 Marcel Broodthaers (1968), Musée d’Art Moderne, Département des Aigles Art, in its essence, is a reflection of life, an exploration of human existence and the myriad interactions that shape it. Artists are co-creators of the world, transforming mundane experiences and objects into new dimensions of meaning. Belgian artist Marcel Broodthaers offers a profound example of how the artist can co-create not only beauty or meaning but also utility through their work. By using everyday objects in unexpected ways, Broodthaers demonstrated that the artist can transcend mere observation, taking an active role in shaping reality itself.
In the art world, particularly in the mid-20th century, artists like Broodthaers explored new ways of engaging with the world around them. He brought attention to objects that were overlooked or deemed unworthy of artistic consideration. Rather than depicting life as it is, Broodthaers’ approach emphasized the artist's power to shape and reframe life’s most common elements, inviting us to reconsider their function, purpose, and role in our lives. Art and Usefulness: A Shift in Perspective To understand how Broodthaers became a co-creationist of usefulness, one must first acknowledge his relationship with the Dadaist tradition. He was not merely interested in aesthetics; he was interested in how art can challenge social structures and reframe our understanding of usefulness. Through his work, Broodthaers asked fundamental questions: What is the purpose of art? Can art be useful? If so, useful to whom? In his view, the artist’s role extended beyond beauty or commentary. He saw the artist as a re-imaginer of reality, someone who could upend traditional definitions of use. This is most evident in his use of everyday objects. His work took the tools of everyday life—the mundane, the utilitarian—and repositioned them as objects of contemplation. These objects were no longer defined by their use, but instead, by their symbolic power. Broodthaers’ pieces challenged the boundaries between art and life. By integrating materials such as eggshells, mussel shells, and pots into his works, he reframed the relationship between the object and the observer, and even between the object and itself. In his world, the object did not serve us; it had its own existence, independent of human need or use. The Object in Control: Subverting Expectations One of the most famous examples of Broodthaers' conceptual approach is his use of mussel shells in installations. In these works, Broodthaers disrupts our conventional understanding of function. For example, instead of mussels being cooked in a pot, Broodthaers subverts this relationship, making it seem as though the pot is being controlled by the mussels. This reversal of roles plays into the larger theme of objects asserting their own autonomy, as if they no longer exist for human use but for their own purposes. This artistic reversal provokes thought about how we as humans interact with objects and what agency those objects might possess when detached from our preconceived notions of use. This idea—that objects, when removed from their functional context, can take on lives of their own—is central to Broodthaers' vision. His work suggests a world in which tools and objects do not serve a singular human need, but instead, have their own existence, their own reality. In this sense, the artist becomes a co-creationist, not of new objects, but of new meanings and relationships between those objects and the world around them. The classic understanding of usefulness is linear: tools serve a purpose, they are designed to fulfill human desires. But Broodthaers disrupts this by asking, what if the tool didn’t serve us? What if, instead, the tool used us? This shift is both surreal and deeply philosophical, suggesting that human control over the world is not as absolute as we might think. Co-Creation Through the Lens of Language Marcel Broodthaers was also fascinated by the relationship between language, objects, and meaning. He explored how objects could signify something beyond their functional role, becoming symbols of communication and co-creation. In his series of works using written words, Broodthaers emphasized that language itself is a tool, but one that can be reconfigured. Like objects, language has its own usefulness, but that usefulness can be subverted. Words can mean something other than what they seem to signify, much as everyday objects can take on new meanings in an artistic context. His 1968 installation Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles) is a case in point. The installation was a fictional museum that critiqued the art world itself. By creating this imaginary institution, Broodthaers toyed with the idea of usefulness, questioning what museums are for and what role art should play in society. By blending objects, language, and institutional critique, he co-created a new reality where the audience was forced to confront the arbitrary distinctions between high art and everyday life. The Artist’s Role in Co-Creation Broodthaers’ work demonstrates that the artist is not merely a passive observer of the world but an active co-creator of its meaning and function. Through his use of everyday objects, he expanded the role of art beyond traditional boundaries, showing how objects can be reimagined and recontextualized to challenge our assumptions about utility, purpose, and control. In this way, Broodthaers' work aligns with a broader philosophical idea: that life itself is a collaborative process of creation. The artist is a co-creator, not just of visual forms but of ways of thinking, ways of being, and ways of engaging with the world. By transforming the role of objects and tools, he invites us to reconsider our place in the world—not as masters of our surroundings, but as participants in a dynamic, ever-changing relationship with the objects and forces around us. In conclusion, Marcel Broodthaers’ work pushes us to see beyond the surface, to understand that usefulness is not a static concept. As co-creators of life, artists like Broodthaers show us that meaning and function are fluid, and that the boundaries between art, object, and life are meant to be continually questioned and reshaped.
