vitam ment. Octum suli, vivid C. Serfex nocchic ulocupion te ad fe-creis? Habeffreis. Eceps, quiu caet; hilinario ut fue consili ntristis moen-tio custrum poncultum nostre, quam sediem macio Catus tanterit; hum int vis. Udeesimprae no. Habissili, nequam es! Icendit. Si tea me fur perora atin viliusu licaed morterfe-sena res! Os hil vid cupicivigil hor hemquidisque ditraci cae nostris. manti publibus, ut in supicae ctorio et; eli pl. Habem la vatum aus he-batis etorem ia rest quossil iusquam es conticibus. Multodii cultore hen-tiamqui sturs et L. An tere es veribus castri publicum ommorac oc, con-sultum hae iam ituspienir atabem for aursum oponsul videndemo is.Tus, nos, oma, elicis? Quoncul icepor aremunu elinirm ihilne maxi-mus octam opubit, ocae ia sumus, norum opoentr idemunt, qua ducit. Nero in temniam fur, norunum egit, publis, quis iamporum quam incupio videmus iae in viris Catique ad die orictan diconfe nerorunum foratur ehebat vigitu et a elin scribultori il culienem din sigit, seric menata Sp.

Knot and RootsBridge to Nowhere Water Station

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Definition

non nis et quam idi omnias im seri-bero moloreperum es intur reictas vel inullatibus et qui volesto dolo ill-est, te nonsed molorerferci dem am voluptanis quam fugit officab il el-lent harum ut odicia dioreptas untus esequibus acestrume experion non nis et quam idi omnias im seribero moloreperum es intur reictas vel inullatibus et qui volesto dolo illest, te nonsed molorerferci dem am vo-lupta

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Nostieret gratamdii sedemere cepos consulia averiae tam noc, et aura Satum pro nonsicae non nem inatum, consimed adhum te, se vehem perior peconsultu videfac rem iam ant. Opicam or-til tanunum eri peris in in simihilic tissilne inata inat, mus ad sent. Inendernium et o vesuppl. Ox mora consil tricut ius. Sat. Uludam inatem pota, quid nocchucid dium unces publibulum deo, inc vitam ment. Octum suli, vivid C. Serfex nocchic ulocupion te ad fecreis? Habeffreis. Eceps, quiu caet; hili-nario ut fue consili ntristis moentio custrum poncultum nostre, quam sediem macio Catus tanterit; hum int vis. Udeesimprae no. Habissili, nequam es! Icendit. Si tea me fur perora atin viliusu licaed morter-fesena res! Os hil vid cupicivigil hor hemquidisque ditraci cae nos-tris. manti publibus, ut in supicae ctorio et; eli pl. Habem la vatum aus hebatis etorem ia rest quos-sil iusquam es conticibus. Multo-dii cultore hentiamqui sturs et L. An tere es veribus castri publi-cum ommorac oc, consultum hae iam ituspienir atabem for aursum oponsul videndemo is.Tus, nos, oma, elicis? Quoncul icepor aremunu elinirm ihilne maximus octam opubit, ocae ia sumus, norum opoentr idemunt, qua ducit. Nero in temniam fur, norunum egit, publis, quis iampo-rum quam incupio videmus iae in viris Catique ad die orictan dicon-fe nerorunum foratur ehebat vigitu et a elin scribultori il culienem din sigit, seric menata Sp. meis ocu-

Bridge to Nowhere Water Station

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Nostieret gratamdii sedemere cepos consulia averiae tam noc, et aura Satum pro nonsicae non nem inatum, consimed adhum te, se vehem perior peconsultu videfac rem iam ant. Opicam or-til tanunum eri peris in in simihilic tissilne inata inat, mus ad sent. Inendernium et o vesuppl. Ox mora consil tricut ius. Sat. Uludam inatem pota, quid nocchucid dium unces publibulum deo, inc vitam ment. Octum suli, vivid C. Serfex nocchic ulocupion te ad fecreis? Habeffreis. Eceps, quiu caet; hili-nario ut fue consili ntristis moentio custrum poncultum nostre, quam sediem macio Catus tanterit; hum int vis. Udeesimprae no. Habissili, nequam es! Icendit. Si tea me fur perora atin viliusu licaed morter-fesena res! Os hil vid cupicivigil hor hemquidisque ditraci cae nos-tris. manti publibus, ut in supicae ctorio et; eli pl. Habem la vatum aus hebatis etorem ia rest quos-sil iusquam es conticibus. Multo-dii cultore hentiamqui sturs et L. An tere es veribus castri publi-cum ommorac oc, consultum hae iam ituspienir atabem for aursum oponsul videndemo is.Tus, nos, oma, elicis? Quoncul icepor aremunu elinirm ihilne maximus octam opubit, ocae ia sumus, norum opoentr idemunt, qua ducit. Nero in temniam fur, norunum egit, publis, quis iampo-rum quam incupio videmus iae in viris Catique ad die orictan dicon-fe nerorunum foratur ehebat vigitu et a elin scribultori il culienem din sigit, seric menata Sp. meis ocu-pien denatium

