Showing posts with label perfumer. Show all posts
Showing posts with label perfumer. Show all posts

Thursday, July 9, 2015

Questions & Answers with Alexandra Monet, Perfumer

Alexandra Monet, a young perfumer working for aroma producing company Drom fragrances Specifically she is responsible for the upcoming commemorative 15th anniversary edition of The Different Company, Le 15 (i.e. Le Quinze) out in September 2015. The new unisex fragrance is focusing on the sacred wood of Palo Santo, found in Latin America.

Enthusiastic and spontaneous, Alexandra has a sensitivity that allows her to put in perfume her emotions. She enjoys the gourmet styles and the vibrant notes. After studying at the ISIPCA, she works at DROM. In 2013 she created candles for The Different Company Home Fragrance Collection.


Alexandra has collaborated with Luc Gabriel, The Different Company's CEO and President, to compose the limited edition extrait de parfum, Le 15.

Here are a few insights into what makes her tick which I found interesting and wanted to share with you.

How did you find your passion for this profession?
My sense of smell has always titillated me more than all other senses. I rapidly wanted to transform this ‘‘tickle’’ into a profession.

What is your olfactive universe?
I like playing with edible notes and I am love musky clean notes, that evokes freshly washed linen.

If you were a raw material?
Without hesitation, Patchouli. This is a unique and magical raw material, a vibrant essence that lives as soon as I put it on my skin.

If you were a quality?
Impertinence.

If you were a colour?
Black. Maybe white, but certainly not grey!

If you were a Star?
Audrey Hepburn.

If you were a place?
A big city, at night time.

Friday, February 13, 2015

Olivier Polge: "You Don't Make Beautiful Fragrances with Complicated Ideas"

"Preferences change. In the 1990s, people wanted a very light fragrance. Today that’s not the case.

There are now so many heady scents, like ouds galore. I’ve heard that superstrong scents are meant to please customers in places like the Middle East and Russia. 

That’s a reality: Certain stronger scents do better in the Middle East, and Asian countries like their scents lighter. But I try not to be so opportunistic. I care less about geographic territory than spirit territory. Is this scent in the spirit of Chanel?"

Olivier Polge on the left, at the advertising campaign of Valentino Uomo, via welt.de

The above snippet comes from an interview of perfumer Olivier Polge at Chanel (formerly creator of the gorgeous Dior Homme, Balenciaga Florabotanica, Balenciaga Paris and all its flankers, Guerlain Cuir Beluga, Valentino UomoViktor & Rolf Spicebomb, the newest Mugler Les Exceptions fragrance series and of the perfume best-sellers FlowerbombLancome La Vie Est Belle, and Dior Pure Poison) given to the New York Times and Bee Shapiro.
Please find the interview in its entirety on this link. 

As we had reported before, concerning Olivier Polges' first scent for Chanel, named Misia after Coco Chanel’s friend Misia Sert, which joins the Chanel Les Exclusifs lineup of more-experimental scents midmonth (retailing at $160), the young perfumer is at the helm of the prestigious French house from now on, succeeding his father Jacques Polges. (Who in his turn had succeeded Henri Robert, who followed Ernest Beaux, essentially making Olivier only the 4th ever in-house head perfumer at Chanel).

 Smelling of lipstick, rose and powder, Chanel Les Exclusifs Misia perfume is said to conjure the dressing-room scents of the Ballets Russes.

Friday, October 23, 2009

Germaine Cellier (1909-1976): Innovator and Iconoclast

In the pantheon of great modern perfumers it is not often that we come across women, at least during the first half of the 20th century. Amongst them, one star shines brightest, that of Germaine Cellier; untrammeled by convention, free-spirited in an era that frowned upon most of her customs, but which could not deny her bold, ebullient approach to perfumery. It is no accident that Guy Robert's book, Les Sens du Parfum, himself the stuff of legend, dedicates precious space to her opus.

Her wit wondrously helped her into coming up with stunning compositions: The galbanum-souled Vent Vert by Balmain with its biting verdancy forever changing the visage of florals, the knife-scathing outlaw of Bandit with its intense leathery bitterness of quinolines in 1944, the oriental passport of Visa in 1946, the buttery radiance of tuberose in 1948's Fracas (all three for Robert Piguet), the nostalgic violet chypre Jolie Madame for Balmain (1953) which reworked the Bandit theme in more muted tones, as well as the masculine Monsieur Balmain which proved a success with both sexes.