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 The Arabian Peninsula, a land rich in history, culture, and tradition, is home to a unique and diverse collection of folklore that spans generations. From the vast deserts to the bustling coastal cities, the region’s folklore is deeply intertwined with everyday life, manifesting in its storytelling, art, music, rituals, and even cuisine. Understanding this folklore offers insight into the social fabric and values that shape the identity of the people in the Arabian Peninsula. Defining Folklore in the Arabian Peninsula Folklore in the Arabian Peninsula is a broad term that encompasses the myths, legends, proverbs, songs, and traditions passed down orally through generations. In pre-Islamic times, these stories and customs provided a means for explaining the natural world, reinforcing social norms, and preserving the heritage of various tribes. Even after the spread of Islam, many elements of folklore persisted, merging with religious narratives or evolving into distinct cultural practices. Key themes in the folklore of the Arabian Peninsula revolve around morality, justice, heroism, and a deep connection to the land. These stories are not just artifacts of the past; they continue to play a role in modern life, forming a bridge between tradition and contemporary society. Folkloric Figures in Storytelling Storytelling is one of the most prominent ways that folklore is represented in everyday life. Oral narratives are a key component of Arabian culture, passed down from generation to generation in families, tribal gatherings, or public spaces like coffeehouses. Folkloric figures and mythological creatures inhabit these tales, offering moral lessons or entertainment. One iconic figure is the desert-dwelling djinn (also spelled jinn), supernatural beings believed to possess free will and the ability to shape-shift. Stories of djinn can serve as cautionary tales, warning people about the dangers of wandering alone in the desert or engaging in immoral behavior. Though modern life has evolved, belief in the djinn persists, especially in rural areas where traditional beliefs remain strong. Another important folkloric character is Antarah ibn Shaddad, a pre-Islamic poet and warrior whose life story blends fact and legend. Known for his bravery, strength, and poetry, Antarah is a symbol of honor and heroism. His story is not only part of folklore but also celebrated in Arabic literature, proving that ancient figures continue to shape the Arab world’s cultural and social identity. Rituals and Customs: Folklore in Daily Practices Everyday life in the Arabian Peninsula is steeped in rituals and customs that trace their origins to folkloric beliefs. Many of these practices occur during significant life events such as births, weddings, and funerals. Weddings, for example, often include folklore-inspired rituals that symbolize the union of two families and the protection of the bride and groom from evil spirits. In some parts of the region, the bride’s hands and feet are adorned with intricate henna designs, a practice believed to ward off the evil eye. The evil eye, a curse believed to be cast by a malevolent glare, is a widespread belief in the folklore of the Arabian Peninsula, and various amulets and symbols, such as the blue glass "eye" charm, are used in daily life to protect against it. Similarly, childbirth is surrounded by customs that aim to protect both the mother and child. Traditional lullabies, or "Tahlil" songs, are sung to soothe babies, and mothers might burn specific incense to ward off spirits. These practices are grounded in folklore and have been adapted in modern times, blending ancient beliefs with contemporary health practices. Folklore in the Arts: Poetry, Music, and Dance The arts—particularly poetry, music, and dance—serve as vital conduits for preserving and celebrating folklore in the Arabian Peninsula. Poetry, known as the "diwan" of the Arabs, has a long-standing history in the region. Pre-Islamic poets, or sha'ir, were highly revered as the keepers of knowledge, history, and culture, and their verses often incorporated themes from local folklore. For instance, Nabati poetry, a form of oral poetry from the Bedouin tribes, continues to be popular in the Arabian Peninsula today. It celebrates themes like love, honor, bravery, and the hardships of desert life. The folk wisdom and imagery embedded in these poems convey the essence of Arab identity, values, and a deep connection to nature. Music and dance also reflect the region's folklore. The Al-Ayyala dance, originating from