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How to stencil with freezer paper
One of the projects at this Friday's Chicago Craft Social will be freezer paper stenciling. I'm helping lead this table, so I needed to give it a test drive and make up some samples. You know how a project usually has four tedious steps you tolerate and one step that's super fun? I think this is one of the few where all of the steps are fun. Or maybe that's just me. I'm now in the grips of stencil mania. I'm stenciling everything.
To stencil your own stuff:
Buy a roll of freezer paper (approx. $3.99) or beg a piece from the guy in the meat department at your grocery store. Draw your design on it and cut it out with an X-acto knife. Then iron the paper, shiny side down, onto the fabric you're going to stencil. Iron another sheet to the back of the fabric to keep the paint from soaking through. You can use the iron setting that corresponds to the fabric you're stenciling.
With a foam brush, stenciling brush, kitchen sponge, or other paint brush, apply fabric paint to the cut-away areas. I used Jacquard brand textile paint from the local art store.
Let the paint dry (use a hairdryer if you're the impatient type, like me.) Peel the freezer paper off. Set the paint by following the directions on the jar — usually ironing will set it. Ta da.


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Kim and Christian of KC Design Co. share their advice on how to choose the perfect style for your dining room rug plus what fiber qualities to look for.
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This one is always the most fun. There are endless possibilities of color, pattern, and texture. An area rug can be used to brighten a space, add a pop of color in a room or have it tie all the other elements together. With endless aesthetic options, you want to carefully consider one aspect of style and that is pile height. The dining room is a gathering spot of the home. You want to make sure any crumbs can easily be cleaned up and chairs can effortlessly slide in and out. Having a low pile or flatweave will make clean up and movability a breeze. The pile height of the one I chose is just under .4 inches.
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When it comes to the size of an area rug, the numbers can be pretty cut and dry. Having 24?- 36? inches from the edge of the table to the edge of the rug will allow chairs to slide easily. Also, 12?- 18? inches from rug to the border of the room will help to fill the space. However, in my experience with interior design, the numbers are rarely that exact, and homes don't always fall into the super specific categories of 8'x10' or 9'x12'. That's why I love the option of a custom bound area rug. While keeping with the sizing guidelines, I was able to add extra length and shrink the width of our area rug to best fit our dining space needs. A total win in my book.
One of the best parts about choosing an area rug for your dining room is getting to add a little unexpected style to your space. Feel free to experiment with color, texture and pattern but be sure to consider the durability and size. I hope you enjoyed our tips for choosing the perfect dining room rug for your home.
There are always more tips for the home popping up on our Instagram and website. If you have the chance, be sure to take a look!

subset: commoncrawl


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Monday, June 15, 2009
Who's Your "Dady"?
Monday, June 15, 2009
Huh. Now, I hear you when you say "it's the thought that counts," Janet S., but I'm pretty sure that doesn't include afterthoughts. Particularly misspelled ones. Right, "Dady"?
Well, this one sure is pretty, which - as Elena N. knows - is always key when buying the old man a cake. But, "Daday"? Really? Who even pronounces it that way? (And before you ask: yes, this was supposed to read "Daddy".)
At least this next one *sounds* right:
"Deddie" - see? That works.
Wait a minute, though...something's not right here. What's with all the pink? And the polka-dotted mountains/slides/sleep mask?
What's that, Melissa K.? This was for Debbie, the breast cancer survivor?!?
Well geez, that really doesn't belong in this post at all, then, does it? Heheh.
[tugging at collar] Ahem. So, moving on...
Yep, this too was supposed to say "Daddy". Very... creative. And that's a nice use of all-caps. When in doubt, scream it, I always say.
[wicked grin]
So, I think we've all learned some valuable lessons here today. First, stick with "Dad" on the cake, and you'll have no problems at all:
(Yes, I see it, folks. See, I'm employing a clever bit of sarcasm here. Because I love sarcasm. Really.)
And secondly, when in doubt, SCREAM IT. (Tod & Cathy J., I must have that stitched on a pillow.)
Father's Day is this Sunday. Tired of getting Dad a boring old tie for the occasion? Then how about getting him a Carrot Jockey tie? Eh? No need to thank me; I'm just here to help.
68 comments | Post a Comment
- Kevin said...
I studied handwriting analysis years ago. While I fully understand that it's much harder to write with icing than with a pen, that "Dadey" cake looks like it was decorated by a serial killer. Maybe the bakery should do another background check on that wreckerator.
- June 15, 2009 at 9:39 AM
- Unknown said...
I think curling ribbon on cakes deserve a "Hauck-ptoooey" as much as CCC's.
And since when did putting big writing on a cake and piping on a border become the definition of decorating a cake? - June 15, 2009 at 9:49 AM
- VeggieT said...
Ok, I must be either really tired or really dense I just can't find anything wrong with that last cake, except for a slight (and compared to most wrecks it is slight) spacing issue. Other than that hilarious work as usual... there's only one other question that must be asked: "Who's your Daday?"
W.V. pangler i.e. My Dadays name is pangler, he wears a bright red suit and plays the banjo, if anyone finds him, please hand him a map and tell him that dinner's ready... - June 15, 2009 at 9:54 AM
I think that pink one is a bra. A support bra. Get it? "We support you"
- June 15, 2009 at 9:57 AM
- Jayme Q said...
Holy cow, it IS this Sunday! Luckily, I've already bought the hubby a gift, but I would have totally forgotten to give it to him! lol
- June 15, 2009 at 10:03 AM
Is it just the angle of the photograph, or is the 2nd cake from the top only 1/4 inch high?
Word verification: CRIMELES
There are no crimeles victims when receiving a cake like these. - June 15, 2009 at 10:04 AM
- Karen said...
Everytime I see those ribbons on a cake I feel like gagging. EW! Ribbons do not belong on cakes!
Veggie - Your the best Dad should say You're the best, Dad! It's that eats, shoots and leaves again! - June 15, 2009 at 10:14 AM
- Unknown said...
Oooohhh....my head hurts...YES! "anonymous" we ALL got it....so glad you did.....sheesh!
- June 15, 2009 at 10:17 AM
- Half Assed Kitchen said...
Sloppy...but funny.
Angie (from over at www.HalfAssedKitchen.com) - June 15, 2009 at 10:18 AM
- Katie O said...
I'm concerned about the second cake because of the rose slugs leaving behind a trail of poo on the cake! Quick, someone scrape it off before Dad sees it!
Katie O. - June 15, 2009 at 10:21 AM
Veggie T, I sure hope that's sarcasm.. You really don't see the problem with that last cake?
