Who doesn’t have at least ten different sides to their personality? Hell, I’ve got a minimum of ten and according to my cab driver a few weeks back (in his obviously very tainted experiences), as a Gemini I should have at least twenty-five more. No no, this isn’t a final admittance of my craziness (stay tuned!); this is a celebration of multifaceted personalities.

If you’re a Millennial (also known as Generation Y, Generation Next, Net Generation or Echo Boomers) you likely grew up with the ingrained knowledge that you could: do, be, think and wear anything you wanted —Generation Y/Next/Net/Echo Boomer/Millennial babies have options! We’re a generation of chameleons who are ever-changing and always looking for new modes of self-expression. This is probably one of the reasons why people have been drooling over the one-of-a-kind jewelry pieces from Montreal’s Machete Designs.

Machete Designs is a celebration of multifaceted personalities and self-driven entrepreneurial spirit. Owner and designer Avril-Maud Giese is the bubbly and business-savvy force behind Machete, whose unique necklace designs reflect her clientele’s desires, as well as her own, for self-expression. “Like everyone else who considers themselves human, I have different sides to my personality and each collection is a representation of one of them. I can be tough chick and rock a gun pendant one day, then wake up the next morning feeling like Pocahontas and wear a tribal looking feather piece!” she says. “Today we have the luxury and ability to dive into our indulgences and express them freely. Machete Designs is here to help you accessorize your outfit by celebrating your individuality.”

A mere infant in Montreal’s entrepreneurial community, Machete Designs celebrated its one year anniversary last month on April 17. For only having been on the scene a year, Avril is doing incredibly well with six collections to date and her next one soon to be launched. Her latest line, The Chandelier Collection, are stunning statement pieces featuring crystal pendants salvaged from antique chandeliers, natural raven and rooster feathers, and semi-precious stones.

“Everything I do is one of a kind. Sometimes it takes me literally months to gather the supplies needed to create a specific collection. The Chandelier Collection is a good example. The crystals used are from the 1940s and required several trips to New York City, countless hours of traveling, antiquing and bargaining. I’m currently on a wild goose chase for the supplies I need for my Winter 2011/2012 collection and the summer collection I am about to release has been marinating in my mind and studio for over five months.”

Avril names and designs each collection according to theme, such as The Jurassic All-Stars collection, featuring tiny hand-painted glass dinosaur pendants, and the Protect ya’ Neck collection, showcasing high gloss varnished toy soldiers. Raised on a tiny island, Avril says that traveling is a big part of her family’s tradition and she’s been collecting quirky trinkets from antique shops and street vendors forever. “Some of my favourite digging and antiquing was in Moscow, Paris and Guadalajara but not everything is vintage. I like buying directly from artists and street vendors. I can relate to them, and honestly, a lot of us start by just setting up on a street corner. Although having a logo and a boutique is regarded as professionalism, it’s not necessarily reflective of true talent.”

Although she took a course in casting silver, Avril is a self-taught designer and entrepreneur, but she doesn’t dismiss the value in learning from professionals and says she plans to take many more courses and learn specific techniques. “I also think that Montreal is a great city to start in. After living here for six years, I have a network of creative friends and acquaintances who never stop setting the bar higher and higher, making you have to jump higher in order to keep up” she says. “There is a big sense of community between artistic entrepreneurs in Montreal and you can easily become part of it if you try.”

The passion and hard work that fuels Machete Designs is evident in each one of her innovative and beautifully crafted pieces.

Her collections are available for purchase online, and at the following locations in Montreal:

Lustre Boutique: 4068 boulevard St-Laurent
Fuzion Boutique: 4298 St Denis
Raz Berry Boutique: 1841 Ste Catherine O
Boutique 1861: 1861, Ste-Catherine O
Galerie Zone Orange: 410 Saint Pierre
Three Monkeys: 1455 Peel St. Les Cours Mont Royal, Suite 207

Photos courtesy of Machete!

“An intoxicating performance which explores through readings the fictional portrayals of the city of Montreal by some of our most well-known and provocative writers.” – bluemetropolis.org

The Blue Metropolis International Literary Festival is in full swing until Sunday May 1.  With an incredible amount of events featuring world-renowned and locally-grown authors, it’s an overwhelming task trying to plan your weekend’s schedule. A sure way to hear an assortment of excerpts from a variety of Montreal writers all at once in a single location, is to attend Imagine Montreal this Friday, April 29 at the Holiday Inn Centreville.

