Jan is an artist from Korea, currently living in the Netherlands, who joined us for the months of June and July 2017. This has been his second time to the factory, as in March 2016, he travelled the ring road with friends and happened to find himself here in Stöðvarfjörður. After touring the factory with Una, he decided to come back again in the future for creative residency, to be inspired by the nature, and to further work on a continued interest in ambivalence. This is a prevalent theme in Jan´s work, focussing on uncertainty in contradictory moments and feelings.
Jan Yongdeok Lim // Ambivalence
After some time immersing himself in the landscape, appreciating simplicity and solitude, without the noise of city life and distractions; Jan spent countless hours painting, replicating one significant pattern that has appeared across his works, old and new. Residency at the Fish Factory also offered the space and time for the creation of two large canvas painting, presenting ambivalence in the surroundings and landscape.
Jane Affleck is a PhD candidate, instructor, writer, editor, and artist from Canada who was at the Fish Factory Creative Centre for the June 2017 residency.
Although Jane completed a bachelor of fine arts in 1995, this was her first artist residency. For a couple of years after completing the BFA, she shared a studio with two other painters and produced a series of large-scale, realistic paintings with an environmental theme (using “found” insects, mainly bees, as models, she would paint them flying through invented landscapes or cloudscapes).
However, she shifted her focus to studying literature and writing, and in 2007 completed a master of arts in English and creative writing. Around this time, she began to work on a series of simple, almost “cartoony” drawings based on memories of strangers seen on the metro (Montreal’s subway system), writing short prose pieces to accompany them.
Since moving to Ontario in 2014, she has been working on a similar series of drawings of people seen on the subway or streets of Toronto (with no accompanying prose). In April 2017, four of drawings from this ongoing series were exhibited in a group show.
Since 2012, Jane has been teaching courses about comics history and contemporary graphic novels at NSCAD University in Nova Scotia, Canada. One is a survey-type course that considers historical and contemporary work in France, North America, and Japan. The other focuses on approximately 1,000 years of Japanese visual culture, with a few weeks examining the diversity of contemporary “manga” (Japanese comics).
Researching and teaching these topics have influenced Jane’s approach to creating art (practice what you preach!). In January 2017, she began a “graphic memoir” (a comics-style autobiographical work – Alison Bechdel’s Fun Home is an example of this genre); while at the Fish Factory, Jane continued working on this project. The memoir is based on her experiences as a single woman owning a house in Dartmouth, Nova Scotia. The working title for the project is The House that Jane Bought: A Cautionary Tale for Single, Ambitious Women. Themes in the work include feminism, capitalism/consumerism, privilege, race, and colonization. When she bought the house, she saw it as confirmation of her independence and self-sufficiency as career-focused woman who had finally achieved some kind of capital-S success. However, she soon realized that instead of being subject to landlords (and roommates), she was now at the mercy of the city and developers, and even neighbours: from an exponential property tax increase, to proposals for development projects out of scale with the neighbourhood, to neighbours partying all weekend. Two years later, she started her PhD in another province, so rented the house to tenants. It was at this point that issues around privilege and race entered the picture, which also (in part) led her to think about colonization, and about Canada as a colonial nation-state that perpetuates a settler-focused narrative about its founding. This project thus presents a kind of counter-narrative critique, from the perspective of a white female settler of some privilege, of the current socio-political situation in Nova Scotia in particular, and in Canada more broadly.
While at the Fish Factory Creative Centre, Jane completed an additional 21 pages of this work – fewer than her goal of 30, but nonetheless motivating her to continue working on this project (she has completed a total of 38 pages and hopes to finish another dozen or so by the end of August 2017). She found the Fish Factory and the town of Stöðvarfjörður ideal settings in which to focus on her project: the shared studio facilities meant opportunities to discuss work in progress with other artists, while the beautiful mountains of the surrounding fjord allowed her to experience nature in meditative solitude (and to get a different perspective on the project and life in general!). Takk fyrir!
Amanda Lim is a visual artist from Singapore who stayed with us for the month of June 2017. Her creative interests are in the exploration of political, social and cultural issues, which form personal interpretation, through lived experiences and influences. Her experimental works are often creative documentations that lead to interaction and conversations around issues.