"Your" probably too tired then. :)
It's getting insane when improper grammar becomes the accepted use, only because everyone uses the incorrect form.
But then... I could care less. :)
And PLEASE tell me that you know what's wrong with the above sentence. - June 15, 2009 at 10:24 AM
- Heather said...
So my birthday is on Monday but we are celebrating it on Sunday AKA father's day. If I get a cake that ends up saying Happy Father's day Heather I will send it in...hahahaha
- June 15, 2009 at 10:28 AM
I think my dad would have like a cake with a pink bra on it.
- June 15, 2009 at 10:30 AM
i bet forrest gump says "Daday!" try it with a southern drawl....
- June 15, 2009 at 10:35 AM
Katie O;
Rose snails and poo trail!
Coffee spewed onto computer screen!
I love starting the day with a great guffaw, thanks! - June 15, 2009 at 10:43 AM
- HorribleLicensePlates said...
Not to brag or anything but my dad could fix those cakes. All of them.
- June 15, 2009 at 10:43 AM
- Janella said...
Anonymous: "I couldn't care less"!!
- June 15, 2009 at 10:50 AM
- T said...
Wow, I got in to work today and remembered that I forgot to call my dad yesterday. Thank you Jen for saving me from that embarassment.
"Hi Dad, sorry I forgot to call you yesterday..."
"Oh, next Sunday. Does this count?"
I guess I'm still an okay daughter, right? I will have to make up with a carrot jockey tie for him. - June 15, 2009 at 10:58 AM
- Bibi said...
I thought the pink speckled one was possibly an anatomical cake for a vasectomy - with the "You're done" implying having kids. However it was meant, it is a bad cake.
- June 15, 2009 at 11:00 AM
Hey, at least the bra cake has the proper use of "you're."
:) - June 15, 2009 at 11:30 AM
- Rachel Waxman said...
Ah! The your/you're thing drives me nuts every time.
- June 15, 2009 at 11:35 AM
- Tricia said...
The blue cake for "dad" was also incorrect as it used Your instead of You're. I would have to take the cake back if that were mine!
- June 15, 2009 at 11:37 AM
- Meg said...
When I saw the bra cake, I assumed "Deddie" ("Daddie" with an upper-crust accent) had undergone a sex-change operation - he was finished and someone was supportive.
- June 15, 2009 at 11:49 AM
- Lulubelle B said...
Jenn -
I know you like to keep it family-friendly. Are you aware that there's an ad for Trojan Ecstasy running directly below your category list?
Mon 6/15/09, 12:09pm edt
Just sayin' (no need to post this one).
Lulu - June 15, 2009 at 12:10 PM
AAARRRRGGGHH somebody beat me to it!!! Daday = Forrest Gump.
That may have ruined my day ;-) - June 15, 2009 at 12:21 PM
I looked at the Deddie cake before reading your explanation and my first thought was, "Did he get man boobs removed?" Oopsie.
As for "Who pronounces it Daday?" I can say with equal amounts of pride and chagrin, that my 14 year old daughter does. When we got out of her 8th grade 'graduation' ceremony she called her father's voice mail and said, "Hey Daday! I done graduated and I'm smarticle now!" It was far funnier if you were there because it was so un-characteristic of her (she's a book worm like me)...but now any time she has somewhat interesting news she begins her voice mail "Hey Daday!"
So there's one for you, Jen. :) - June 15, 2009 at 12:23 PM
@ Kevin-CREEPY!
@ Veggie T- it's you're
@ Anonymous 9:57a.m.- yeah...we got it, and so did Jen...@.@
@ Bibi-bahahahahahhaaa! hilarious.
WV: tabrasiz-check ta BRA siz on dat pink cake. - June 15, 2009 at 12:28 PM
- Carrie Stuart said...
Awesome! It's actually my husband's (my kiddos' daddy's) birthday today, so I'm pretending this was a nice little tribute to him. If he were here, we'd be making him a nice, non-wrecky cake...but he's deployed, so we'll have to save it for another day. He'd totally be digging on the geek cakes, actually! Thanks for this blog...I can always count on a good laugh here!
- June 15, 2009 at 12:43 PM
- Unknown said...
How Ironic, my Dad's birthday IS today.
- June 15, 2009 at 1:29 PM
- Melissa (& Billy) said...
ROFL. Cakes only a Dadey would love! XD
Although the 'Deddie' one is a bit disturbing. The wreckorator probably stepped back, proud of their nice penmanship...and then did a *facepalm*
Two things to ban: Curling ribbon and CCCs. Just...no. - June 15, 2009 at 1:43 PM
The thing that saddens me most is that "Daday" could easily be corrected with one swift line above the second "a". It might not have looked perfect, but it would have looked better than "Daday."
wv: bokessom.
"Life is like a bokessom chocolates, Daday." - June 15, 2009 at 1:47 PM
- CountessLaurie said...
I couldn't understand why Daddy would need a pink bra cake. Just finished his sex change op? ... NTTAWWT...
- June 15, 2009 at 1:48 PM
- Unknown said...
"Daddie" is that what Mommie Dearest (Joan Crawford) called her father? EEP!
~Amy B - June 15, 2009 at 1:57 PM
When my oldest child was 2 he called his father "Daaah-day". We used to joke that he had been switched at birth with a little British boy and his true accent was coming out. So.... we would find the Dadey cake oddly appropriate and completely hilarious!
- June 15, 2009 at 2:33 PM
Thank you Janella.. Most people don't know that there's a diff. :)
- June 15, 2009 at 2:46 PM
- Pilgrim said...
You'd think that if the decorator can manage to get "Happy Birthday" spelled correctly, then "daddy" SHOULDN'T be a problem....
you'd THINK that now, wouldn't you?
;-p - June 15, 2009 at 2:53 PM
- Melinda said...
Am I the only one who, upon seeing the pink bra "Deddie" cake, thought "Daddy" must have had a sex change operation? I mean, seriously....in a post about dads, with a pink bra cake that says "you're done" and "we support you", what else am I supposed to think?
- June 15, 2009 at 2:56 PM
- sendingtheclowns said...
Well, the COOKIE Who Wanted To Be A Cake (for "Daday") has more to worry about than simple bad spelling and insufficient- frosting (read: nonexistent) issues here.
What, exactly, could those creepy-looking orangey things be, poking out from beneath the posies?
(They look like deep-fried Barbie legs. Or wilted glazed carrots.)
I really love how they needed that big-ass box to put the thing into, when they could've just mailed it to the poor sap in an envelope.
Poor Daday...
Happy low-cal birthday.