Put on by Rover Arts and the English Language Arts Network, Imagine Montreal incorporates ten Montreal actors and the band Sweet Mother Logic, as they present dramatic readings of passages from novels and stories by 24 Montreal writers who are part of this year’s Blue Metropolis International Literary Festival. Created and directed by Rover Arts publisher Montrealer Marianne Ackerman, these staged readings intertwine with each other to create a fictional narrative of Montreal as a city reborn. The official press release states, “Taking off from the Referendum of 1995, Imagine Montreal follows the evolution of Montreal from a downtrodden, conflict-weary city to a lively meeting place of cultures, ages, attitudes.”

What to expect from Imagine Montreal? Just to give you a taste, it begins with passages from John Brooke’s Last Days of Montreal, presenting the city’s grim and gritty state during the aftermath of the Referendum. Passages from Claude Lalumière’s This is the Ice Age and Louis Rastelli’s A Fine Ending “capture the crazy days of our downtown apocalypse, in retrospect, a darn good party.” The narrative progresses, weaving its way through strangers’ lives and connecting them together, until “eventually the town enjoys a break-out” in David Homel’s Midway, Gail Scott’s The Obituary and founder and artistic director of the Blue Metropolis Literary Festival, Linda Leith’s The Desert Lake.

The first embodiment of Imagine Montreal took place this past November at the Bain St-Michel to positive reviews. This Friday will see a different concept, a revised script and a new cast of local actors. Stick around for the after party to kick-start your literary-fuelled weekend!

Show starts at 8 pm in the Dahlia Room at Holiday Inn Centreville (Metro Place d’Armes).

For tickets call 514-790-1245 or visit bluemetropolis.org.

In less than 48 hours, the long weekend will be raring to go, like your overly impatient father circa 1994, who just wants to get the road trip started and doesn’t care that you left behind your favourite teddy bear. So tape your fragmented freedom back together, because you’ve got at least three days to enjoy the fact that Monday morning is a foggy blur at the other end of the Canal. You have all day Friday to sleep in, rest up and re-fuel on Redbull because you’ll definitely want to be at Cabaret Playhouse Friday night to party with Four Minutes To Midnight, as they celebrate the launch of their eleventh issue.

Four Minutes To Midnight’s eleventh issue is a dual publication, featuring  Happy Hour, the final collection of work by American Poet F.A. Nettelbeck (1950-2011), illustrated by Sophie Jodoin; and  Fugue XI, an epic typographic cut-up poem edited by John W. Stuart, Kevin Lo, Hillary Rexe and Sara McCulloch.

The launch gets underway this Friday, April 22 at Cabaret Playhouse (5656 Ave. du Parc) at 9 pm. Spoken word artists  Moe Clark and Vincent Tinguely will kick things off by reading a selection of Nettelbeck’s poems, as well as performing their own work. Once the crowd is buzzing with the power of poetry, Montreal rock trios  Nightwood and  The Lindbergh Line will electrify the room with riveting riffs and blood-pumping vigor.

Founded in 2004 by Kevin Yuen-Kit Lo and John Stuart, Four Minutes To Midnight is a Montreal-based literary arts zine that publishes a spectrum of works bridging poetics and politics. Now, if overwhelmed with ambition, one could probably build a cloud grazing tower constructed solely out of Montreal-based zines, but Four Minutes To Midnight undoubtedly stands apart from the rest with its art-strewn pages, innovative typography, creative graphic design, experimental format and social awareness.  The press release states: “Based in the firm belief that the personal is political, the zine explores the possibility for small stories, ‘bad’ poetry, vast dreams and private pains as a means of advancing social change.”

Four Minutes to Midnight also acts as a platform firmly rooted in Montreal’s community arts scene. Come out Friday and celebrate the life and poetry of F.A. Nettelbeck, while supporting the local independent art and publishing community.


Cover is $8 at the door, or $15 with a copy of the issue.

“I’m pretty burned out on meat poetry or street poetry or poetry of the down-and-out, whatever you want to call it, because so much of it is bullshit; bogus motherfuckers who never shed blood… but Happy Hour is the real thing. Stark precision. It’s stripped down, bare bones authentic.”