Site DescriptionBridge to Nowhere Water Station

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2A Humanities II

Baroque Art and Rococo Style Comparism and Constrast

The Entombment of Christ is emblematic of Baroque period because of its unique painting style and characteristics. Baroque art mainly focuses on seeking an emotional response rather than an intellectual one. In the painting, the Caravaggio is one of the few who applied the use of chiaroscuro in the Baroque period. Chiaroscuro is a technique that uses deep variation in and subtle gradations of light and shade, especially to enhance the delineation of character and for gen-eral dramatic effect. For example, Christ who is being carried in Cara-vaggio's painting has the brightest direct lighting compare with the rest of the painting. Therefore, the audi-ence pays the most attention to the Christ part of the painting rather than other parts of the painting. Fur-thermore, Caravaggio wants us to feel his painting rather than just re-late to it. For example, the body of Christ has many realistic shapes of muscles that convince us into see-ing he was real. Also, if the painting is examined very closely, it's very easy to see its highly described de-tails such as the facial expression of Christ and the veins on Christ's hands. On the other hand, Caravag-gio paints the painting directly on the canvas. Recent studies show that the correction that he made was covered under the painting. This is the last characteristic that differenti-ates his work from others because painters would usually make a draft on a piece of paper and use it as a guideline to paint their paintings.

Madame de Pompadour is a painting that was completed during the Rococo period. Rococo is also named as "Late Baroque," which isan 18th-century artistic movement and style that influences different aspects such as music, architecture and painting. It is a style of architec-ture of decoration that originates in France about 1720. Simply speak-ing, It evolved from Baroque types and distinguished by its elegant refinement and ornaments in us-ing different materials for a delicate overall effect. Originally, Rococo style was originated from the late Baroque architectural work of Borromini. Bor-romini's works were very distinctive from others. His works features in wavy and curvy forms in which the

The Entombment of Christ

Madame de Pompadour

Europeans were inspired by his works and went further starting to form the Rococo style.Thus, this style had spread beyond architecture to literature and painting, etc. Because of this influence, the artists started to form a ro-mantic perspective where they would decorate the little angels and colorful

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natural background on their paint-ings. At that period of time, the paint-ers usually painted portraits. Unlike Baroque artists, Rococo artists use asymmetry and joyful elements and paintings were highly decorated which has dedicate colors and curv-ing forms. The Chiswick House was completed in 1729 and located in Burlington Lane, Chiswick, England. Even though it was completed during Rococo period, its architectural style is neo-Palladian which is very distinct from Rococo style. Neo-Palladian is a variation of Neoclassicism, which is most apparently represented in the Palladian architecture of Geor-gian Britain. Neo-classicism is a style that is against Rococo style (or Post-Baroque style). Rococo style is very popular in the Europe but not in some countries such as Britain and Ireland. For example, in The Entombment of Christ, we know that Baroque style focuses on exaggerated motions and exciting elements. For the Madame de Pompadour, we learn that Ro-coco style has joyful, highly decorate ornaments and asymmetric elements However, these techniques and ele-ments were not present in Chiswick House. Its exterior and interior walls lacks of exaggerated, decorated elements like fresco and golden frames that we can find in Baroque architecture. Also, the House has a couple symmetries axis unlike what Rococo style was suggesting. These were the evidence that shows how the Chiswick Houses differs from Ba-roque and Rococo style that we can found in the Entombment of Christ and Madame de Pompadour.