>^++^< - June 15, 2009 at 3:50 PM
I'm a breast cancer survivor. It's likely that the "you're done" cake was to celebrate finishing chemo.
Just FWIW. - June 15, 2009 at 4:31 PM
- Katie R said...
Awkward bra cake is awkward.
- June 15, 2009 at 4:42 PM
- The Accidental Parisian said...
Oh, come on. Deddie is probably a nickname for... umm... Dedalus? Hey, it's Bloomsday!
- June 15, 2009 at 4:57 PM
The second cake doesn't even look like a cake. Are you sure that isn't just a layer of icing- like, for display or something? Unless dads are going for the whole cardboard cake now.....
- June 15, 2009 at 5:29 PM
- LivingDeadNurse said...
omg it took 3 times looking at that last one to see the mistake DUH!
- June 15, 2009 at 5:29 PM
I guess any cake I get for my father is at great risk of being f'ed up because I call him Daddy - NOT Dad. That extra d and y just prove to be too much for our tired bakers of the world.
- June 15, 2009 at 6:22 PM
- twinkle teaches said...
My mom's name is Debbie. Now I want to order her a cake that says Deddie! :)
tina - June 15, 2009 at 7:26 PM
- Ted S. (Just a Cineast) said...
If you've got kids, you deserve a Father's Day cake. After all, your husband couldn't have become a father without you! :-) - June 15, 2009 at 10:24 PM
- Unknown said...
These are awesome! I always love the typo cakes and Jen's comments on them.
I worked at a place with a lot of interns one summer. One guy named Dan kept telling the interns that they should buy the person an ice cream cake whenever it was someone's birthday.
We got the hint, and to thank him for his mentoring, some friends and I chipped in for a Dairy Queen cake. We asked the lady at the counter to write "Thank you Dan" on it. We get it back and luckily the box had a see-through lid. It said "Thank you Dad." So they scraped the typo off and corrected it. The cake ended up with a blobby, smeary message on it, but Dan enjoyed it anyway. - June 15, 2009 at 10:35 PM
- Shoshanah Marohn said...
My first take on the one with the pink support bra on it was that the kids were congratulating their "Deddy" on his/her sex change, saying that they would support him/her no matter which sex he/she should choose, which was just so so so so os so weird... to have on a cake!
- June 15, 2009 at 10:36 PM
Totally siding with the sex change crew for the "Deddie" cake. When even a dim bulb can pipe a simple pink ribbon for breast cancer, there's got to be another story behind the "you're done".
- June 15, 2009 at 10:54 PM
- Two Happy Stampers said...
This made me smile and chuckle inside... funny! I especially liked the "When in doubt, Scream it." That was funny! =D
- June 15, 2009 at 10:55 PM
- andie said...
My son used to spell it "DADADY", which is pretty close to these, but then again, he was 3 or 4 at the time. Aha! That's it! These are the long-lost work of the famed Toddler Bakery!
WV: wedrocol. Years later, wedrocol the cake we got for our dad and how hysterically funny it was. - June 15, 2009 at 11:24 PM
- VeggieT said...
Oh.... Hahahahahahahahahahaha!!!!
*hits head*
@Anonymous: You're right, I "could not" be in need of any more sleep. :) - June 16, 2009 at 12:55 AM
- Unknown said...
"Debbie you're done!"
What a horrible thing to say to a cancer survivor!
I get what they were trying to get across, but... there are multitudes of better ways to say it/better things to stay instead.
"You're done" just has too close a connotation to death, and cancer can always come out of remission, sadly. - June 16, 2009 at 1:52 AM
- Jules said...
Lol.. Those cakes are so cute! And they can kill a daday..hahaha =D but it is good to receive a gift than nothing..=D "Who is your Daday?" =D
A Writers Den
The Brown Mestizo - June 16, 2009 at 1:56 AM
- Shanna said...
Impressive - I had no idea there were that many ways to misspell "Daddy".
- June 16, 2009 at 2:56 AM
I have a sick sense of humor, so I hope Debbie got a laugh about being called "Deddie". And congrats to her on finishing her chemo, healthy wishes going her way!
WV: supents
Don't keep us in supents, did Deddie like her cake? - June 16, 2009 at 5:38 AM
- Unknown said...
Holy cow - you sure know how to scare a girl! Panic stations at the thought of Fathers Day being this weekend...but then I remembered that I live in Australia and therefore have the luxury of time, until September, to try and figure out the giftage! Phew!
- June 16, 2009 at 7:44 AM
- Paige said...
when that is a shirt... I will wear it proudly!
"When in doubt SCREAM it!"
Thank you for all the cake-y laughs. - June 16, 2009 at 8:33 AM
Wow! do you guys actually read the commentaries or just look at the pretty little pictures.
Hyuck! Look Myron...there's werds in them thar books...hyuck!
The pink bra cake was not for a "Daddy" (or a deddie) it was for "Debbie"!
They were just vicyims of a dyslexic cake decorator. - June 16, 2009 at 9:43 AM
@anonymous - vicyims? Really? If you're going to snark at other people, please make sure you leave nothing wrong on your own post.
- June 16, 2009 at 12:07 PM
Ok. I know I'm a little late on this one, I've been away for the weekend and just got home a little while ago, but this post was super ironic for me. June 15th is MY dad's birthday. He picked out his own cake, though. We just got a regular carrot cake (no jockeys. :( ) and he didn't have them write anything on it.
- June 16, 2009 at 12:10 PM
I also think that pink one is a bra or bikini top...I can't figure out why it would be on a cake for Dad...
- June 16, 2009 at 5:53 PM
Is it just me, or does the "Daday" cake look like a giant vanilla wafer?
- June 16, 2009 at 6:00 PM
My lady friend introduced me to this blog. She has good taste :P
- June 16, 2009 at 8:23 PM
"Daday" is the British way to pronounce it!
- June 17, 2009 at 5:14 AM
@ anonymous: who wrote: @anonymous - vicyims? Really? If you're going to snark at other people, please make sure you leave nothing wrong on your own post.
vicyims is a typo. The y is next to the t on the keyboard. Big difference there between that and not being able to read Jens posts and see that she had already pointed out the fact that Deddie was supposed to be Debbie and not a daddy cake (Hence the pink bra makes more sense and is not for a sex change) - June 17, 2009 at 11:30 AM
oh my goodness! carrot jockey tie? that's totally more like a bachelor party tie!
- June 17, 2009 at 9:38 PM
When I saw the cake for Debbie, I didn't read the caption below it that it explains it and thought it was for a dad. I thought someone's dad had a sex change and they were saying they were there to support him lol.