“if Jesus wouldn’t do it /there must be something to it”

St-Henri is resonating with the raw energy of a burgeoning scene. An impending volcanic eruption of creative gusto, hip boutiques and cozy cafes, St-Henri is on the brink of becoming Montreal’s hip new borough. I love that it’s a westward valley laying low beneath the overdone hype of Mile End. It’s a picturesque little hub with a strong neighbour vibe, where Mom and Pop diners still serve all-day breakfasts next to new-wave bistros with harvest menus. It reminds me a lot of Halifax’s North End neighbourhood, where, just like in St-Henri, gentrification is painting vibrant shades over faded colours.

Along Notre-Dame, tucked into a tiny storefront, is one of the neighbourhood’s coolest boutiques. Perfide is a gem of a discovery, a tiny closet sized space bursting with spunky stuff. It’s comparable to visiting a friend’s apartment for the first time and realizing they have an edgier wardrobe, artsier things on display, better music playing, and basically just a way cooler life than you do.

Perfide is located at 4217 Notre-Dame West and co-owned by Julia Ponsford and José Bernatchez, two of the most creative people I’ve met since moving to Montreal. They seem to have a fluid stream of projects in motion, in creation or in the back of their minds at all times, and Perfide mirrors their artistic interests. The store sells an assortment of merchandise, the majority of which is made in Canada, and features some well known Montreal designers such as Elaine Ho, Supayana, Ruelle, The Pin Pals, Velvet Moustache and more.

Julia Ponsford, co-owner of Perfide and creator of SweetMeat

The first time I stumbled into the shop, I was overwhelmed by the vast amount of stuff packed into such a small space. Books on fashion, books on mural art, the entire Juxtapose series, The Disposable Skateboard Bible, Cara Carmina’s wicked cool handmade dolls, super cute locally designed iPhone cases, a slew of Demeter fragrances (I don’t know about you, but I’ve always wanted to smell like crayon), funky jewellery collections, pillow creatures, tote bags, t-shirts and more, more, more including Julia’s own line, SweetMeat.

Julia’s designs are bold, edgy and original, often with strong silhouettes and innovative features. And for the most part, when you buy a piece from SweetMeat you’re the sole owner. “I started SweetMeat in 2009, largely creating one-of-a-kind garments. I’m not very interested in doing mass production, creating the same garment over and over again bores me to tears, so the most I’ll do of one style is three” she says. “My clothing line is all about individuality. I want to give people unique clothing options at an affordable price. I’m constantly changing and evolving my designs depending on how I feel and what’s going on around me, and what I want to wear at the moment.”

Julia’s a completely self-taught designer. “I never went to fashion school, so I learned by myself with a lot of help from the internet and lots of experimentation.” It’s too easy to be cocooned by feelings of incompetence or inability that are detrimental to, ahem, getting shit done, so it’s motivational to realize that hard work breeds talent—something that everyone’s capable of.

SweetMeat design for mini collection

Julia and José have a website, vachemorte.com, which features their own video and audio projects (check out some of their short films and documentaries), as well as collaborations with different artists. “I’ve created clothing for some short films that we did, and I recently did a mini four piece collection for a collective portfolio video with our friend, hairstylist Kathy Simon of Mekka System.”

“The video depicts a tea party in space. The clothes have some Victorian influences mixed with some modern trends, I’m very proud of it. It was shot and directed by my boyfriend José Bernatchez. I love working on projects like this because the clothes don’t have to be practical at all, and it gives you the ability to create a world that doesn’t exist and bring it to life.”

Although SweetMeat is primarily clothing at the moment, Julia also designs jewellery and has taken up knitting and crocheting, slowly adding accessories and different pieces to her collection. Aside from Perfide, SweetMeat can be purchased at General 54 (54 St. Viateur W) or online.

Perfide, 4217 Notre-Dame West, open Tuesday to Friday 11-6, Saturday and Sunday 12-5.

Julia Ponsford is pictured above, along with the one model wearing SweetMeat designs featured in the collective portfolio video.


The end of the week is nigh
And you need a drink of rye.
So head Next Door,
For art and more,
I urge you to give it a try!