Here at the Fish Factory this deloped through the continuation of work that was started in Singapore, as a response to consumer culture, and an experiment of social interaction with purchasing ´something´, whilst also purchasing ´nothing´. The creative focus being bags of air from Singapore, to see how consumers would respond.
Amanda Lim // Live a Full Life
Amanda sold her ‘Live a Full Life’ air bags in locations around Stöðvarfjörður, and will return to singapore with air from Iceland, to compare public engagement in both locations.
Patricia Casey is a visual artist from Australia who stayed with us for one month in June 2017. She has been a praticing artist since 1999, and has taken part in a number of group and solo exhibitions, at home and internationally, throughout her career. Patricia’s work considers an ongoing exploration of the themes of memory, dreams and imagination.
Patricia Casey // Rock Photography
Here at the factory, Patricia has been inspired by the lines in the Icelandic landscape, and the ever-present and definitive line that appears in matter which has been formed together, and has split apart (seen within Patricia´s photographic research of rocks in the landscape). From this, a water colour study was inspired, and combined with mixed media in the form of embroidery, in recreating and highlighting the importance of these natural and domanant lines.
Patricia Casey // Water Colour & Embroidery
As her main artistic medium, photography has formed a basis for Patricias residency here in Stöðvarfjörður, beautifully capturing the mist and the diversity of the nature. Drawing upon Merleau Ponty´s ´Lived Body´, and the personal relationship with the world, the Fish Factory has given Patricia the opportunity to slow down, and approach her study through thoughtful and encouraged connection with the landscape.
Lauren Meranda is a visual artist from the USA, who´s who´s design practice focusses dominantly on cultural institutions, social activism, civic engagement, and public memory; using experimental methods of media, interative experience, and storytelling. Her work here at the Fish Factory Creative Centre during June 2017, has been closely connected to her professional stance in allowing the individual to co-create in the storytelling process, and to involve elements of social engagement through artistic methods. During the month, Lauren has been both
Her work here at the Fish Factory Creative Centre during June 2017, has been closely connected to her professional stance in allowing the individual to co-create in the storytelling process, and to involve elements of social engagement through artistic methods. During the month, Lauren has been both practicing and learning the process of virtual reality coding, and has foccussed on creation of the ´surreal´, which she experienced in the contrasting position of old or abandoned man-made equipment, within the raw Icelandic landscape.
Lauren Meranda // Virtual Reality Stills
Lauren´s practice of virtual reality is formatted for viewing using a headset, which enables the viewer to be completely immersed in the created environment of the ´surreal´, and to join the process of engagement through interactive involvement.
Aggie Toppins is a Graphic Designer and educator from the USA, who stayed with us for the month of June 2017. Aggie is the principal of The Offical Studio, a practice which works with small businesses and nonprofit organizations on the development of branding though digital & print mediums. Aside from this, she is also the founder of the Unoffical Press, as a an outlet of independent studio work, including projects that utilise forms of graphic design in connecting and engaging with culture.
Aggie Toppins // Palimpsests
Aggie has been working on a continual collage series of ´Palimpsests´, that gather the index of global locations, and offer a window into the steps that are traced through personal narrative, and records of travels. These are open-ended works that offer personal significance, whilst leaving room for multiple interpretations and meanings.
Aggie Toppins // Cyanotype Prints
While here, Aggie has also been experimenting with a new medium, of cyanotype prints; this involving a light sensitive process, inspired by the 24 hour sunlight here in Stöðvarfjördur. The outcome highlights key themes of transition and the tracing of movement, though that which is ´present on the page, and absent. A thing that was there, and a thing that is there.´ Aggie has enjoyed this explorative practice and hopes to integrate the process into future work.
Mara Colecchia is an Italian artist from the USA who stayed with us one month in May 2017. She born in Italy in 1976 where she graduated in Rome at the European Institute of Design in 1999. She worked locally in the animation industry as an animator and successively as a writed till 2009 when she moved to Los Angeles, CA, to attend a 1 year screenwriting class at”The New York Film Academy” (NYFA). She made 23 collective exhibitions between 2013 and 2016.
Artwork by Mara Colecchia, May 2017
Maracole’s work is deeply informed by surrealistic caprice and central Italian simplicity. Whether working at small or large scale sculptures, wearable art or street-art installations, her pieces are a chorus of whimsy, wit and devilish transgression. Maracole’s clever yet ingenious charade reflects the universal fantasy and she pulls it off with a combination of innocence and ambiguity. Her sculptures and wearable art represent a different temperament, one that draws heavily from her extensive background in animation and children’s literature. Here we see compelling narrative threads that treat design as a teller of Boccaccio-like tales.