- July 2, 2010 at 12:51 PM
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It's Monday again and that means it's time for a new Mojo Monday sketch to kickstart your week! And this week we've got another fun sketch designed by Mary Fish to inspire us.
To play along, just make a project using the provided sketch and upload it to your blog or online gallery. Then leave a link to your project using the linky widget at the bottom of this post.
There is no time limit - you can always play any week at any time, but I will close the linking form on Sunday night at 8:00pm (Mountain). That way there's no confusion which linky is the current one. If you upload to online galleries, please use keyword/tag MOJO229.
For inspiration using this sketch, please visit our design team's blogs, which are the first 7 thumbnails on this week's linky list:
{Click the link above for the entry form. Please type your name or screen name in the Caption or Title field, then choose the link and photo you'd like to enter. Please link directly to your specific blog post with your card in it, and not your general blog url.}
Note: If you have trouble linking, try entering the link to your card, then choosing From File instead of From Web. Then just browse to where your picture is saved on your computer to get your thumbnail. Sometimes it takes a moment for your picture to show up after you've used the widget. If it doesn't appear right away, click the control button + F5 to refresh the images on the page.


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Interviewer: > Ele Carpenter Interviewee: > Gregory Sholette & Nato Thompson
Ele Carpenter: What was your political catalyst for getting involved in art activism? Gregory Sholette: Politically I came along on the cusp of the Vietnam War generation. I registered for the draft, but didnt serve. I moved to New York City in 1977, sharing an apartment with a woman who was then 81 years old. Her name was Sophie Sarah and she was born in Russia. She had a large apartment on the Lower East Side and rented out a room to me. Sophie was an amazing woman who was involved in the Labour Movement. She was a member of the Socialist Party in the US then joined the Communist Party when those ranks split after the Russian Revolution. She had an incredible history, and re-educated me about an American history I knew very little about. Meeting Sophie gave me an alternate analysis of history that was complimented by my studies with Hans Haacke, who was my professor at The Cooper Union. Initially I wanted to study with him because I thought he was still exploring natural systems as art. Then I discovered that he was doing politicised work, and at first I was opposed to it, I didnt understand why this work would be art. EC: Did you see that as a shift from the aesthetic to the political, or an integration of the aesthetic within the political? GS: I think I spent a lot of time trying to question the formal issues that related to art, probably far more time than was necessary, or was good for me. Like many of my contemporaries I tried very hard to look for other examples of work, not just Haackes, for different models of how to make art more political. EC: One of the questions in the Interventionist Manual was: What spheres do you find appropriate for your work? GS: Well, Ive come to England to lecture at the Courtauld Institute of Art and the University College London among other venues, so part of the answer is my effort at educating Art Historians as well as the public about this type of work and its history. Still, I try not to write in the vocabulary of high critical theory, hoping that younger people, will become interested, but also so that people dont keep re-inventing the wheel, or if they want to reinvent the wheel, they know the history. My own art practice is not generally interventionist: It tends to be more involved with making things - sculptures, short films, photographs - which means that I function in different and even contradictory roles or spheres of activity. EC: You talk about re-inventing the wheel in terms of practice. Im interested in the point of hybridity between art-activists and artists. Do you see hybridity as a building block towards social and political change? So that its not simply about re-invention or repetition but about building a network? Or is that too strategic a view of what might be happening? GS: I think its really The question. I spoke during my lecture today about Political Art Documentation / Distribution, or PAD/D (1980-1986) and building political networks was precisely what they were trying to do: to connect art-activists with activists who would actually rejuvenate, or put back together, a sense of unity or community on the Left. When I say The Left, I mean what was left over from New Left, May 68, the Womens Movement, the Gay movement, the Anti-war Movement, and the Civil Rights Movement. PAD/D sought to be the catalyst for unifying these scattered elements of political opposition, which I think was heroic but also quite misguided, both historically and from a political point of view. It was in fact the Right that was organising very concrete networks to create its own coup within U.S. politics, so that by the 80s the Left was completely collapsed as a political option. Why was PAD/Ds analysis mistaken? Because artists are not the vanguard of anything except aesthetics, politically they tend to borrow, replicate and mirror situations, not create conditions for lasting social change. For example, What is most interesting about these younger artists collectives and interventionist practices today is the way that they mimic institutional and organisational structures that we normally wouldnt pay attention to, including even corporations and how they operate within our lives. The Critical Art Ensemble reverse engineers flows of power, thus making its social effects manifest. YOMANGO overdoes the idea of life-style branding. The Yes Men develop exaggerated business personas. And perhaps, because neo- liberalisation has pushed out actual, public social institutions, you have a lot of new art projects that resemble archaic institutional models, false communities, bureau of investigation and so forth. As if a discarded realm now offers space for artistic occupation. The point Im making is that artists dont create political movements per se. They reflect on them, or perhaps in this case they are keeping a pilot light burning when there isnt much of a political movement happening, at least in Europe and the US. Perhaps this will lead to something? EC: I think that there is a frustration and disappointment with traditional forms of activism so artists and activists are being more creative in their direct -actions, thinking more conceptually about how they intervene in culture, and this is a tactical manoeuvre. So I wonder if artists are mirroring the activists or vice versa? GS: Its probably an impossible question to answer. But I think that both, to some degree, are mirroring the times we are in. The kind of entrepreneurial capitalism that emerged in the neo-liberal period is also interventionist. Consider the way interventionist artists typically consist of small groups, or cells, that are very mobile and tactical, not unlike the dot.com start-ups of the 90s whose business philosophy stood opposite that of the big lumbering corporations such as IBM. EC: Lets talk specifically about the Interventionists Manual and Exhibition. GS: I should make it clear that I had nothing to do with curating the show. Nato and I originally proposed to the Museum a more historical exhibition about activist art, which would include the work that I was showing you today (PAD/D, REPOhistory etc) and there werent too interested in doing that. So Nato went on to do the Interventionists and we developed the catalogue together instead. EC: Was there resistance from artists or art-activists to taking part in the Interventionists exhibition? GS: That would be worth talking to Nato about. EC: OK, perhaps I could also ask Nato about queries from funders. Particularly with the Steve Kurtz and the Critical Ensemble Case, were there any concerns? Nato Thompson: Theres a fundamental misconception that political art is somehow antithetical to art funding. The Interventionists exhibition was, in fact, quite easy to fund. The National Endowment for the Arts and other funding agencies switched a lot of their grants towards community and educational values, so the Interventionists exhibition fitted quite nicely. In fact, granting organizations were not that concerned about the political nature of the work itself. I did have some resistance from artists in participating and for reasons that I am quite sympathetic. There is always concern that, as opposed to producing a pedagogic experience, an exhibition only participates in occluding the radical potential of the work displayed. The anarchist collective