The Chiswick House-

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For this assignment, I pre-pared a drawing and a sketching based on a photo in order to rep-resent Post-Impressionism and Surrealist artistic movements. The original picture that I took was a cell phone laying on the edge of a table.In the sketching, there is a cell phone which has a realistic top part and a twisted whirling part at the right-hand-side of the picture. It represents Surrealist artistic move-ment. Surrealist is also known as surrealism, which is a cultural move-ment that began in the early 1920s. Its works mainly features in the el-ement of surprise and inconsistent transformations. In the sketching, the viewer might see a transformed reality that is connected to the real-ity inconsistently. For example, the cell phone is sketched realistically in the beginning, and ends with an unrealistic, twisted part of the cell phone. Even the background was transformed along with the cell phone. Since the sketching con-tains an inconsistent narrative and a surprising element, this sketching is considered to represent the artistic movement of Surrealist.

Surrealist vs. Post-Impressionism

Original Image

Post-Impressionism

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The second drawing is drawn by using many hair-like lines. The cell phone details are not drawn as pre-cise as the one was sketched in the first sketching. This drawing is considered to represent the artistic movement of Post-Impressionism. The movement features in vivid col-ors and realistic subject matter, but the Post-Impressionists are more inclined to emphasize geometric forms, to distort form for expres-sive effect, and to use unnatural, arbitrary color. For instances, I drew the drawing mainly based on the feeling of warmth and cold. For the warmth part of the drawing, I uti-lized red, yellow and orange colors to represent it. On the other hand, I used black, blue, and brown color to represent the cold feeling part of picture that I took. In addition, post-impressionism also inherited a part of impressionism, which is to cap-ture the moment. Therefore, I used hair-like lines to draw the whole drawing based on my impression and feelaings and I didn t draw the details as precise as the one that I did in the sketching. Thus, this drawing is a representation of Post-Impressionism.In conclusion, I used a sketching and a drawing to represent the ar-tistic movement of Surrealist and Post-Impressionism based on their major style and ideas respectively.

Surrealist

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Final Assignment Q&A

The self in "Araby" is written in the First Person view while the self in "Black Box" was portrait as the Second Person in the readings. In Araby, James Joyce wrote "I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused ado-ration. But my body was like a harp and her words and gestures were like fingers running upon the wires." The audience would gather the informa-tion from the characters through the narrative of the author. However, the way that Jennifer Eagan wrote "Black Box" is slightly different than James Joyce's approach in "Araby". For in-stance, Jennifer Eagan wrote "Focus instead on gauging your Designated Mate's reaction to the new intimacy between you" in "Black Box." Here we can learn about the designated mate's reaction from her narrative which is similar to James' example we read earlier. However, we could feel Jennifer is having a conversation with the audience directly because of her often use of the Second Person pronouns very often in "Black Box." The main difference of the idea of self between "Araby" and "Black Box" is how they want the audience to learn about the character's reactions. In Araby, the author tends to hide his thoughts and feelings compared with "Black Box." On the Other hand, in "Black Box", the author is mainly describing her own appearance as though she knows it's customary and an important part of social life.

Araby reflects the culture of modernism as the author sug-gests there still has traditional mod-esty and conservation even if it s in modern times. The way the au-thor tends to hide his feelings and thoughts seem to be an important theme in his story even through modernism. While Black Box is more like a post-modern text, it reads as though it were written by a therapist or Cosmopolitan maga-zine. It is really self-conscious and anxious at the same time while it is written in a style of self-help tips. It stands for what the culture and soci-ety has told us to search in relation-ships.

Alienation is a feature of modernism as it s very similar to independence in which modern-ism is about small fractions of in-dependences. Modernism is about being independent from history, religion, culture, and sometimes, a potential future or any other certain mode of thinking and/or practice. Meanwhile, independence carries a sense of freedom which requires a great disassociation with peers that is brought on by a sudden break with traditions. If independence be-comes a burden, it will be defined as alienation.

There are many ways to de-fine Intertextuality, and to me, it has the same meaning with the words, “referential and/or indexical. The first example of intertextuality would be Francis Bacon s Pope paintings; in which they are obviously referenc-ing a single painting which is made hundreds of years ago, but they have taken on a new life outside of that history. On the other hand, another example would be Jame Jayce s writing like Ulysses. It does not reference too clearly, however, it s written as though it has dozens of authors writing on the page. This is the reason why it has a quality of being referential.