One of her mysteriously disappearing acts is "Elysées 63.84" for Balmain, the name standing for the telephone number of the couture house, as well as a geranium-based Eau which Pierre Balmain fiercely guarded for his own use. For Nina Ricci she collaborates with Christian Bérard who designed the romantic heart flacon in Coeur Joie, an elegant and uncharacteristically delicate floral aldehydic of great refinement (1946). For Nina Ricci she also composes Fille d'Eve, with its "dirty hair" cistus note. Hers is the lesser known, but none the less majestic, La Fuite des Heures for Balenciaga in 1949, a Provençal herbs and jasmine formula of great radiance and tenacity. Among her portfolio there is also the agrestic Eau d'Herbes (Herbal Water) conceived for Hermès at an unspecified date during the 1950s meant to recreate just cut herbs, which remains an enigma, and several compositions for Elizabeth Arden for distribution in the USA during the 1950s and 1960s. (Click the links for my reviews on the scents) ....

This is part of a fuller article that was published on Fragrantica.com. For a comprehensive glimpse into one of the truly great perfumers of modern perfumery, please read my full article on this permalink.

Photo portrait of Germaine Cellier via xiangshuiblog.cn

Friday, March 27, 2009

Two Perfumers Talk: Christophe Laudamiel and Pierre Guillaume

Prompted by the upcoming exhibition Esxence, the first perfumers' exhibition held in Milan (you can read details here), I am honouring two talented and prolific perfumers who are emeging as major players in the industry: Christophe Laudamiel and Pierre Guillaume.
Christophe Laudamiel, Fine-Fragrance Perfumer at International Flavors & Fragrances Inc. since year 2000, will be participating in Esxence with Humiecki&Graef, an emerging niche brand. Here, courtesy of Seed Magazine, Christophe Laudamier talksin the “Design for the Invisible“ lecture, in occasion of Mind 08 – The design and Elastic Mind Symposium. He talks about the sense of smell, its mystery, our infinitive capability to smell and how perfumery is trying to harness and enhance those capabilities in different ways, in fine fragrance, as well as fragrance designed to enhance interiors or inspired by other artistic project; even how dolls or cleavage are "alive" due to their smell! With a portfolio of scents as varied as Estee Lauder Youth Dew Amber Nude, Island Michael Kors (with Loc Dong), S-ex for S-perfumes, Clinique Happy Heart, Ralph Lauren Polo Blue (with Carlos Benaim), Abercrombie & Fitch Fierce and collaborating on the recreation of scent-impessions for the Thierry Mugler coffret on "Perfume, Story of a Murderer", he's extremely versatile!


Seedmagazine.com Seed Design Series

And on this video Chandler Burr talks with Christophe Laudamiel about the coffret based on the novel by Suskind, Das Parfum, turned into the film mentioned above.



Pierre Guillame is already touting his manifesto with the slogan on his own site Pafumerie Generalle: "Exhale your Difference". Here he is talking (in French with Italian subtitles) about one of his fragances, Louanges Profanes, which can be seen on his site. (Clip via Extrait.it)



Since I really love Pierre Guillaume's Cozé, Musc Maori, Un Crime Exotique and a couple of others for Parfumerie Generalle, pehaps I should return with more personal impessions!

Wednesday, March 5, 2008

The Making of a Perfume

The newest Yves Saint Laurent perfume, Elle, got a sweeping advertising campaign replete with a little clip of the Making Of. Perfume Shrine brings it to you for your witty commentary.
Jacques Cavallier (the one in the dark clothing) and Olivier Cresp talk about the creation of their latest feminine fragrance by Yves Saint Laurent. Please note that this seems to be an official demonstration clip!


(uploaded by elleYSL)

It is rather interesting that those two esteemed noses go on and on about femininity with a masculine touch (emblematic of Yves Saint Laurent modes), originality and vision: to me Elle had none of those aspects to any great degree, I confess.
It is also rather odd that they hold the jars of different raw materials (plants and flowers) for the camera, demonstrating their inclusion in the composition. There is a subtle illusion here, as if the materials are actually ingrained in the juice, which is not always the case as we well know. Of course the official formula never makes it out to the public and so any insider info I might be divulging to you from time to time is just that: insider info.
But holding up tubes of aromachemicals detracts from the "dream" of fragrance being all about exoticism and naturalness, I gather. (Even if Cavallier and Cresp would wanted to, I doubt the marketing executives would let them do that!)