YOMANGO were very specific that they didn't want their shoplifting bags to be fetishized as hallowed art forms; instead they wanted to present them as models for others to take advantage of. So we had free handout patterns for making one's own bag. An other group, whose name I can't reveal, were concerned that they gain a lot of social leverage out of not directly declaring their political agenda and so they decided to not be in the show. In terms of the CAE case, the funders didn't inquire whatsoever. There was obviously concern on our end, but the funders, no. GS: The Kurtz case happened as the show was going up. But I think that it is worth noting that when the FBI approached the director of the museum, Joseph Thompson, he didnt flinch or back down. He stood by the exhibition and the artists and that was really something given that since 9/11 we have seen so many cases of curators and arts administrators self-censoring themselves after being visited by federal agents or simply from public pressure. Let me add that the new printing of the Interventionists Manual book (the first batch is largely sold-out) also has a new introduction about the Critical Art Ensemble case. EC: Can you remind me what happened at the opening of the exhibition? GS: The FBI served subpoenas to a number of people who are either part of Critical Art Ensemble, or are associated with Steve Kurtz, in order to get them to testify before a grand jury. Assistant Attorney General William Hochul is doing all in his power to see Kurtz behind bars for some period of time, and the whole investigation is clearly purely political. (See http://www.caedefensefund.org) EC: Greg, do you describe yourself as a curator? GS: No, not usually, Ive done it occasionally for financial reasons. Even the show at the New Museum (Urban Encounters, 1998), was organised when I was briefly employed as their Curator of Education. Still, it wasnt really curating per se, and this is something some people criticised me for. I selected the artists groups, but then gave them almost carte blanche to do whatever they wanted within a certain budget and space, as well as following rough guidelines to do with representing historical influences. So that was my approach to curating. This would also be true for REPOHistory, where anybody that wanted to be part of the project could be part of it. We didnt ask for proposals, we didnt look at peoples artwork; we just collected artists, or better yet gave them an organized resource to work together on a project. EC: So would you describe your role as a facilitator of a collective effort? GS: Yes. I hope so, some of the time. EC: Im looking at the effect of new technologies on this whole area of practice. Nato, can you describe the significance of technology in the Interventionists Exhibition? Nato Thompson: In terms of technology, the show did highlight a lot of design work. The technology that lends itself to tent making was particularly present. Design itself embraces the utilitarian aspects that are endemic in much of the work in the show. We also highlighted the work of the Institute of Applied Autonomy who produce technologic interfaces for street protest and enhancing personal autonomy. However, there werent many web sites, and net-based work. They are difficult to display in galleries and my experience is, they don't benefit from gallery presentation: they are often broken and people can always check from home. EC: Greg - one of the questions in the Interventionist Manual was: How does technology function in your work and what is your relationship to technology? GS: It has been on my mind a lot, because when I arrived in the UK my computer crashed! I do a lot of work by email and hardly use the phone any more. Ive just set up a website which has a lot of resources on it. I also use movie making equipment and Photoshop in my artwork - so I would say that Im very dependent on digital technology. And clearly thats the case for a lot of artists - but not all of them. For example Critical Art Ensemble has said in the past that they didnt see any point in demonstrating in the street, and that they were working within the electronic frontier. But there was a very funny comment that someone from the Chicago-based artists group known as Temporary Services made when the incident happened with the CAE and FBI: there was a call for a demonstration in front of the court house, and TS found it was ironic that CAE needed people out in the street. You know it is complicated. EC: Are you involved with open source at all in New York? GS: Im not directly involved, but I do have Creative Commons copyright on my articles on my website. EC: Do you know of any relationships between open source and more performative activist groups in New York? GS: Im not sure. The Institute for Applied Autonomy and the Bureau for Inverse Technology (BIT) are both involved in developing software in an activist mode. I will say that the ethics of open source, if not the specific practice, is very common to most of the artists that Nato and I describe as interventionists in our book. EC: Theres been a lot of debate in England about the relationship between artists and activists using independent media and open source and free software, and how those dialogues and patterns work. Obviously theoretically there is a close understanding, but in a practical sense activism comes from a Luddite history of anti-technology, and a fear of technology being used to control. This is combined with a suspicion of the arts as a bourgeois recreational activity, so theres a history of a lot of conflict. The collectives that see the potential for collaboration are quite small, but very passionate and visionary, and are driving projects forward. But they are quite difficult to find out about, especially at an experimental stage. I dont know if you know of any similar projects in the US? GS: Im probably not the right person to ask; whilst I do have an interest in this, its not what Ive been pursuing in my research. But historically you put your finger on it - and its worth noting that the generation that I come from, the 70s and 80s, were, generally speaking, very suspicious of technology, to the point where the emphasis was on public populist forms of intervention, posters, graffiti etc. Using mainstream technology and mass media seemed to be fatally tainted to many of us, because the form itself was part of the problem. With a couple of exceptions, younger artists have steered directly into the Society of the Spectacle, finding ways of piggy-backing off the networks mass media has created, instead of outright rejecting them. (One historical exception to this generational reading in the States has been Paper Tiger TV, and Deep Dish TV, both of which got into using guerrilla media of various kinds as far back as 1980.) EC: Do you think that these practices have influenced interventionist practices? GS: Which practices? EC: Projects like BIT and the Centre for Applied Autonomy, and how they think about the potential of technology, such as how to subvert or hack into technology for tactical means. Or the way in which technology changes the way in which we think about communication (if it does?). I wondered if there is an influence of this work on interventionism? GS: Absolutely. A lot of Interventionists are committed to making work through the Internet or through other kinds of digital and analogue technology in the same spirit. But maybe theres more caution these days, the enthusiasm for the Internet and new technology has died down, and theres caution about the limitations of its initial promise as a new, electronic form of the public sphere. Geert Lovink, a co-founder of Nettime, has written about that reality adjustment in a particularly inspired way I think. EC: I think theres a shift in the UK, where people involved in new media and open source programming are adopting 60s and 70s ideology about working collectively, communally and collaboratively, where everything is open and gift economy. Coming to these ideas through technological structures, and taking them back into physical public space. So people like Heath Bunting and Kate Rich, who were once perceived as at the forefront of computer based new media art in the UK, are now working in parallel economies. Heath Bunting is making a recipe book of free food that you can find around the city of Bristol. Kate Richs Feral Trade project distributes coffee from a collective in El Salvador and sweets from Iran through friendship networks. They are articulating the same ethics but in a more pragmatic way, going back into a social sphere. And a lot of this kind of work seems to be about survival. GS: It is interesting to see how artists are taking on the role of re-creating social structures that are now gone or under extreme pressure from the forces of privatization. EC: I like your reference to Tatlins quote about not old, not new but