Oman and the UAE, depicts scenes of tribal warfare and cooperation, blending rhythmic drumming with movements that symbolize battle formations. This dance, which involves rows of men chanting and brandishing sticks, remains an integral part of modern cultural celebrations, such as national festivals and weddings. It represents how folklore in the Arabian Peninsula is not a relic of the past but a living tradition celebrated through communal practices. Similarly, the Ardha, a sword dance performed across the Gulf countries, connects to the Bedouin warrior tradition. The rhythmic chanting and synchronized sword movements convey stories of valor, tribal unity, and pride. These dances, grounded in folklore, are performed at important social occasions, keeping the narratives alive in public consciousness. Folklore and the Natural World: The Desert as a Source of Myth The harsh and unforgiving landscape of the Arabian Peninsula has profoundly influenced the region’s folklore. The desert, with its vast emptiness, scorching heat, and mysterious night skies, is a frequent setting for tales of heroism, survival, and mystical occurrences. One such tale is that of the lost city of Ubar, also known as the "Atlantis of the Sands." Ubar is a legendary city believed to have been swallowed by the desert for the sins of its people. Though archeologists have found evidence of ancient settlements in the region, the story of Ubar persists as a symbol of human hubris and the overwhelming power of nature. The desert is also home to legends of ghouls, shape-shifting demons that lure travelers into the wasteland to consume them. Such folklore not only reflects the dangers posed by the natural environment but also reinforces social norms, warning against greed, isolation, and disrespect for the natural world. Even today, many residents of the Arabian Peninsula hold onto these tales as a way to maintain a connection to their past. Folklore in Modern Society: Media and Popular Culture In the modern Arabian Peninsula, folklore is far from fading into obscurity. It is continually revived and reimagined through various forms of media, from television shows and films to social media platforms. Bedouin legends and traditional stories are adapted into contemporary narratives, connecting younger generations with their cultural heritage. In countries like Saudi Arabia and the UAE, cultural festivals and heritage centers work to preserve and promote folklore. For example, the annual Janadriyah Festival in Saudi Arabia highlights traditional dances, crafts, and stories, giving younger generations a chance to engage with their folklore in a modern setting. Moreover, television series and radio programs often incorporate folk tales, bringing these stories into the homes of millions across the Arabian Peninsula. The creation of animated series for children that depict folk heroes and mythological beings helps to ensure that these narratives continue to shape cultural identity. Conclusion: A Living Tradition The folklore of the Arabian Peninsula is not just a reflection of the past; it is a living, breathing tradition that informs the present. From the stories passed down around campfires to the rituals practiced at weddings and festivals, folklore is a vital part of everyday life in the region. It connects the people of the Arabian Peninsula to their ancestors, their land, and each other, offering timeless lessons on survival, morality, and the human experience. As modernity continues to transform the Arabian Peninsula, the region’s folklore remains a cornerstone of cultural identity, serving as both a source of pride and a reminder of the deep, enduring roots that bind its people together. Through storytelling, music, dance, and daily rituals, the folklore of the Arabian Peninsula continues to evolve while maintaining its ancient essence, ensuring that these cherished traditions will endure for generations to come.  The other day, I sat by the beach looking at the sunrise. In Valencia, the sun rises from the sea, like a fiery Venus illuminating the dark. I saw a shadow walking on the sands coming my way. I had a pot of coffee and was rolling a cigarette, and the figure, as it came closer, became a middle-aged man - well built, but skinny - grey hair, grey beard, and black, black eyes. Once he was a few meters from me he said with confidence, do you still have coffee? I never refuse to share coffee, so of course I poured him a cup and offered to roll him a cigarette. He accepted with a smile, and that is how I met Martin. With a cup of coffee and a cigarette, he told me his story.