For some reason the patchouli used in the majority of recent feminine releases does not smell especially natural to me: it lacks the mellowness and dirtiness of natural, aged, good quality patchouli which I have in my little inventory at home and Elle is no exception. Instead it is clean, hinting at shadowy, but not quite. Pleasant no doubt, but has overcome its welcome becoming ubiquitous.

Here is the accompanying commercial for Elle, with canadian supermodel Coco Rocha.(Now there's a name!) She's much younger than appearing to be in this, but the styling of Le Smoking eternel is smashing I have to admit.


(uploaded by laurentCM)

But to tell you the truth, I had the most fun while reading this story by blogger Kristopher Dukes. It's a classic!! Seriously, go read it!


Please check back later for another surprise post on perception.

Monday, February 18, 2008

Art by Women: an Equal Opportunity Manifestation?

Through the course of history, men have left a more prominent relief on the gauze that seperates present from past deeds. Even the term "history" is arguably problematic, a priori denoting a heightened importance to gender.
Expanding this thought into the realm of art and more specifically perfumery, it is easy to see that the emblematic fragrances of modern perfumery have been mostly conceived and composed by men, with the notable exceptions of pioneers Germaine Cellier (nose behind Vent Vert, Fracas, Bandit and Jolie Madame, among others) or Joséphine Catapano (the true creator of Youth Dew, despite tales to the contrary). Later on of course women took the reins and composed many interesting fragrances. I was inspired to think on those matters for today's post by the very interesting interviews of women perfumers hosted by Osmoz, which brought many facets of le métier into focus.

Before proceeding, however, one has to think about art by women: Is it any different in its structure and message than men's? And more importantly, should it be and why/why not? Is there some substance into the differentiation of feminine vs masculine produced Art?

In my opinion, which I had the chance to find out is also shared by Václav Havel, leader writer of the Velvet Revolution, it should not and should it do it ultimately becomes inferior Art. Because appreciation should focus on the content and not the creator it does not, in my opinion, make a lot of difference whether the artist is a woman or a man. I am personally no more lenient to art created by women and/or for women than I am with the equivalent by men (interestingly, you never see that latter advertised as addressing mainly men, do you?) This might explain why I do not generally read chic lit (the term is mirth-producing), but perhaps this is besides the point.

To revert to our question: Does a fragrance created by a woman reverberate into some subconsious desire and need di femina that is mostly incommunicado to men? Do women perfumers hold the secret to what other women desire in this most effervescent of arts?

Dutch-Canadian Ineke Rühland, founder of the INEKE line, is adamant on that point: "I honestly don’t see gender as being a major influence on my work", seguing to elaborate that the only difference is in her creating process for masculine fragrance ~she envisions how she would like men to smell rather than guessing how they themselves want to smell like. Clara Molloy of Memo fragrances agrees:
"I think it’s quite difficult to assign a gender to fragrances, characters,behaviors…It’s a very cultural thing. When you’re very sensitive, even the weather can influence you. Putting on a fragrance is an infinitely precious, delicate and intimate gesture that implies taking one’s time, letting oneself go, being gentle and languorous. Which can all be considered masculine too… "
On the other hand, Annie Byzantian of Firmenich, the creator of mega-blockbuster Aqua di Gio and co-author of Pleasures and Safari pour Homme, disagrees. To her, in contrast with the afore mentioned creators, being a woman plays a role in interpreting the goal of any given fragrance creation.

Perhaps the common thread running through the fabric of those artists' thinking process when creating is the importance of emotion.

Sarah Horowitz Thran of Creative Scentualisation brings the multi-sensory experience to the table, focusing on the inherent acceptance of sensuality in girls growing up. Indeed little boys are not as encouraged or condoned in their exploration of the sensual world, at least in my experience. I was especially interested by Sarah's comment that this appreciation and inspiration by the natural world has been heightened ever since becoming a mother: this is a true differentiation between women and men and as such it poses its own fascinating little questions.