necessary art, and Id like to apply that to technology: to describe necessary technology. The open source movement has a lot of rhetoric and utopianism. Ive just done a Mute Open Source workshop and I now feel quite cynical about it! Its not open at all, unless you are a high level programmer. But open source ethics are enabling different creative business and trade models to develop to the point where the practice is only marginally described as art. Do you have any examples of interventionist practice that have transferred entirely to the public realm? Where artists have given up the art context, or perhaps an art context is no longer relevant in defining their work? GS: I dont know if they have left the art context to be in a non-art context, they might never have really tried to become part of the art world in an indirect way. The Centre for Urban Pedagogy, based in Brooklyn in New York, are a good example of what you are after. They are primarily architects and urban design people with a few artists involved. They do make exhibitions, but they also develop workshops with younger people about re-envisioning urban space. I dont think that the art world has any interest or knowledge of this group. In the UK there is Lorraine Leeson, still unknown in an art context dominated by the yBa. In Austria Wolfgang Zinggl of the group WochenKlauser is now in the Austrian parliament. Some of this same disconnection with the Art context was also true of REPOhistory (1989-2000). REPO never really got much art world press, instead most of the press was from the mass media, such as The New York Times, The Village Voice, or Time Out NY and so forth. The few things that were written in art journals were by people involved in the group, including myself. EC: Do you feel that you have to write your own history? GS: Yeah, absolutely. I think you have to write your own history to some degree. Obviously there are disadvantages in that you have certain blinders on, but I do think that, under the circumstances, these histories will have to be written by people who are involved in making them. They are the ones with the knowledge of events for better or worse. Still, these alternative art histories are gradually becoming an area of interest for some younger scholars. EC: In the UK increasing numbers of artists and curators are moving into academia, doing PhDs as a way to write about and archive non-gallery, based practice, including new media and activist performance, sound art, in fact any non-object based practice. At the same time, socially engaged art practices have now become orthodox. If not at the activist end of the spectrum, but the need for public engagement of artwork within a wider public space, intervening with other discourse or popular forms, even if they are relational aesthetics situated in the gallery. I wondered if you had a sense of where things are going what you see as the new radicalism ? GS: I dont think that artists lead the charge when it comes to political change. Given the lack of any broad-based political movement at the moment, artists are not going to change anything by themselves. The art world though has always picked bits and pieces of things that it wants, to represent certain kinds of concerns, to show that its not out of touch with what is going on. At the end of the 70s no one was interested in social or political issues, but by the end of the 80s everybody was making political art. You could see art that looked like a formalist minimalist installation, and you would read the description and it would be something political the mind boggles. What we are going through now is a cyclical process. Its bubbled up from below and the art world eventually must take notice. Now I think its becoming more centred within the institutional art world because the art world doesnt produce anything - it has to capture it. And when it does, it tends to reify or ossify these activities. For example take Temporary Services gift economies in out-of-the-way places in Chicago and elsewhere. They are little known interventions not flashy or oriented towards the art scene. But inside the art world you have something that resembles relational aesthetics referred to as radical. But its not - it is an artwork, and its an interesting artwork, but limited to that world. EC: I agree that relational aesthetics operates first and foremost within an art economy. GS: What Temporary Services and other groups do is pretty much outside the art economy, and I dont think that the art world can completely take over those functions without dismantling itself. Once you really take seriously the idea that creative activity also takes place outside strictly professional legitimisation in museums and galleries, then you begin to undermine the whole logic of the commercial art world. (And that is really the only art world that matters today in the neo-liberal era. So, although I think that you are right - that it is becoming more orthodox, and will become more orthodox, or as Tom Franks has labelled it: an anti-orthodox capitalist orthodoxy. And it reaches back into the 60s as advertising agencies were already looking at the counter-culture to stimulate sales. Think of the way the VW Beetle was sold as a revolutionary hip means of transportation. Capitalism always recovers this stuff very quickly, but some things are difficult to absorb. EC: Thinking about the long term - what do you hope will be the political and social legacy of your work? GS: Personally my work aims to give this type of interventionist and activist art some degree of historical resonance as well as a way to read it that makes sense in a larger social and historical framework. But it is also a reading that critiques these practices, and is, in its own way, an intervention into the established notions of art history, which tends to reinforce the value structure of the commercial art market by guaranteeing certain names rise to the top like cream. Challenging that process is my ideal. Obviously, if I wish, I would like to see a very different kind of world, where people arent exploited, arent hungry, where people dont have incredibly meaningless jobs, walking around like zombies in shopping malls starring at things because thats all they really have in their lives etc. I dont know if you can lay all the blame on capitalism per se, but certainly questioning the way that operates has to be part of it. EC: Everyone agrees that they want some level of change? GS: Not everyone. EC: OK some people are quite happy with the way things are. But I think a lot of people would like change but they dont think its possible so they give up. They dont feel that they have any political voice or rights, or capacity, so they cant engage, and devoid any responsibility for change. Its a mass condition. Talking about revolution, another of the questions in the Interventionist Manual was: Can there be radical art without revolution? GS: That was taken from my essay. EC: Thats right - and you said yes there could be radical art without revolution because art wont lead a political movement. GS: I think we can call it radical art in its intentions, even if its actual ability to be radical is probably very limited. I think I ended my answer by saying that you cant really expect a revolution but you have to keep trying. EC: But Id like to turn that around and ask you: Can there be revolution without radical art? GS: Yes, I think there could be. EC: Well, Id like to disagree, because art can change the way in which we perceive culture and cultural values, and that transformation is essential, and needs to take place at the same time, or before, revolution can take place. The problem with radical politics is that it falls into party politics and is instantly polarised, whereas art can deal with cultural complexity. Of course issues of sustainability are economic but they are also cultural. GS: But the question you asked me was: can there be a revolutionary situation without radical art? - Not whether the kind of revolution that we would like to have happen, could take place without revolutionary art. That is a different question. EC: Maybe radical art is not a condition of revolution, but part of the process? GS: Maybe, but Im not sure that art needs to be there, even if of course I hope it would be there. Lets not forget that radical art has played roles in revolutions that we dont particularly care for. Mussolinis Fascism had a very radical art movement associated with it, as did the Bolsheviks . At least some of the art was connected to that cultural violence. The Serbs Epic Poetry is lovely to listen to, until you realize that its about slaughtering Muslums. Even the Bolshevik revolution had lots of problems some of it amplified by the artists. The relationship of art to politics is just a lot more complicated than saying culture is always a good thing, and that its absence is unforgivable. EC: This