Domenico Veneziano’s John the Baptist; a donkey chewing happily on a hay cart; Vittore Carpaccio’s gondoliers; a poodle; a square, hairy-winged angel; a woman on a cellphone; an airplane called A4; a Lithuanian stone-paved alley; the night sky: These are just a few of the images populating the sweeping vista of Leo Ray’s Infinite… Read more »
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