Artwork by Mara Colecchia, May 2017
Specifically, Maracole represents wigs, hats and other objects of embellishment and camouflage as if they were authentic antiquities. This too is rooted in her Italian provenance where an intimate connection to archaeological remains is a national characteristic. But with that love of the distant past comes the melancholy of dislocation. Every piece of art designed by Maracole is an emblematic representation of a personal struggle to adapt to a fast-changing world, despite of a profound sense of loss.
During her stay in Iceland, Mara interested in an Icelandic texture culture and pictures on Icelandic Kronas. That’s why she collaborated with Rosa about it and she found a special book and fabrics and it opened a new field to her project. She started to do plan and drawings and then it continued with hand stitches in progress. Eventually, Mara created three hats during her stay and she combined them with her special creation jewellery nose. You can find more detail about her project and artwork in the interview below!
Cara Levine is a visual artist from the USA who stayed with us one month in May 2017. Cara explores empathy and absence and working across sculpture, photography and video. The absence of the body, be it through its physicality, perceptual sensitivity or language, is often the quality most present in her work. Her work also explores mutliple intersections of the pyhsical, metaphysical, traumatic, illusionary and playful.
Artwork by Cara Levine, May 2017
During her stay in the Creative Centre, Cara has been working through a few streams of work. Her primary interest has been in working with the descendants of Petra, the local stone collector and founder of Steinasafn Petru in Stödvarfjördur. Then she interviewed and took portraits of 3 generations of women who now care – take the collection. Her interviews are being woven together with video footage of the stones from the collection shot on set in the Fish Factory.
Cara also was able to make sculptural objects in relationship to many of the stones in the collection as well as of her own finding. She worked on a driftwood – carving project, carving mouth and ear into separate pieces of wood as emblematic of the Norse mythology about the creation of man by the God’s Oding, Vali and Ve, the carver. The final stream of work she made at the Fish Factory were a collection of short videos and images of her body engaging with the landscape through gestural movements. For more information about her artwork you can check her website in below!
Emanda Percival is a writer from Australia who stayed with us two months in April & May 2017. She completed a Masters of Writing in 2013 and has since been continuing to refine her skills. She was first published in July 2015, with the vignette, The Corn – El Choclo, in both Vine Leaves Journal #15 and The Best of Vine Leaves Journal 2015. Her novel, Aunt Mulvernia, had the honour of reaching the 2014 shortlist for the Impress prize. As she writes, she likes to involve herself in the world at large. Exploring countries, cultures, art and science, all of which have strong influences on her life, artistic work and practice. She is also kept busy editing and reviewing other artist’s works, and teaching Arts Education with ‘Sculpture by the Sea,’ in Australia.
Emanda Percival, May 2017
Her writing is inspired by multiple interests (as can be expected with any artist), She enjoy exploring words and stories as they relate to music, visual arts, modern phenomena, and both natural and social sciences. She embraces the centuries old idea of studying multiple disciplines rather than just one with the express idea aim of exploring them through the creative arts, in particular writing, though she also dabble in the visual arts.
Artwork by Emanda Percival, May 2017
The concept and project She has been working on at the Fish Factory (and talk about in her interview), is inspired by the subjects of trigger memory, topophilia, and the release of 14 Carbon in rivers; then puzzling out how she might link them in narrative. You can find more detail about her project in the interview below.
Kimi Tayler is a visual artist from the UK who stayed with us four month between February and May 2017. She is an artist with an interest in themes surrounding human relationships- in particular those of connection and disconnection. Living and working in London, much of previous work has been about isolation in a bustling city environment- so she chose to come to the Fish Factory for an extended residency of 4 months, in order to experience being part of a community in an isolated location.
Kimi is an artist who’s practice is and has been firmly rooted in drawing- using it as a direct tool for translating the experience of what she see’s and feels. However, during her time at the Fish Factory she used the space and time to process her experience in a multi-disciplinary way. She spent her first two months exploring Icelandic folk tales, the landscape, and transient relationships.