is where preventing art from becoming simply a tool, or a representation of a political movement is really important. And these things have been heavily resisted by contemporary artists getting involved in activism, because traditionally the activist movement uses art as an illustration, or simply as a tool, without engaging GS: I dont know how many times I have been involved in political organisations and when I said I am an artist what can I do? they would say make some flyers for us. As soon as anything more interesting was proposed the activists just didnt get it. Still, I think its much better now in the era of counter-globalization politics. And, as you say there are many activists who recognise the political value of cultural tactics. EC: And you can say the same things about technology. GS: Absolutely. EC: Nato Thompson described artists as tool providers. Are you aware of any artists open source tools or projects in the Interventionist exhibition? GS: The Interventionist Manual enabled us to promote the idea that you can do this too. And the interest in the amateur, DIY, and tactical media, runs through a lot of the work. The whole thing about tools is complicated, because of the art world and the notion of aesthetics that comes to us through German Philosophy. Theres one idea where any functionality or usefulness in art is considered a lesser aesthetic: Kant for example considered architecture a minor art because it was always in the last instance functional and therefore not capable of producing a transcendent aesthetic experience, so there was traditionally an artistic hierarchy. (We still see this hierarchy expressed in the way larger survey museums such as the Metropolitan Museum are organized.) So today the battle line today is over this question of artistic purpose in society: 1. Is the art object autonomous because it has no function, or 2. Because it seeks to be reintegrated with the life world and no longer perceived as art? Whats ironic of course is that those kind of function-less art works - Modernist artworkshave become utilitarian objects for capitalism in a very overt way. Seemingly neutral Modernism became the culture of post-war western expansion. So this whole notion of instrumentalism is a tricky one. There is something to be said for the notion of autonomy both in its political sense in that you can separate yourself, and say ok - I can function without command from above, I can determine my own future, and also some notion of aesthetic autonomy, which should be looked at carefully now that it is largely disappeared and not simply disposed of. EC: I think thats right, and its a brilliant point to end on. Ends.
architecture activism installation media art design time space interface open source software tactical media collaboration sound art press funding education museums lag networks race
Ele Carpenter Gregory Sholette Nato Thompson


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Best Tarot Reader Phone Call in Fountain Valley
Tarot reader in Fountain Valley, CA offers you a cheap psychic consultation by phone
I am a Tarot reader in Los Angeles who has been practicing for many years and I have been able to help many people during this time because of my innate gifts for clairvoyance. It is impossible to have a perfect life without any obstacles or pitfalls, as I have seen over the years. So it is possible to need a little help from time to time to keep moving forward in life and be able to make the right decisions. This is where I can help you because using my tarot skills, I will tell you what the tarot cards and other decks are telling me about you and your life. I am able to answer all your questions on various subjects such as your love life, your professional life, your financial life and also see what is blocking you. During a cheap clairvoyance consultation by phone in Fountain Valley, I will guide you on the right path to allow you to blossom in your life.
A reputable tarology practice in Fountain Valley to help you make the right choices in your life
I know and do tarology for a very long time because it is for me the best divinatory art and the cards do not lie. It is enough to understand them and to know how to interpret them well to have an exact vision. But for all that it is not improvised and it took me many years to be able to understand and master totally the tarot decks because there are many of them which can be used during a telephone tarot reading in Fountain Valley, CA. In addition, one must be able to interpret the various combinations of cards to get the most accurate reading possible. Over time, I have been able to work tirelessly to improve my natural clairvoyance and fortune-telling skills so that I can really help you by giving you a very clear and precise answer.
Afterwards, it is up to you to make your own choices because I cannot decide your life for you. I am here to guide you, to help you and then it is up to you to make your own decisions. My only objective when I do a telephone psychic consultation is to tell you the whole truth even if I know that in some cases it can be very painful. But if I can have such a reputable in Fountain Valley tarot practice it is for the simple reason that I don't cheat on you. So if you are wondering about your future, it might be good to see a little more clearly and to do so there is nothing better than to dial this cheap phone number so that I answer you without waiting.
An accurate clairvoyance by phone thanks to the tarot cards
Few people know that the Tarot cards is a very precise and accurate divinatory art as long as you know how to use it and that you are able to make a good interpretation of its cards. Almost all tarot readers and other clairvoyants use this art of divination because it is very clear and precise, which is essential when you want to help a person as precisely as possible so that he or she can flourish again. It is an ancestral deck of cards that is known throughout the world and has also been modified to create other decks of cards for tarot reading. In my Tarot practice in Fountain Valley, I use it as often as possible when I do a phone consultation because it allows me to really help you. So if you need an answer, it couldn't be easier because you just need to dial the phone number to get a quick and cheap clairvoyance consultation.
Reputable tarology firm in Fountain Valley to consult by phone cheap answers your questions
Don't think that I could have become an in Fountain Valley, CA tarot reader with such a great reputation without putting in some effort and without spending hours working on my innate clairvoyant skills. Indeed, it takes a lot of time to be able to do pure clairvoyance because even if I have a real natural gift for it, it is necessary to be constantly in work because I can always improve in order to help you the best possible. For me, it is essential to bring you answers which are the most precise and the most sure in order not to mislead you.
I am able to bring a solution to all your requests by using a different tarot deck as for example the tarot of love for all the questions on the sentimental life. Indeed, I realized through my consultations of clairvoyance on the phone that all the questions relating to love, the life of couple came back unceasingly. I think that we are all looking for some form of happiness and stability in our emotional lives and that is why some people need help. That's where an in Fountain Valley tarot reader like me can come in because I can tell you the truth about your love life.
I answer every day to many women and men who are in doubt in their love life. These people just need a little help to move forward and find the key to happiness. So if on your side you are asking yourself some questions such as "Is my husband cheating on me?", "Is he the love of my life?", "Will I meet the right person?" or others, I can help you to find the answer and especially to make the right choices at such an important moment of your life. For this, do not hesitate any longer to ask for a cheap consultation by phone at my tarology office in Fountain Valley, CA.
Find answers to your questions by consulting my tarot practice in Fountain Valley, CA
I think the worst thing in life is to have questions and not be able to answer them because it stops us from moving forward. For me, it is essential to know the truth all the time and also what I can do to find my way. I am not going to make you believe that it will be simple and that it can be done in a snap of the fingers, but what I can assure you is that it is the one and only method to be happy. Besides, if I do clairvoyance by phone, it's for this reason, to allow you to advance step by step towards happiness. I know with my great experience that this can be sometimes very complex but you must keep in mind that it is to have a better life that corresponds more to your expectations and your desires.