Compare & contrast the idea of the self in "Araby" and "Black Box"

How are “Araby” and “Black Box” reflective of the society and culture of the specific time peri-od in which they were created?

Why is alienation a feature of modernism?

Give three examples of intertex-tuality, referencing works pre-sented in class (can be art, mu-sic or literature).

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The Abstract Expression developed in the United States is because it's an art movement that strictly requires no proud history. While the Europeans were dealing with themes that were deeply in-grained in their history and culture, America was still trying to figure out its own.

Andy Warhol used the idea of an Orthodox icon in his work by recreating the idea of an icon. He treated Marilyn Monroe as a sa-cred icon by placing her in front of a gilded gold background. Also, by recreating the work several times, he mass-produced things in a way that previous generations were not able to achieve. Since he has an art factory, he was able to recreate his sacred images countless times. He treated other celebrities as icons, most notably Jackie Kennedy and Elvis Presley.

There's a small box in LACMA's modern art wing which is created by Marcel Duchamp. It is handmade with rope and metal parts, and it has a sign that states that if it was shaken, it would make a very specific ringing sound. This is an example of modernism because it challenges what we are unable to know when given a simple situation. The Visitors could lift the box and shake to see if this was true, but be-cause it is one of the exhibits in the museum, we are not allowed to pick it up, leaving its main feature a mys-tery. Duchamp is questioning the in-stitution of the museum but also the arbitrariness of certain things found in modernism.

Consumerism is largely a postmodern subject, but this also depends on where we place Pop Art. Pop Art puts its interests in con-sumerism mainly, since many pop artists were only allowed to recreate images that were mass produced, and they were sending a message about the quality of mass production and consumerism. Claes Oldenberg made a career out of recreating and scaling up hamburgers and other processed food that were meant to signify modernization and consum-er ideals. Roy Lichtenstein also was interested in the quality of things mass produced, specifically the comic book image. But rather than use the same technique that comic book producers used to create their images, he patiently painted dots all across his canvas as more tradition-al artists might have. Postmodern artists made a big point about the state of consumerism in the second part of the twentieth century.

Why does Abstract Expressionism develop in the United States?

Give two examples of how the idea of the Orthodox Icon was reused in 20th century art.

Justify why a piece of art we saw at LACMA is representative of modernism. Cite specific fea-tures.

Is referencing consumerism mod-ern or postmodern? Give exam-ples based on art and artists we discussed in class.

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2A Visual Rhetorics

The Different Portraits of Jesus Christ

For hundreds of years, many have seen art works created that por-trayed Jesus Christ being crucified on the cross. I will focus on the known works of Giotto, Peter Paul Rubens, and Francisco de Goya, and how their approaches differ from each other. The inspiration and painting styles of three painters from different time periods resulted in three unique depic-tions of this incident. Because the incident of Jesus Christ being crucified has appeared in many different historic documents, paintings, and other artifacts, and it has a great influence to Christian religion, I would like to learn about the knowledge around the incident through several painters perspectives. The first fresco of the crucifixion was painted by Giotto di Bondone, in Padua, Italy around 1303 to 1306 which is during the Renaissance pe-riod. It is composed of two groups of people surrounding around Jesus Christ with the little angels flying above Him. This fresco was painted on top of a rock, beneath which a skull can be seen subtly. The reason the fresco was completed above a skull is because it indicates that this is Golgotha (where Christ was being crucified). In the right hand side of the fresco, the Roman soldiers were arguing about who should have Christ s clothes as a sorrowful St Peter looks on. The woman whose weeping over Christ s bloodied wounds in a a frenzy of sorrow at Christ s feet was Mary. In the left hand side of the fresco, there s a gathering of the righteous. Giotto s design is stylized and symmetrical. For example, the juxtaposition between mourners and Roman soldiers is intended to focus the thoughts of the devout on the consequences of their own response to Christ s death. Giotto was influenced by sacred theatre as well as by the ideal of empathetic piety preached by the mendicant orders of his time, who intends to help those gazing upon them to feel as though they were eyewitnesses at the Crucifixion itself, and thereby to feel the nature of Christ s sufferings more deeply. In order to understand this fresco, the au-dience has to look at it as a whole. It s because every component that was painted onto the fresco is interrelated to each other. Giotto was one of the first artists to develop the rich potential for parallelisms and contrasts, of mood and meaning, not just between each scene in the cartoon-strip-like format of medieval narrative painting, but also between scenes in different registers of the fresco cycle as a whole. Unlike Peter Paul Rubens and Francisco de Goya s works, Giotto s fresco has much more detail and subtle meaning. Giotto has developed a manner of figurative painting that was naturalistic, three-dimensional, lifelike and classicizing in comparison of the other paintings. The second oil painting, St Francis of Assisi before the Crucified Christ , was painted by Peter Paul Rubens in 1625. This painting is an ex-ample of Baroque-era art. It features in gloomy color scheme, exaggerated lightings and the detail is easily to be interpreted to produce tension and emotion in painting. ubens was a Flemish Baroque painter and he often emphasized movement, and color. In the painting, Peter interpreted what