Like many artists, Kimi became drawn to the stones and minerals in Stodvarfjordur and this informed a larger body of work. Inspired by Petra’s Stone Collection, she found her own collection and explored them through drawings, prints and photography. This culminated in the building of performative objects inspired by the rocks of Austerland, as a means of better understand her own connection to her location.
The objects were then worn in a form that is performative, playful and active within the landscape that inspired them, by the community they became a part of. They also project endearing an amusing qualities in the undertaking mundane tasks. This is an ongoing project that Kimi plans to develop further.
Eira Enkvist is a visual artist from Finland who stayed with us one month in April 2017. She born in 1986 from Finland. She studied at Novia in Nykarleby, Finland, for her Bachelor. After that she moved to Ghent, Belgium, for her Master of Arts at KASK. At KASK her art developed more to video art. After her Master she moved back to Finland to work as a teacher in Fine Arts on high school level for two years. In Finland she also became active in the artists association Rajataidery. From January 2013 she got elected second chairman, and in January 2014 the chairman of Rajataidery. In the spring/summer 2014 she was also the gallery coordinator for Rajataidery in gallery Rajatila.
She mainly works on video art with what she experience and subjects which she researchs and she combines with installations. The works can sometimes be videos like paintings, but mostly they are longer projects in the genre of Expanded Documentary. Interviews and reality are the bottom for her work.
You can find two different previous projects of her. ”FLAIRCK” is musical project and ” Felix Around the World” is about a young man’s three-year travel around the world. He traveled in an ecological way and three years ago, she started one week with him by bike and she joined one week by foot.
During her stay in residency, She has been working on a project with the working title ” good and bad ” and it refers to the vision of black and white or good and evil. She borrows words of a well known author, George R. R Martin ” in real life, the hardest aspect of the battle good and evils is determining which is which ” to explain her project’s subject. She interviewed with people on the subject and their personal views. Then she blended all these on videos. The people interviewed partly was locals and contain people with professions as judges, teachers, police and also the people who committed crimes etc. Her aim is to be able to present different perspectives within one society. After all she build video work that may contradict and confirm itself, depending on the interview results. Then she continue with more interviews her project in Reykjavik at the and of April 2017 and her project continues still in progress. You can find about her artworks and projects in her websites and in the interview below!
Yasser Vayani is a visual artist from Pakistan who stayed with us one month in April 2017. He has been living in Pakistan for 12 years. His purpose of the stay in residency was to make more connections with people, only through art and objects which he can find out more about others and himself.
Artworks by Yasser Vayani, April 2017
At the beginning of his project, he started to collaboration with the communities around here by taking short interviews and he created dialogue between the people and their spaces. He also took and borrowed objects from people and their surrounding areas. Then his project continued with drawing practices in progress between the objects and owners of objects’ stories. It opened a new field of his project which he explored to homes, places and different kind of life style which belong to the owners of objects and he blended all these on drawings. You can find more information about his project in the interview below!
Eunhong Kang is a visual artist from South Korea who stayed with us during April 2017. She lives and studies in London. She usually ventures to confront important the social and political issues of our time, which is the rising tide of neo-isolationism, populism and protectionism in the world against the problems caused by indiscriminate globalisation; unemployment, terror and polarisation between rich and poor. Especially, She uses ‘The alienation effect’ that aims to make the familiar seem strange, to show everything in a fresh and unfamiliar light. Because this enables the audiences to be brought to look critically at everything even if people has already taken something for granted. Through these works, She wants audiences to remain objective and distant from emotional involvement so that people could make considered and rational judgements about any social comment or issues in her work.
Artwork by Eunhong Kang, April 2017
Her purpose of the stay with us was to find a new inspiration and recall nature. She minimised the information indirectly obtained through the media and work through direct research through the five senses. She wanted to collect the ever-changing nature of Iceland as the impressionists did any express her feelings and thoughts from her own observation. Then, she created her sculptures by the new inspiration. Eventually, She blended her sculptures in photographs with nature of Iceland.
Katrín Inga Jónsdóttir Hjördísardóttir, March 2017
Katrín Inga Jónsdóttir Hjördísardóttir is a visual artist from Iceland who stayed with us in March 2017. She born in 1982 in Iceland. She has MFA degree in Fine Arts from School of Visual Arts in New York (2014) and she is a Fulbright Grantee (2012). Katrin also has BA in Art Theory from the University of Iceland (2012) and she was awarded the Dungal Art Fund award (2012).