I must also warn you right away that I am not here to decide for you but just to enlighten you on your life by bringing you answers thanks to my innate gifts for clairvoyance and tarology. Afterwards, it is up to you to decide what you want to do by taking into account my predictions or by doing nothing. But frankly, I don't believe for a second that you will take the second solution because why would you come for a phone consultation with a tarot reader in San Francisco if it is to change nothing in your life.
I recently had a phone consultation with a woman who was totally lost in her relationship. In addition, her worries were also affecting her work and family life because she didn't know what to do. From the beginning of our telephone consultation, I saw what was preventing her from moving forward. This person had a problem that was related to her past and even though she thought it was resolved, it was not. So I told her the whole truth so that I could help her make the right choices to get back to a more harmonious love life. By explaining this to her, I was able to help her and show her the way to follow, but without deciding for her. Some time later, this woman contacted me again to give me some news and to tell me that thanks to my innate gifts as a tarot reader in Fountain Valley, I was able to help her make the right decisions. I know that now she finally has the life she wanted. It's because of stories like these that I continue to practice telephone tarot reading because I want to help you all the time. If you are feeling lost, don't waste time to come and consult me.
Take your destiny in your hands with a cheap clairvoyance over the phone
I think you have understood why I continue to use my clairvoyance skills because I have plenty of time to come to your rescue and show you the right way. But I know very well that many people do not believe in clairvoyance, fortune-telling and other divinatory arts. This is something I respect because we are all free to lead our lives as we wish. However, I will say it again, I am not here to make decisions for you but just to tell you what the tarot cards show me.
I do tarot consultations by phone in Fountain Valley for the simple reason that it is faster. Indeed, when you have a question, you don't want to have an answer in a week or more but right away. So by dialing the phone number of my tarot reader's office in Fountain Valley, you will be put in contact without wasting time and consequently you will have the answer that you seek without having to wait. This is the most important point in my opinion, because otherwise you will spend all your time moping and having negative thoughts. With me, in a few minutes you will know what can be done to solve your problem.
Phone consultation for a quick answer
Moreover, I think that thanks to the consultation of clairvoyance on the phone, I will be able to help more people because for what reasons should I bring answers that for people being able to move in my office of tarot reader in San Diego. I have been doing clairvoyance and tarot reading for so many years because I want to be able to help as many people as possible. So I tell you, if one day you need a little help in your life, you can count on me and on my tarology gifts that I put at your disposal.
I believe that by reading these few lines, you will know a little more about me and why I use my natural gifts as a clairvoyant and tarot reader in Fountain Valley. Finally, I leave you with some opinions of people I have helped and who have managed to find the solution to have a more beautiful life. Your life is yours and it's up to you and you alone to decide what you want to do with it. So why should you wait to have a cheap consultation with a tarot reader in Fountain Valley.
Review of my cheap tarot card consultation by phone
Very good! Nothing to complain about! A real pro!
I must say that I am really satisfied with this tarot reader who was able to tell me with the greatest precision what I wanted to know. I have been consulting psychics and others for quite some time now but there is not a single one who has been able to help me as much as this one. In addition, I find that the fact that the consultation is by phone allows me not to have to wait which is very good when you need a quick answer. I recommend her because she is the best tarot reader I know and she is also the cheapest.
Thank you for your predictions!
This is a tarot reader who deserves to be consulted because you immediately feel that you are dealing with a real pro with cards. I am very happy to have had this clairvoyance consultation because it opened my eyes on many things. Now I can see more clearly in my love life and it allows me to finally be able to move forward and make the right choices. I am a fulfilled woman again. If you have any doubts about your life then don't hesitate to do a tarology consultation or other with this clairvoyance agency.
A high quality tarot reader who has a real gift for tarot
I must admit that I hesitated for a long time before deciding to call this tarot reader because to tell you the truth, this is not my cup of tea and I didn't believe in it much. But a friend of mine more or less insisted that I take the time to listen to her on the phone to see what she had to say. Anyway, I was free to do whatever I wanted with her predictions. I was more than surprised by this phone reading because without me saying anything to her, she knew the reasons for my call. I must admit that I was really bluffed by her gifts of clairvoyance which moreover does not stop at fortune-telling. In short, an extraordinary moment that taught me a lot about myself and my loved ones. I recommend her with my eyes closed.
My first telephone psychic consultation was very successful!
For some time, I didn't really know where I was in my love life but also in my professional life. In short, it was unbearable and the most serious thing was that I didn't really see how I was going to get out of it because I couldn't find any solutions. I had more than doubts about my husband's fidelity and my job didn't really suit me. So I decided to do a phone consultation with this tarot reader. I was rather skeptical but at this point, I wasn't risking much. This clairvoyant cleared up my life and allowed me to make the right decisions in all aspects. I was finally able to get my life back on track and this would not have been possible without her invaluable help. Thanks to her tarot card reading, she was able to answer my questions about my relationship with the utmost precision and I was able to do what I should have done a long time ago. Now I am finally moving forward and my mind is free and relieved.
Cheap and very talented tarot reader
I can say that this tarot reader is very professional and if you are looking for one then there is no need to go any further. After my phone tarology consultation, I realized that I had to get my life back on track as soon as possible because my problems were coming from me and not from others as I claimed. I had a veil in front of my eyes and this was preventing me from moving forward and above all I was ruining my life as a couple. So I listened to the precious advice of this clairvoyant and it's the best thing I've done in a long time. Don't hesitate to call her if you need help.
Real gifts for tarology and the consultation is not expensive
I am a woman who loves all the divinatory arts in general and has done so for many years. I consult very often because it allows me to get help even if I am the only one to decide. But I have to admit that I have never had to deal with a tarot reader so gifted and so precise in her predictions. I'm sure she will also be able to help you see more clearly in your life if you need it. Plus, considering the low rates, it would be wrong to pass up on her.
The top for an accurate answer with this tarot reader
I've been going through a lot of ups and downs in my relationship over the past few months. I was always questioning my husband's love and I was getting ideas about him. I wanted to be sure, so I decided to consult this tarot reader because she does telephone consultations and I find it more convenient than having to go to a psychic office. In a very short period of time, she was able to bring out what had been wrong with me for years. I was able to solve this problem which is very old and which blocked me. I am finally back on the right foot and I can finally enjoy all the moments with my husband, my children and my family. This would probably never have happened without the extraordinary help of this tarot reader. You can contact her right away because she will be able to help you and put her tarology gifts at your service.


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