Okay, so this may be a feeble attempt at a limerick, but vital information is hidden within its silly lines! The end of the week IS nigh (okay, near) and Friday night is looking up. Tomorrow night at 9 pm, neighbours, strangers and friends will be heading over to Next Door Bar in NDG to admire the photography of Megan Moore. At her first professional exhibit, Megan will showcase twelve selected pieces from a recent trip to England, where she travelled with her family to scatter her grandparents’ ashes.

Although the exhibit is somewhat too limited to have an official title, Megan told me “I would have wanted to call it ‘all this unused life’ which is something that my grandmother wrote in her journal she left us after she died. The whole thing is really in honour of her because she loved England so much (it’s where she’s from) and she wanted to spend much more time there than she did.” The exhibit will mainly feature pictures from the seaside town of Dover, where the ashes were scattered, along with a few pictures from London.

All of Megan’s photographs will be mounted onto wood, printed on fine art paper and framed in handmade wooden frames. Photographs are available for purchase at $80 each. Prints will be available for order at various prices, depending on size and selection.

After all photos have been appropriately admired, the classier part of the evening will turn itself over to a feet stomping, beer drinking, rowdy ‘ol time. Music duo Cab will take the stage at 10:30 with their soul-mending blues, folk and country tunes, carrying the evening’s festivities onward!

With so many amazing artists in this city, exposure, promotion and local support are important elements for their success! By supporting local events, you’re helping our artists create sustainable careers and produce profitable art.

See you next door!

Vernissage is Friday, March 25 at 9 pm @ Next Door Bar
Photos by Megan Moore

So we’re talking beauty, eh? I’ll tell ya what’s beautiful: a vernissage. It’s a word I’d never heard before moving to Montreal, which isn’t all that surprising since french kissing is about as French as we get in Halifax. Sure, I’ve been to opening nights at art galleries before this year, but “opening night” lacks all the glamor and excitement that vernissage conveys. While opening night conjures up images of velvet curtains and stage fright, vernissage is equated with such beautiful things as free wine, tiny h’orderves, crowds of art enthusiastic and bite sized cupcakes with fluffy strawberry icing!

Tuesday night found me amidst a variety of interesting art forms, an electric crowd humming with energy and some really adorable pink cupcakes (so trendy). The vernissage for Beauty in Obsession at Galerie Rye was in fact, aesthetically pleasing. The title of the exhibit caught my eye when I was checking out the Art Matters website—we’re constantly slapped in the face by societal concepts of beauty, our own definitions of beauty, and our own unachievable beauty ideals and obsessions.  The concept behind this exhibit was to “engage our pursuit of beauty while displaying the aesthetics behind the artists’ obsessions in their artwork, questioning our obsessive nature and the potential beauty in it.” I got a chance to talk to some of the artists about their works, as I took in the variety of subjectively beautiful art that the exhibit presented.

When I saw a bunch of zines hanging from the wall I got really excited (I have this weird love affair with zines). Kelly Pleau was the mastermind behind these mini zines, entitled Montreal Beauty Marks. I started to flip through one, and it took me a minute to realize I was looking at a magnified image of someone’s forehead zit. A zine of zits—genius! I mean face it, everyone gets them so why not celebrate the little bastards! Kelly told me she was inspired by Iain Baxter’s zine, Vancouver Beauty Spots. She said the cover looked to be a landscape and, given the title, she thought it might be a compilation of Vancouver’s most beautiful areas. Then she realized she was actually looking at an up-close photograph of porous skin, and instead of flora the zine was celebrating beauty marks! I found Kelly’s display to be a refreshing take on beauty—and a really fucking cool idea.

Although she had left before I had the chance to chat with her, Julia Waks’ work, The Good News and The Bad News, was another eye catching display. Four rectangular wooden boxes hung from the wall with pink tulle and tubes of red and pink lipstick around the edges. Fabric, ribbon, lace and disassembled lingerie slathered in pink and cream paint covered the canvas surface of each box. I thought the torn fabrics and savagely slapped on paint was an interesting contrast to the soft, girlish colours. The lipstick tubes were especially pertinent, seeming to represent societal ideals of beauty and the idea of beauty as a performance.

Jeffery Togerson played with the idea of gender as performance through his enlarged photographs. He asked four of his friends to pose as pin-ups to echo pop culture iconography, and for each friend this meant something different. He pointed to one of his prints and told me that it was a female friend who was posing James Dean style, while another male friend had an elaborately made up face of makeup—linking together the concept of gender as a performance and beauty as a performance. Ah, smart art!