In 2019, Martin’s heart was heavy. He had been a man of science, a man who turned into a military contractor, and later, a monk, as he thought faith would answer his doubts. Studying the teachings of faith, the deeper he delved into the words, the more lost he became. His questions about life, God, and the meaning of existence seemed to echo endlessly in the chambers of his soul, never finding answers. Tired of the silence, Martín abandoned the monastic life and began wandering the land seeking truth. Eventually, his travels brought him to Valencia, Spain where, nestled at the entrance of a valley, surrounded by citrus and pine trees, high in the rugged peaks of Serra, he found himself in front of an ancient monastery “Puerta de Cielo”. It was said that the monastery was built over sacred ground, a place where the sky met the earth. Legends were told of secrets hidden beneath its stones, and of a divine presence that resided within its valleys. The monastery itself was a marvel. Built in 1274, with stones that seemed to glow faintly in the moonlight, its towering spires pointed toward the heavens. But Martín wasn’t interested in the grand architecture, or the chants of the monks who still dwelled there. He had come for something deeper, something hidden. In the stillness of the night, as the winds whispered through the trees, Martín roamed beyond the monastery grounds. He found himself drawn to a small, overgrown path leading into a secluded valley. The locals whispered of the valley, calling it "La Gruta de los Perdidos" — the Cave of the Lost — a place where those seeking divine answers often wandered, never to return. Martín was undeterred. His desperation to find meaning pushed him forward. After hours of wandering through thick foliage, he stumbled upon a cave, its entrance shrouded in vines and moss, high above the valley. The climb was hard; crumbling stones, thorny plants, the steep rocky wall, but when he finally reached the mouth of the cave, time stood still. Stepping inside, Martín felt the air change. The wind, so relentless outside, died away to nothing. The cave was dark, but he felt himself drawn inside, his body electrified by his desired to go in. His heart raced as he followed the weak illumination of his lighter. What he found was not a simple stone chamber, but a doorway — an archway carved from stone unlike any he had ever seen. Symbols covered its surface, glowing with an ethereal light, and there was a strange hum in the air, vibrating with energy. As he did all his life when he faced a situation that requires a choice, Martin chose without hesitation and stepped through the doorway. On the other side, he found himself in a place unlike anything he had ever imagined. He was outside. The sky was a brilliant hue of gold and lavender, the trees shimmered with light, and the air felt alive. People — or beings that resembled humans — moved with grace and purpose, their eyes filled with a serene understanding. They were tall, radiant, and seemed to glow with an inner light. Everything in this place seemed to exist in a perfect harmony. Martín soon learned that this was no celestial realm, nor a heaven crafted by the gods. The people who lived here had long since abandoned the need to define divinity or to separate themselves from nature. Their secret was not their faith, but their deep understanding of themselves as part of the world. They had accepted that they were neither above nor below creation, but merely threads in the vast fabric of existence. One elder among them, a wise woman named Illura, approached Martín. “You have come seeking answers, Martín,” she said, her voice like the wind. “But the answers you seek are not bound to a god or a doctrine. They lie in your acceptance of what you are — a part of this world, not separate from it.” Confused, Martín asked, “But what of the divine? What of God?” Illura smiled softly. “God, if such a being exists, is not something to be found beyond the stars or in the heavens. God is in the soil beneath your feet, the air you breathe, the pulse of your heart. The peace you seek is in understanding that you are no more, and no less, than the earth, the sky, and the stars themselves.” Martín lived among these people for many days, learning their ways. There was no hierarchy, no desire for power, and no fear of death. They lived in the present, connected to every leaf, every drop of water, every breath of wind. Their happiness did not stem from knowledge or prayer, but from their acceptance of the simple truth: they were part of the natural order, neither above it nor outside it. In time, Martín understood. His doubts melted away, not because he had found the answers he once sought, but because he realized there were no answers to seek. Faith was not about knowing or understanding — it was about being. When Martín finally returned to the world beyond the doorway, he was no longer the same man. The monastery of Puerta de Cielo seemed smaller, quieter. The questions that had once plagued him were gone, replaced by a profound peace. He had not found God, but he had found himself, and in doing so, he had found everything. From that day forward, Martín lived simply, tending to the land, breathing in the beauty of the world around him. He never spoke of the doorway in the cave, nor of the people he had met. Some things, he knew, were not meant to be shared, but to be lived. When he finished telling his story, the sun was high on the horizon, and the city starting to come to life. Martin put his coffee cup on the sand, stood up and began to walk away leaving me wondering about what had just happened? My plan was to watch the sunrise, now my mind was racing with thousands of questions, but Martin kept walking. In the history of art, painters have often sought to reveal the innermost facets of human existence. From the Renaissance masters who depicted saints and biblical scenes to modern artists who explore the subconscious, the portrayal of humanity’s essence has always been a central theme. Elizabeth Hefty Khoury continues this tradition in a contemporary context, but her approach stands apart in its quiet, contemplative power. Through her paintings of unidentifiable figures, Hefty captures the intangible spirit of the human soul, asking profound questions about identity, existence, and completeness.