Isabelle Doyen, resident nose at Annick Goutal and creator of 3 Les Nez perfumes, places highest importance to the creative effort above other things. In contrast to Nathalie Larson (who prefers soft, rounded compositions, often with rosy-woody accord, more traditionally feminine), Isabelle goes for the shorter formulae. They instigate a certain idea in no uncertain terms right from the start and thus she describes this effect as "a little brutal". Of course, anyone familiar with the Annick Goutal line might take this last bit in a less literal sense. Nevertheless I deduce that what Isabelle means is that she strives for a clear, hard-hitting vision that is immediately perceptible without roundabouts and frilly details. Quick to admit her own admiration for colleagues' oeuvre however she mentions the infamous Mousse de Saxe base used in the Caron fragrances by laboratoires Laire, but shuns the sensibility of most men's fougère scents. In this instance we could argue that her feminine disposition is showing through.

One of the most illuminating comments was made by Nathalie Larson, creator of Bulgari Pour Femme, Encre Noir and Perles by Lalique as well as Kate Moss:
"as a woman, some brands’ images suit me better than others"
This is something that has to do with the prevalent objectification of women in many mainstream brands that capitalize on a raw sexuality for the sake of shock-value; but also, I surmise, with the concern about brands projecting images that could be safely emulated by women instead of unrealistic ideals of men-imagined archetypes.


It is also interesting to note that when asked to name some of the fragrances that have made an indelible impression on them and which they would have liked to have created themselves, the choices named are composed by male perfumers. But to round out things, ending on the same note as we began, that might have to do with men gaining recognition more easily than women in the past anyway.

For two interviews with women perfumers on Perfume Shrine click here for Anya McCoy and here for Vero Kern.


I would be very interested to hear your thoughts on those questions posed.



Pics of Isabelle Doyen and Clara Molloy courtesy of Osmoz

Monday, March 19, 2007

Interview: Konstantin Mihov of "Parfums d'imperfiction"



It is always exciting to learn how a perfumer's mind ticks and Konstantin Mihov is such a case: his mind has creative ideas and searches for techniques that might apply these ideas into tangible reality for the delectation of perfume lovers.
Here at Perfume Shrine we have dealt we his work once before, when reviewing Alice In Wonderland, a fairy-tale creation of mint tea and violets that brings us back to our magical and twisted childhood of Alice and the magical creatures she meets, seeing just how deep the rabbit hole is.

Now, Knostantin Mihov is revealing the thinking that goes behind his creations and the things that fascinate him about perfumery in the first place.
Let's hear it from him...

Talk to us about yourself a bit: what are you involved in, what do you do besides making perfumes?

Talking about myself is perhaps the one thing that takes ages and that I am most clear about (at least when it comes to my current aspirations, ambitions, positions, etc. - if you ask about the past, I can sum it up in 5 sentences). At the moment, I am in my last year of BA degree in integrated social and cognitive psychology and I am currently in the process of finding another university for my PhD degree in theUK in social neuroscience. My aspirations are to stay in academia forever - PhD, postdoctoral fellowship, professorship, research, until retirement (possibly at different places, possibly in different countries - I consider myself citizen of the world). My current research interest varies and will perhaps continue to change and with each step in the academic development I will experience a new field of exciting insight and will probably be switching specialization areas from time to time. Currently, I am very much interested in gender differences in language use,attribution mechanisms, facial expressions and particularly smiles (oh, and yes, we are talking about basic research and not so much about applied research although I have done some applied things as well - currently I am working with several other colleagues on an intercultural competence e-learning programme for a big multinational company with head-offices in Germany).

My other hobbies include piano playing, bookbinding, and photography. For the latter two I haven't had much time lately (no surprise) and probably won't have time in a long time but I do still enjoy taking pictures at some particular events (recently I was taking photographs of a performance of the Vagina Monologues).
The one hobby which is perhaps never going to die whatever happens is piano playing.
I have been performing for the past 8-9 years (which may sound as a long time but I started too late) and I have never had the intention to make a career out of it but it certainly is very rewarding to set up a piano recital once in a while (my next one is on the 20th April), to invite your friends (as well as open it for the public) and donate all the proceedings from the entrance fee to a good cause. It is an extremely rewarding experience to stand in front of an audience and to literally play with their emotions. And although I am far from being a professional making no mistakes (in fact, I make quite many), it is for the sake of passion - and I think this manages to compensate for my mistakes and makes the people come again and again. My next recital, btw, is entitled "Alice in Wonderland: a Story in Characters" and is going to tell the story of Alice and all the people and creatures she meets in terms of musical pieces. The room will also be scented with my perfume Alice In Wonderland(the last concert was dedicated to the Ambient Rose and the room smelled of roses).