A stunning charcoal portrait drew me in with alluring eyes that were so realistic I actually couldn’t look away. The portrait was done by Sara Antis on gold wrapping paper, and slightly snipped and ripped with scissors. Sara told me how she thinks the solitary gaze of a portrait doesn’t need to be explained or deconstructed—it just is, and in its simplicity lays its beauty.

Beauty in Obsession is an amazing collection of student art that runs until March 19 (last day for Art Matters)…you’ve got a little bit of time left so if you haven’t checked it out, GO! Also, starting April 1 Galerie Rye presents HIP! Portraits of Cool, a collection of counterculture portraits by Canadian photographer Art Perry. Ranging in hipness from Lou Reed (so damn cool) to Patti Smith (LOVE) to Nick Cave—even to Princess Di—this exhibit promises to be awesome.

Catch the vernissage on April 1 from 7-11pm…oh man, here’s hoping for bite sized cupcakes! Galerie Rye is located at 1331A Ste. Catherine Est, a few steps away from Beaudry Metro.

Photos by Hania Souleiman

It was another rain drenched evening. A small ocean of acidic slush formed between me and everywhere I needed to go, while threatening to spill into my impractical ankle high boots at every wrong step. With an hour until the gallery closed, I waded through Rene Levesque towards VAV Gallery to check out the last night of DEFACED. Rather appropriate that when I finally got to the gallery and caught sight of myself in the mirror, my makeup was a rain splattered mess of mascara splotches and foundation drips. Defaced.

Through photographs, video and instillation, DEFACED focuses on obscured or hidden subjects’ faces in order to reinforce the presence of body and identity. Oscar Oliver’s inkjet prints, titled Das Ed/Id stood out stark and strong against the bright white walls. Using the same male subject, each of the eight portraits shrouded the model’s face through various means. The first print featured slabs of raw meat draped across his face. Another print showed his head completely wrapped in gauze. In another he had wire wrapped around his head, like someone is about to paper mache him, and the print after that featured snippets of wet black hair—like the pieces that fall to the floor during a haircut—placed sloppily all over his face. Bawh. It’s only in the last portrait that the subject’s face wasn’t completely obscured, except for wire imprints and left behind scratches.

One of my favourite artists was Zoe Koke. Her three photographs titled Tell Me Yesterday, showcased one female model and was primary focused on the body, based in a living room setting, and hosted an antique couch as the prop. The model wore a bra and panties in each picture, showing her bare-skinned silhouette and hiding her face from view. In one portrait you could only see her head, although her face was obscured by a bright blue wig. What grabbed my attention and kept me in front of the photographs was that “lazy afternoon” vibe I felt from it. Koke captured a sense of bored playfulness, in one image as the model was draped over a couch and her legs were flat against the wall with her back on the couch in another.

Washed Up was another triple photography display showcasing the same nude female model. I found it particularly striking because in each picture the model was dropped into a city setting in a vulnerable pose. In the first photograph, she was curled in fetal position in a glass-windowed hallway. The second showed her huddled face down in an open grassy area, like a discarded baby alien dropped from the Mothership. In the third, most stunning, image the nude female was laid out in a gracefully exposed position—breasts facing skyward, arm behind head—in the middle of a damp concrete walkway, with street lamps illuminating puddles.

Erik Naumann showcased an array of vivid photographs with his piece The Rainbow Team. He displayed girls dressed in vibrant Harajuku fashion from the waist down. I was absorbed by the details of each outfit, the vivid colours and the way their feet were posed—a rare focus of a photograph!

Obscuring the subjects’ faces lets you view the photographs in a new way. Instead of being guided by facial expressions, you become more aware of other aspects—like a sepia colour scheme, or an antique couch—that also work to evoke emotion.

We all experience art differently—if anyone else went to see this exhibit, I’d love to hear what you thought of it!

Top Photo by Cindy Lopez

Check out our Facebook page for more pictures.