Hefty Khoury's work can be viewed as a visual inquiry into what it means to be human. In many ways, her paintings follow the path of sacred art traditions, where saints were depicted as floating, transcendent figures unbound by the material world. However, her figures are not saints. They are not tied to any religious dogma or theological symbolism. Instead, they are reflections of the human soul itself—shapeless, ambiguous, yet filled with a yearning for self-definition and understanding. Floating Souls: The Search for Identity in a World of Singularities At first glance, Hefty Khoury’s paintings can appear abstract. The human figures are barely discernible, their features soft, blurred, and floating within the dark canvases. The colors—deep, muted shades of greens, blues, and sometimes reds—serve as atmospheric backdrops, suggesting a liminal space where the figures exist between materiality and spirit. In many of her works, as seen in her series of diptychs, the bodies are incomplete. We are given glimpses of torsos, shoulders, and chests, but rarely a full, grounded human form. It’s as if these souls are in a state of becoming, floating between realms, striving to emerge but never fully materializing. In this space, Hefty Khoury presents the soul as an unfinished entity, continually seeking to define itself in a world where individuality is both a blessing and a curse. The tradition of sacred art is evident here, not in religious iconography, but in the feeling of transcendence. Just as medieval and Renaissance artists portrayed holy figures as larger-than-life beings floating above the mundane, Hefty Khoury depicts souls that seem to hover above the material world. But where the saints were divine, her figures are utterly human—vulnerable, incomplete, and searching. Their lack of physical identity asks us to look beyond the surface and to consider the soul as the true seat of our humanity. The Body and the Soul: A Question of Completeness One of the central themes in Hefty Khoury’s work is the question of completeness. In her paintings, the figures are rarely whole, and even when a full torso is presented, the lack of defined features makes them seem unfinished. This lack of completion invites us to consider what it means to be fully human. Can a soul be complete without a body? Can a body be complete without a soul? When do we, as individuals, achieve wholeness? The philosophical underpinnings of Hefty Khoury's art can be traced back to her readings of Kahlil Gibran's The Prophet. Gibran writes about the human experience in terms of universality, describing humanity as “shapeless drops of water.” Similarly, her souls are unidentifiable, lacking distinct features that would mark them as individuals. Instead, they represent the universal aspect of existence—the core of being that we all share, regardless of external identity. Her work suggests that the human soul is in a constant state of flux, caught between the desire for self-expression and the reality of our shared existence. The figures on her canvas may lack clear form, but they are filled with energy and movement, as if they are struggling to emerge from the shadows of anonymity and into the light of self-knowledge. This tension between the desire to stand out and the reality of being part of a greater whole is a powerful reflection of the human condition. The Ghostly Aesthetic: Transcendence in Form and Color Hefty Khoury's paintings are marked by their subdued, almost ghostly aesthetic. The muted color palettes and soft, flowing brushstrokes create an atmosphere of ambiguity and transcendence. The figures are often bathed in deep greens and blues, giving them an ethereal quality, as if they are emerging from the depths of the unconscious mind. The use of light and shadow in Hefty Khoury's work further enhances this feeling of liminality. The figures are never fully illuminated, but neither are they completely obscured. This play of light and dark suggests the duality of the human experience—the constant struggle between the known and the unknown, the material and the spiritual, the self and the other. In many of her works, Hefty Khoury uses contrasting colors to further this sense of duality. The cool blues and greens that dominate one side of the canvas are often countered by warm reds and pinks on the other. These colors do not clash; rather, they seem to exist in harmony, representing the balance that every human soul seeks between conflicting forces—light and dark, body and soul, individuality and universality. A Silent Meditation on Existence What makes Elizabeth Hefty Khoury’s art so compelling is its quietness. These are not paintings that scream for attention; rather, they invite the viewer into a space of silent meditation. Standing in front of one of her works, we are asked to slow down, to reflect on our own place in the world, and to consider the nature of our own souls. There is something deeply contemplative in the way Hefty Khoury presents her figures. Their lack of distinct features makes them both anonymous and universal, inviting us to see ourselves in their formlessness. At the same time, their incompleteness challenges us to confront our own feelings of incompleteness. In a world that often values material success and external achievement, Hefty Khoury’s paintings remind us that the soul’s journey is one of internal