Sounds like you have a great time there, Konstantin! Tell me however how have you become involved with perfume in the first place? When did you first realize you liked it?

My entrance in the world of perfumery was "accidental". If it weren't for my aunt who is very much into botanical essential oils, basis oils and all these cosmetics (she makes everything that she uses herself), I wouldn't be doing what I am doing. I have always enjoyed fragrances but I would have never thought of making my own if it weren't for these first experiences.

Uh huh...those formative experiences are always interesting. Was there a specific incidence that inspired you?

My very first fragrance mixtures were made entirely of naturals and I do remember one that I wish I still had the formula for (it got lost in all the move from Bulgaria to Germany 3 years ago when I switch to another computer and lost some of the information I used to have) - it was a very raw green earthy and leathery scent -very much along the lines of Bandit but it was lighter and smoother and less sparkling. And I have been working ever since (that was about 7 years ago). Only about 3 years ago, did I discover the charm and possibilities of synthetically produced molecules (both that occur naturally in some plants and those that do not exist in nature) and have been experimenting with them little by little into rounding formulations, into accenting what is needed, and into providing nuances that could not be achieved otherwise.

Now that you mention Bandit...What were the perfumes that you held as prototypes or inspirations in your mind before becoming involved in perfumery? The perfumers who influenced you most?

In the very beginning of my perfumery obsession, I was familiar with the usual department store fragrances. And I always had the tendency to go for thicker, oriental type of fragrances although I did enjoy occasionally musky, woodsy scents. But as soon as I was introduced to Serge Lutens fragrances, I was fascinated beyond comprehension. And I still am - there isn't perhaps a single fragrance from his collection that I would not love to have a bottle of - they are all in their own right personal and in terms of the entire collection they create perhaps the most coherent and yet innovative palette that is on the market. And I am still inspired by his creations - his new ones (which show a certain change from the earlier ones)
as well as from the old ones with their magical connotations. I am also very much enchanted by Jean-Claude Ellena's minimalist style which is unattainable for me (I tend to have a less patience in the fragrance exploration that he does). I also admire the vision of Edmond Roudnitska - not so much the fragrances per se; rather the fact that he took his time in the careful evaluation of his fragrances and his critical evaluation of publishing only 16 in his lifetime.
I also must pay due respect to Andy Tauer who has also been an inspiration esp. considering the size of his small business and his reliance on natural ingredients much as I do.

Very heartening to hear for Andy who is a great person, no doubt about it. Speaking of ingredients, what ingredients do you mostly use and why did you choose to work with those? Is sourcing them hard to do?

I have a particular interest in flower absolutes as well as animalistic notes. With each perfume I have created so far (and maybe I should say that of all the mixtures variations, etc, I would consider only 3 to have been completed) there is a very different line explored in each. Alice in Wonderland relies on the synthetic representation of violets enhanced by natural woods, green essences and fresh citrus. Eleven Minutes (a perfume that was created specially for an exhibition) was centered around green absolutes with exploration of a particular citrus line in it. And O Alquimista (perhaps the next perfume that I will release) was an 8-month venture in exploring tobacco absolute, rose absolute, amber and plums to end in a typical Oriental fragrance with a touch of transparency and certain wetness - characteristics that are not typical of any of my other creations.
And this is what I find particularly enchanting and educating - the exploration of different nuances, different characteristics, different tastes.

Do you find there is a different aesthetic working with naturals or synthetics? Why? The topic seems to be somewhat controversial.

I would not really make a difference between synthetic and naturals when it comes to the aesthetic creation of the scent per se. There are naturals that smell absolutely vile and poisonous in their raw form but so do some synthetics. On the other hand, there are naturals that smell divine in their raw form and so do some synthetics. There are some effects that cannot be achieved with natural ingredients - for example, the creation of a musky note is challenging; velvety amber, suede, and some floral accords are unthinkable without the synthetics. And since I have never been driven by the idea of creation a scent with either natural or synthetic excluisively, I am treating them with equal respect - for me they are just part of the palette - and I use the entire range of the palette that is available to me. Alice in Wonderland would have been unthinkable without the synthetic violets or the coumarin.