I’m still confused. Sunday evening at Le Bain was great for many reasons: Noah Richler’s dry wit,
Nicolas Dickner’s personable humour, free cider, and thoughtful conversation. But it’s still unclear—is the writing life a dream or a delusion? Surely it’s something many of us romanticize— hazy evenings with only a bottle of wine and a notebook, conjuring up introspective prose with effortless grace. Of course, this dream-like fantasy is a damned delusion, or at least a rare occurrence. Does writing only become
a dream job when writers reach “success,” or is the idea of success another delusion, dependant on individual definition and in constant flux? The evening’s conversation didn’t resolve any questions, but it certainly asked some pertinent ones. And really, how can anyone expect to reach a conclusion about the state of writing in today’s society, when the state of writing is rapidly changing with the almost daily advances in technology? But I won a free book and drank some hot cider, so I’m confused, but not altogether discontent.

The Writing Life: Dream or Delusion took place at the Le Bain St-Michel last Sunday, to a small crowd of about 30 or so onlookers. It was the third  in a series of Sunday evening literary salons that Le Bain has begun to host, and this one featured award-winning Canadian authors Noah Richler and Nicolas Dickner, with Marianne Ackerman, author and publisher of the online arts magazine  Rover, acting as the moderator.

It was a great opportunity to be involved in a conversation with two of Canada’s critically acclaimed authors, for which I only had to donate a measly sum to partake. Noah Richler writes “The Writing Life” column for Rover, and is the author of This Is My Country, What’s Yours?, a literary atlas of Canada which won British Columbia’s National Award for Canadian Nonfiction in 2007. Noah Dickner’s first novel Nikolski was originally published in French in 2005, winning the 2005 Governor General’s Award and the 2006 Prix Anne-Hébert award. In 2008, Nikolski won the Governor General’s Award for its French-to-English translation, and last year Nicolas won CBC’s Canada Reads, escalating his career and broadcasting
his name to a wider audience. Nicolas also writes for the online magazine  Voir.

Events like this probably don’t happen often enough, but then, looking around the theatre at the small gathering of people, most of whom seemed to be relatives or supporters of the authors, I wondered—where’s the youth? There was only a handful, maybe seven young adults in their early twenties who came out. Maybe it was a matter of advertising; I admittedly only found out about the evening through a friend, and had no idea Le Bain was holding a series of literary salons. Or maybe the small crowd spoke volumes about the very reason we were there: to discuss the shifting dynamics of writing in today’s society.

Each author discussed their own books and talked about the current state of writing, fiction vs nonfiction, what success means to them, how to make a living while still writing what you want, plus a slew of interesting digressions and conversational banter. When Marianne asked how they measured success, Nicolas responded with “if it helps me to keep on writing my books full time, then that’s success.”

Corresponding with “success” was the issue of money, and being able to make a living and have a “good life” while still writing what you want to write. Nicolas pointed out that the definition of a good life is a subjective one. He said he doesn’t have an expensive car, but even if he could afford it, wouldn’t want one. So, to him a “good life” doesn’t include excessive materialism, which is probably for the better since being a writer doesn’t often result in extravagance.

Noah says he gets up and writes something every day to justify calling himself a writer. Then half joking, half not, he says the longer you have a career as a writer, the more unemployable you become anywhere else.

The conversation took an interesting turn when they began talking about novels and why people are so eager to read nonfiction over fiction. Noah surmises that it’s because the “novel inherently requires redemption at the end” and people just aren’t interested in a load of redemption. Both Noah and Nicolas agree that there’s a misconception that novels are false and nonfiction is true, and because people crave a connection with reality, novel sales have plummeted. But Nicolas points out that nonfiction is a kind of fiction of its own. This seems like a reasonable statement since creative nonfiction uses literary devices just like any other piece of writing, exposing it to hyperboles, twists in the truth and elaborate metaphors.

Noah thinks it’s a good time to be a writer because of the endless avenues of expression available, although in a somewhat contradictory statement admits that most writers (and by this he most likely means authors) have taken a huge hit at the moment. Marianne jumped in at one point to mention the dysfunctional relationship that she feels she currently has with her readers. She says she doesn’t think that most of her readers know about her last book, and wonders at the best way to reach them.

The discussion ended with such questions left unanswered. It seems the only thing that is certain is the concurrence that everything is changing; how long this paradox will continue is another mystery.

Authors note: Before everyone trotted off to continue chatting over cider, the as-promised book draws were made and I was lucky enough to win a copy of Nicolas’s novel Nikolski. Guilty as charged, it’s been awhile since I’ve read fiction, but so far I can’t put the book down. Worth checking out!

Photos by Chris Zacchia