growth and understanding. Elizabeth Hefty Khoury’s Legacy: Art as a Mirror of the Soul In a world that often feels fractured and chaotic, Elizabeth Hefty Khoury’s art provides a space for quiet reflection. Her works speak to the timeless quest for identity and meaning, asking us to look beyond the surface and to consider the deeper, more universal aspects of our existence. Her paintings capture the soul not as a static entity, but as a living, breathing force—one that is constantly evolving and seeking completeness. In this way, Hefty Khoury’s art serves as both a mirror and a guide, reflecting our own struggles and aspirations while offering a vision of transcendence. Through her works, we are reminded that while we may be incomplete, the journey toward wholeness is itself a beautiful and meaningful part of the human experience. In Elizabeth Hefty Khoury’s world of unidentifiable souls, we are all searching. Searching for identity, for meaning, for completeness. And while the answers may remain elusive, her art offers us a space to pause, reflect, and continue the journey toward understanding. Online sales platforms are now vital resources for today’s artists, transforming the way art is created, shared, and sold. In the past, artists relied heavily on brick-and-mortar galleries, exhibitions, and physical markets to showcase their work. These traditional venues often required significant financial investment and access to established networks, limiting opportunities for emerging artists. Online platforms have democratized the process, allowing artists to bypass gatekeepers and connect directly with global audiences.
One of the primary advantages of online sales platforms is accessibility. Artists can now reach collectors, enthusiasts, and buyers from around the world with a few clicks, vastly expanding their potential market. Whether through dedicated art marketplaces like Etsy, Saatchi Art, or Artfinder, or general platforms like Instagram and Shopify, artists can showcase their work, build personal brands, and engage with a diverse audience. These platforms also offer tools for marketing, customer engagement, and analytics, helping artists optimize their sales strategies. The business of selling art is shifting towards greater autonomy for artists. Without the constraints of gallery commissions and exhibition fees, many artists are finding they can retain more control over their pricing and creative direction. This independence, coupled with the ability to maintain an online portfolio and social media presence, allows artists to cultivate their following and develop their business over time. Moreover, the rise of digital art and NFTs (non-fungible tokens) has opened new revenue streams. Digital artists can now sell unique or limited-edition digital works through blockchain technology, appealing to collectors interested in the novelty and future of art ownership. This trend has disrupted the conventional art market, enabling artists to profit from both physical and digital mediums. As the business of selling art evolves, online sales platforms empower artists to take charge of their careers, connect with global audiences, and thrive in a rapidly changing market. However, this is not an easy option. While artists may feel that they simply have to post some pictures and their work will miraculously sell, the reality is that online sales also require work and commitment. Algorithms need to be played, and artists - and galleries - need to be diligent in posting new work and keeping potential audiences engaged. Online exhibitions, interviews, insights into an artist's process and inner world - all these help buyers feel a sense of connection with creators. It is this connection that can help push a buyer into purchasing a work. Obviously, the motivation for buying an artwork can vary - from investment to simply falling in love with a piece - but creating a feeling of understanding the maker of the piece can make a world of difference. So, why do some artists and galleries feel so wary of online platforms? Well, firstly, there are a lot of scams out there in the cyber ether, and there is no guarantee that spending (often a great deal of) money will translate into sales. Secondly, there is some resistance to change, to acknowledging that the world of art sales is not as it once was. Perhaps there is a feeling that sales can be made through online shops on a gallery or artist's own website, but driving traffic to those sites is never easy. At least online platforms, and especially the reputable ones, already have a wide pool of potential viewers who visit the site on a regular basis. There is no easy way when it comes to art sales. If there was all of us in the art world would be rolling in money and blog posts like this would not exist. But, it's not easy, for artists or galleries. We must continually think of clever marketing schemes, be constantly on the ball in terms of posting on social media, of jumping on any and all opportunities to raise our profile. But, online platforms give us another channel to work with. Yes, they are expensive, and a lot of research is required into whether they are worth it, but in an ever changing - and rapidly shrinking - world, they offer an opportunity to connect with potential buyers in far flung lands and, hopefully, bring a diverse array of work to distant markets. |
