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These were produced in A5 format, consisted of full-color photographs, and typically featured five or six photo sets of around ten pages each; each set would be accompanied by a short descriptive text.

While not all the titles ran concurrently, subject matter from magazine to magazine frequently overlapped. Many dsnmark, such as big bust, interracial, uniform, or ethnically themed sets would appear in any title, dependent on the activity being performed rather than the participants. Color Climax—mixture of hardcore and softcore picture sets. First published in April Danish Hard Core later Hard Core —conventional hardcore pictures featuring male and female participants. Teenage Sex—teenage girls in softcore and hardcore picture sets. Later joined by the similarly themed Teenage School Girls. Blue Climax—mixture of hardcore and softcore picture sets.

Urolagnia was also available. Cheung depicts meaning narcissists, against epic landscapes spaced by polo such as spam-fiction and 19th century romantic painting.

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Through a mixed medium of spray paint, oil, acrylic, pastels, newspaper and ink, Cheung is interested in the way we move between the physical world and the virtual realities of communications, technology, global finance and the internet. Cheung depicts artificial spaces, including epic landscapes informed by imagery such as science-fiction and 19th century romantic painting.

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This for me is a contemporary gallerries of landscape from where I take inspiration and fuse images from the Internet on computer before printing directly onto sections of the stock listings to jigsaw back together on canvas. All of Leventon's work however is grounded in a sensitive concern for the natural environment and how we use it. She sees her work as a way of interweaving a kind of personal archaeology with the archaeology of contemporary society and the physical archaeology of places, incorporating elements of surprise and humour. Made with Paperbacks, the tower refers to suburban social housing - symbolising a space where large numbers of people gather without however being able to see, from an outside observation, any traces of life other than small spots of light.

Sarah Woodfine trained as a sculptor, which is evident in her approach to landscape, architecture galoeries optical illusion - all being recurring themes in her work. Each element is drawn in pencil with a precision and clarity that suggest a perfectly observed reality, but also conjure up the obsessive hallucinatory character of a dream or fantasy. Accessible and intimate, these scenes are made up of fragments and clues which invite viewers to invent their own stories.

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