Land Occupied love – Love Occupied Land project in progress by Katrín Inga Jónsdóttir Hjördísardóttir, March 2017
Katrín’s subjects often include the social and political landscape and ecology of the art environment, which she funnels into her practice in unusual and personal ways, through various methods and mediums, such as writing, performance, drawing, sculpture making among other forms.
Artwork by Katrín Inga Jónsdóttir Hjördísardóttir, March 2017
She started her project ”Land Occupied love – Love Occupied Land” 1,5 year ago. During her stay in the Creative Centre she continued the project, which is in constant progress. Katrín made video installation inspired by the surrounding landscape and her inner emotions. You can find more detail about her artwork and video installation in the interview below!
Video Installation by Katrín Inga Jónsdóttir Hjördísardóttir, March 2017
Anne Weber and Daniel Foerster are artists from Germany who stayed with us one month in March 2017. Anne is a theater player and Daniel is a director. They were in collaboration during their stay. They have been working for multi-sensual video and performance installation with texts, sound records and photos by inspiration of Iceland.
Anne Weber & Daniel Foerster’s Video Installation in the Fish Factory Creative Centre, March 2017
Firstly, They started to build a cage in the factory according to texts and photos. Then, Daniel started to make Anne’s videos around the local place. They worked in the hard winter conditions and used various places, materials in the water and snow. It provides the strong view of their video as well as the cage and the other materials. Eventually, Anne & Daniel made video installation at the end of their stay in here. You can find the video installation and their interview below.
Claudia Senoner is a performer and choreographer from Germany who stayed with us during March 2017. She has worked as a dancer, soloist and teacher in theatres and ballet schools. She has also worked a lot with musicians and composers on various kinds of music for movements in Germany. Now she works as a freelance choreographer for her own art since many years and also as a teacher for dance. Claudia’s purpose to come here was to go away from her normal work and focus only on here own art. Then she started looking at the subject of water and was then inspired by an Icelandic book of the name ”H2O” from 1974. She created a choreography on seeing how the body liquids are moving as a soft and hard. It is also about discovering the environment and the landscape in the body by Icelandic inspiration. As a result, she focused solely on movements which she hasn’t worked in the last two years. She was also inspired by the other artists at the Fish Factory and by old Icelandic folklore. She made lots of drawings and recorded a different kind of sound from the outside. After her residency, Claudia will be working on her performance project which she will do in July in Germany. You can find more detail about her in the interview below.
Lilly Allen is a freelance illustrator and water colour artist from the Isle of Wight, England and she stayed with us during March 2017. She spent countless hours just sitting and painting where ever she could find the perfect perspective of what she was going to paint. This could be on the side of a mountain, on the sea shore or in the warm comfort of the studio using a photo.
She also decided to collect photos of every house in the village. She was captured by the range of colours and shapes considering each house as an individual with its own character. She greatly enjoyed the solitude that was possible during her residency. Being able to step away from normal life and focus on things that you have not been able to give time to until now.
Susan Wood was born in 1950. She grew up by the sea and loved foreign languages. She completed a PhD in German and had a successful career as a German lecturer, publishing many books and articles. It was not until 2002 that she began to paint, and she’s been actively involved in art ever since, particularly since she took early retirement in 2007. In 2016 she completed an MA in Glass at the University of Sunderland, with a final project entitled ‘Shore’.
Artwork by Susan Wood, March 2017
Her decision to apply for a Residency at the Fish Factory was based on this love of the shore, art and remote places. For the month of March 2017 she walked by the fjord every day, took lots of photographs, and collected stones and flotsam and jetsam. These formed the basis for a series of shore-inspired works using a mixture of these materials.
She is now back in London and hoping to exhibit work inspired by Iceland’s stunning coastline.
Brynja Bjarnadóttir is an Icelandic Musician who stayed with us during January and February 2017. She has been writing songs for the last 4 years and she decided to come here for far away from her daily routines and focus her own artwork. She has recorded 3 songs and inspired by the darkest winter of east fjords! During her stay, She also has been recording videos with her vintage camera and she experimented in ceramic and metal workshops with the other artists.
