| "Tears": graphite, water, canvas. |
Want music?
Click: Luther Vandross, So Amazing.
2GN2S
For three months, Julia Fernandez would spend the hours between 8 a.m. and noon waiting for the right light to filter into her Brooklyn studio. Once the shared space was properly lit, she would swap out a grid of 12 ceramic tiles and take overhead photos that would eventually be pieced together into the charming stop-motion animation, “Dirt” <-here. The music video for an acoustic song by LA based Emory, Ferndez's film cycles through 300 tiles that reveal a small rabbit hopping across the frame, children running and a spindly, line drawn flower blooming and wilting. Each carved character is set within the grainy patchwork, which highlights the medium's oddities through irregular edges and differences in glazes. Combined with physical manipulations required of stop-motion, the ceramic animation is a poetic ode to an unlikely pg of tactile media.
In a conversation with It’s Nice That, Fernandez shares that she first melded the two after etching a small cup that doubled as a zoetrope. Also featuring a rabbit and a flower, this playful compilation is a clear precursor to the techniques and characters that shine in “Dirt.” “Seeing a material that’s supposed to be still and permanent begin to move felt like magic, like I had cracked some code in reality to create movement that should otherwise be impossible,” she said.
Sleek, watchful, and quietly relentless. In Japan, the tide now turns with technology. Floating recycling robots glide through coastal waters, autonomously scanning for plastic waste before it drifts into deeper seas. Solar-powered and AI-guided, they navigate harbors and shorelines, gently collecting bottles, bags, and debris — protecting marine ecosystems before damage is done. With soft arms and silent motors, they clean without disturbing the rhythm of the ocean.
It’s guardianship by machine, not because the sea can’t fight back, but because it shouldn’t have to. And sometimes, the best rescue arrives quietly, drifting just beneath the surface, doing what must be done.
Just because ...
The SILVER-CHEEKED HORNBILL
A Bird With an Impossible Beak
The silver-cheeked hornbill stands out instantly thanks to its huge curved bill and the pale silver patch on its face. It lives in forested and savanna regions of eastern Africa, spending much of its time moving between trees in search of fruit, its main food source. It will also eat insects and small animals when available.
That oversized bill isn’t just for feeding. It’s used to reach fruit, display dominance, and plays a key role during nesting season. During nesting, the female seals herself inside a tree cavity, leaving only a narrow opening for the male to deliver food.
Monday's Smiles ...