Coumarin...it's going to be a restricted commodity if that IFRA restriction thing prevails. But to return to Alice in Wonderland : it makes use of ionones for violet notes, you say. Did you find them easy to work with? What problems did you face, if any?

There are 3 types of ionones in Alice in various concentrations. Ionones are very diverse - the differences are very small but they can influence a mix
greatly. I find them really lovely to work with because they add a certain smoothness to a composition. On the other hand, they do not have any sparkle of their own and sometimes, it can be hard to create a sparkle without destroying their character. For Alice, I think the two types of Cedarwood (Virginia and Atlas) did the trick as well as the minute quantities of coumarin, vanillin, amyris and ambroxan.

It deeply impresses me that you openly talk about what goes into your perfumes. Why do you think there is such secrecy in the perfume world, in general, though?

I believe the secrecy is guided purely by the commercial grip that surrounds the perfumery world - in particular, it is amazing that commercial successes will get copied in all forms and shapes. And this is what drives the secrecy I believe. SinceI never envisioned this into becoming a large scale endeavor, I do not feel particularly threatened. Esp. when I do not aim at creating commercial successes (because that would mean that it is liked by many and I would in fact prefer if my perfumes are liked only by few but also not just liked but loved). And if a perfume works like a vision for some, this is all that matters to me. Besides, from purely statistical terms, the chances of recreating a formula given the initial ingredients are very low - and they get lower the more complex the formula is.

Too true. Which is your favourite essence to work with? What aspects of it do you like?

I particularly love Ambroxan - it is a synthetic molecule that has a very peculiar wet cardboard, leather, amber nuances and extreme diffusive power. I also like a lot guaiac wood concrete which has a very doughy quality which I adore. Rose and Jasmine absolutes are also favourites of mine along with benzoe and beeswax absolute. From the synthetics, I am always fascinated by melanol for its extreme strength and its ability to create the impression of water - pure water in a perfume. Tobacco absolute was a love at first sniff but it is difficult to work with. For example for my O Alquimista, only about 0.6% of the entire formula (of the concentrate) consists of tobacco absolute but it is so strong. And I used a lot of benzyl-benzoat to soften it (I found this combination to work quite by accident) and it works. I also like a lot some tinctures, in particular castoreum tincture which has a
fantastic leathery and quite animalic character as well. I also employ quite a lot of propolis tincture in my mixtures (there is a lot of it in O Alquimista and in Eleven Minutes) although it does not really have a strong smell - to me it adds a touch of density, smoothness and rounded sweetness. Propolis is one of the most wonderful things that I have smelled and I still dream of creating a fragrance that captures its facets (and beeswax absolute is very different).

What are your plans for the future? Do you see yourself expanding the line?
The line may expand little by little with inclusion of new scents from time to time but since this is not my day job if at all, any expansions will be problematic. I would of course dream of finding a cooperation with a small perfume producer or a company that can handle the publication of one or two of my perfumes but I personally would not have the capacities esp. with respect to the pursuit of an academic career. I see the whole adventure as a slow progression, a bottle here, a bottle there, a new perfume once in a while, perhaps retirement of old ones until requested again. The whole process may be also problematic in the coming year or so due to my probable moving to the UK and the need to find new suppliers and settling in the new place. So, the whole process is not going to be a smooth progression by any means.

Let's hope for the best. On another note, do you have any advice on those starting in perfumery?

Don't try to please everybody - if you make one person love your perfume, you should be proud. And aim at intellectual creations - something that tickles your brain - whether it will be the combination of notes, or the name in conjunction with the perfume, or the bottle - perfumery is rather an intellectual experience (I think it was Luca Turin who also said that perfumery is about chic and intelligence).

You are correct and I agree with this view. If you had one wish for the perfume industry what would that be?

The one wish I would have would be to break free from the consumerist society. However, as a psychologist (and someone not so blank in market economy as it may seem) I know that this is not possible in my generation. So, more realistically, I would simply request aesthetics (which is not the case for most of the 600-800 fragrances launched every year).

Thank you very much Konstantin for the interesting interview and honouring me with your time.

Thanks for giving me a chance to air my views.


Please visit Konstantin Mihov's site clicking here.


Artwork "Amateur Philosophers" by Jack Vettriano courtesy of Allposters.com

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