The Crucifixion. 1303-1306. Fresco. Giotto di Bondone. Padua, Italy.

the scene was like before Christ s crucifixion. The person who is beneath Jesus Christ and looking at Him is Saint Francis of Assisi. St. Francis. The scene describes St. Francis wanted to feel the pain of Jesus Christ s cruci-fixion. Also, he experienced what Christ thought, felt and experienced dur-ing the crucifixion and he felt profound grief for His suffering. On the other hand, Jesus Christ looks down on Saint Francis which he s being crucified. The painting has a melancholy, lonely theme which has dark green and brown are the two main colors unlike Giotto s fresco s excessive use of colors or Francisco de Goya s minimal usage of colors in his painting. Al-though Ruben s painting has a background, it is three-dimensional which differs from either Giotto s work where the background was plain blue, or Francisco de Goya s painting s black background. Among these paint-ings and fresco, Ruben s painting features in excessive gloomy, lonely emotion and it appeared to be more expressive.

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‘St Francis of Assisi before the Crucified Christ’ 1625. Peter Paul Rubens. Liechten-stein Museum, Wien, Austria

Nevertheless, the third Christ Crucified painting, which was done by Francisco de Goya in 1780, looks more realistic compare with Giotto and Ruben s works. It only has Jesus Christ being crucified at the center of the painting, and the background is painted as black. This painting is painted in a neoclassicism style though it is rooted in traditional Spanish iconography of the subject and borrowed other painters fea-tures (like the dark black background with no landscape). If the painting is being ex-amined carefully, people might notice Jesus Christ s being crucified with only three nails instead of four nails, and His legs are being supported by a wooden platform. In the painting, Goya removed the emphasis on devotional features such as drama and the presence of blood in order to focus attention on the painting s soft modeling because his intention was to please the academicians. Also, Christ s head is lifted and leaning to the left, and looking upwards dramatically. Goya might suggest it s a representation of a gesture of ecstasy rather than a serenity of the painting as a whole avoids a pathetic sensation. Unlike Giotto and Ruben s fresco and painting, Goya s Christ Crucified was intentionally being slightly different than the incident of Jesus Christ (like four rather than three nails and supported feet). The focal part of the painting was only Jesus Christ with nothing else. Its unique focal part differs from others because it is neither similar to Giotto s fresco where there are many people and things happening throughout the whole fresco, nor Ruben s painting in which St. Francis of Assisi was being the other focal part besides Christ s cru-cifixion. However, Christ Crucified is focusing on an emotional response of Jesus Christ which is very similar to The Crucifixion where the emotion was revealed by the interactions between Jesus Christ and St. Francis of Assisi. Furthermore, Goya painted Christ Crucified through his own depiction of the incident with the neoclas-sicism theme.In conclusion, each of the known works on the incident of Jesus Christ being cruci-fied has its own unique features, and objectives in achieving each masterpiece. I like how meticulously Giotto includes the whole scene of Christ s crucifixion; the excessive emotional response and exaggerated gloomy theme that can found in St Francis of Assisi before the Crucified Christ, and Christ Crucified s realistic, but misleading depiction of the incident. Each of these masterpieces has provided me an all-around description on the incident of Jesus Christ s crucifixion though they were all imaginary which have their own themes and objectives. All of them have contributed the knowledge of the incident to me through different perspectives, and they made me understand Jesus Christ s crucifixion has a really great influence across the world, particularly in art history.