Brynja Bjarnadóttir in ceramic workshop, February 2017
Brynja is also a member of the band Dark Marcy which she formed with the other visiting Artist & Musicians at the Centre. Dark Marcy performed a couple of concerts at the Centre and where very well received. Dark Marcy has a facebook page worth visiting.
The Dark Marcy – Brynja Bjarnadóttir, Sacha Ratcliffe, Billie Zizi, Marina Shaltout, January 2017
Þór Þorbergsson & Brynja Bjarnadóttir are a good friend and they collaborated on Brynja’s dance performance during their residency in February 2017. Then, They recorded their performance in front of the ocean with the vintage camera at the end of their stay.
Þór Þorbergsson & Brynja Bjarnadóttir, February 2017
Ina de Saint Andeol is a visual artist from France who stayed with us during February 2017. For the past 20 years, she has been travelling the world, eager to delve into the roots of its many cultures, beauties and histories. Through collages of various mediums, She likes to naively incorporate those experiences along with deep research and create a surreal world of the chosen subject.
Artwork by Ina de Saint Andeol, February 2017
Ina is currently working on a collection about faith and religions throughout the ages and cultures. She uses sand, water colour, acrylic on wood and believes that Iceland and its inspirational environment will undoubtedly enrich her research. She is influenced by fish skin patterns, winter lighting, bird feathers and stratum on the local rocks. She longs to plunge into the Icelandic nature, extract its singularities and try to capture the winter silence.
Ina has also been working on linoleum printing and she created characters such as man & women in the water with dark concept.
Carved Linoleum, Black Sand Artwork by Ina de Saint Andeol, February 2017
Þór Þorbergsson is an Icelandic artist and a poet who stayed with us in February 2017. His main focus is on poetry and literature, and during his stay he worked on a poetry book wich will soon be published. The book’s title is ” <3 ” and here below is an example of one of the poems. You can also see Þór read this poem and talk about it’s meaning in his interview.
Poetry by Þór Þorbergsson
Þór Þorbergsson & Brynja Bjarnadóttir are a good friend and they collaborated on Brynja’s dance performance during their residency.
Þór Þorbergsson & Brynja Bjarnadóttir, February 2017
Yang Jianwei is an animation artist and a visual artist from China who stayed with us during February 2017. His work revolves around fictional characters which he portraits in his drawings on paper with pencil, gouache and water colour. Yang is interested in researching the connections between people’s lives and social and urban development. He thinks that human behaviour plays a certain role in social development and he is interested in the impact society has on people’s lives.
Yang became interested in the Ceramic Workshop in the Factory and started to experiment with forming his character in clay as an alternative approach to his work method and it opened up a new field for his project, since he never worked with that medium before.
Nicole Pedersen is a sound artist and a visual artist from Denmark and she has been staying with us during January and February 2017. Before her residency, she travelled to south-east Asia and was inspired by their cultural heritage. Her project was to create objects that had references to historical relics and archaeological finds and temples that represent a history of lost civilisations.
Artwork by Nicole Pedersen, February 2017
Furthermore, she is interested in science fiction and artificial intelligence, outer space and life on distant planets. In Stodvarfjordur she constructed a number of fake historic relics that implies an extinct existence, thus creating an artificial history of a civilisation or intelligence that has never been. She was very inspired by the rural and other worldly scenery of Iceland during her residency here and she worked on various objects with different materials such as electronic lights and different kind of metals. Also, she started to create various objects from clay in the ceramic workshop, which helped her to get into the right frame of her mind for her project!
Sara Nanna Jørgensen is an Animation Artist, a Visual Artist from Denmark who stayed with us for one month in February 2017. She works on films and images with her characters. She makes characters with her special materials and her perspective. During her residency, she made three characters inspired by the landscape surrounding Stöðvarfjörður.
Sara Nanna Jørgensen, February 2017
She seeks inspiration in dreams, thoughts and memories, she captures impressions, behaviour and moods of people around her and as well from drawings of her surroundings. Then she recreates them. She uses her recreated characters as symbols to act out her thoughts and moods.
Artwork by Sara Nanna Jørgensen, February 2017
The images are a juxtaposition of naturalistic characters and abstract creatures interacting with each other in the setting/stage set. Through implementing poetic fragments from everyday life, she aims to mix symbols, moods and conflicts, all of which relate to the world we inhabit, simultaneously underlining the meaninglessness of life and its conflicts, alongside magical elements and a poetic aesthetic.