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Sources:Eimerl, Sarel. The World of Giotto, Time-Life Books, 1967.Belkin, Kristin Lohse. Rubens. Phaidon Press.1998.Belting, Hans. Likeness and Presence: A History of the Image before the Era of Art. University of Chicago Press. 1994. Jaff . Michael Rubens and Italy. Cornell University Press. 1977.Martin, John Rupert. Baroque. HarperCollins. 1977.Pauw-De Veen, Lydia de. "Rubens and the graphic arts." In: Connoisseur.Ciofalo, John J. The Self-Portraits of Francisco Goya. Cambridge Univer-sity Press, 2001Tomlinson, Janis. Francisco Goya y Lucientes 1746 1828'.' Phaidon, 1999, 1994.Buchholz, Elke Linda. Francisco de Goya. Cologne: K nemann, 1999.Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004.

Christ Crucified (Cristo crucificado). 1780. Francisco de Goya of the Cru-cifixion of Jesus.

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2B Studio

Downtown L.A. Gallery

Nostieret gratamdii sedemere cepos consulia averiae tam noc, et aura Satum pro nonsicae non nem inatum, consimed adhum te, se vehem perior peconsultu videfac rem iam ant. Opicam ortil tanu-num eri peris in in simihilic tissilne ina-ta inat, mus ad sent. Inendernium et o vesuppl. Ox mora consil tricut ius. Sat. Uludam inatem pota, quid nocchucid dium unces publibulum deo, inc vitam ment. Octum suli, vivid C. Serfex noc-chic ulocupion te ad fecreis? Habeffreis. Eceps, quiu caet; hilinario ut fue consili ntristis moentio custrum poncultum nos-tre, quam sediem macio Catus tanterit; hum int vis. Udeesimprae no. Habissili, nequam es! Icendit. Si tea me fur per-ora atin viliusu licaed morterfesena res! Os hil vid cupicivigil hor hemquidisque ditraci cae nostris. manti publibus, ut in supicae ctorio et; eli pl. Habem la va-tum aus hebatis etorem ia rest quossil iusquam es conticibus. Multodii cultore hentiamqui sturs et L. An tere es veribus castri publicum ommorac oc, consultum hae iam ituspienir atabem for aursum oponsul videndemo is.Tus, nos, oma, elicis? Quoncul icepor aremunu elinirm ihilne maximus octam opubit, ocae ia sumus, norum opoentr idemunt, qua ducit. Nero in temniam fur, norunum egit, publis, quis iamporum quam incupio videmus iae in viris Cat-ique ad die orictan diconfe nerorunum foratur ehebat vigitu et a elin scribultori il culienem din sigit, seric menata Sp. meis ocupien denatium

PartsDowntown L.A. Gallery

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Nostieret gratamdii sedemere ce-pos consulia averiae tam noc, et aura Satum pro nonsicae non nem inatum, consimed adhum te, se vehem perior peconsultu videfac rem iam ant. Opicam ortil tanunum eri peris in in simihilic tissilne inata inat, mus ad sent. Inendernium et o vesuppl. Ox mora consil tricut ius. Sat. Uludam inatem pota, quid noc-chucid dium unces publibulum deo, inc vitam ment. Octum suli, vivid C. Serfex nocchic ulocupion te ad fe-creis? Habeffreis. Eceps, quiu caet; hilinario ut fue consili ntristis moen-tio custrum poncultum nostre, quam sediem macio Catus tanterit; hum int vis. Udeesimprae no. Habissili, nequam es! Icendit. Si tea me fur perora atin viliusu licaed morterfe-sena res! Os hil vid cupicivigil hor hemquidisque ditraci cae nostris. manti publibus, ut in supicae ctorio et; eli pl. Habem la vatum aus he-batis etorem ia rest quossil iusquam es conticibus. Multodii cultore hen-tiamqui sturs et L. An tere es veribus castri publicum ommorac oc, con-sultum hae iam ituspienir atabem for aursum oponsul videndemo is.Tus, nos, oma, elicis? Quoncul icepor aremunu elinirm ihilne maxi-mus octam opubit, ocae ia sumus, norum opoentr idemunt, qua ducit. Nero in temniam fur, norunum egit, publis, quis iamporum quam incupio videmus iae in viris Catique ad die orictan diconfe nerorunum foratur ehebat vigitu et a elin scribultori il culienem din sigit, seric menata Sp. meis ocupien denatium

Site DescriptionDowntown L.A. Gallery

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