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ARTS
Performance and Play in the Digital Diaspora of LoveNoTussle
Interview by Destiny MontoyaPhotos by LoveNoTussle (Tatiyanna Eghan)
Stretching, pulling, flipping, transferring, jugging, and embossing are just a few of the ways Tatiyanna distorts her reality as an artist. Identity is intentionally pixelated and compartmentalized online to contribute to a curated image of self that we as users observe on image-based platforms such as Instagram. Images are multifaceted in the ways they circulate online, acting as social signifiers that ultimately shape the perceptions of others through interaction with the platform. Playing with perceptions of identity, she explores the online image as pixelation, exposing its infrastructure of pixels, the RGB color model, and binary code. Introducing the concept of a “Pixel Doll” in her work Pixel Doll Infomercial as a means to explore the commodification of identity within the codes that makes up our digital selves. Here, we discuss the meaning behind Pixel Doll Infomercial, a video work by Tatiyanna that was on view in January at ASU’s Harry Wood Gallery, along with her work processes, experience growing up with the internet, and what she’s working on currently.
Destiny: I've noticed that sometimes you will change your username, and I've seen you over time go by ThatLadyLuck, Missbehave or LoveNoTussle. Why do you choose to use different names and on top of that, what is your relationship to personas?
Tatiyanna: I feel like every username that I've used has represented my feelings and my emotions in certain eras of my life. For example, That Lady Luck, that was one of the first few times I went to Chicago, and I just felt like that was such a lucky part of my life. I was meeting everyone I wanted to meet. I was just having so much fun and love around me. It truly felt like I was such a lucky being. Yeah, it felt like a pretty great life to live and when I have certain usernames, it's kind of part of my art, lifestyle in a way.
D: Some artists who use personas or aliases sometimes view themselves as separate from their alternate, do you think of yourself as separate from LoveNoTussle? Or are you LoveNoTussle?
T: I can't think of myself as separate usually, and I think it goes hand in hand with my art because my collages specifically are always changing. From one of the first few collages I made compared to let's say one that I could make today has a completely different demeanor and presence online and I kind of want whatever my username is to fit under that. The work that I've made recently or in the past couple of months probably wouldn't have fit under the time of That Lady Luck.
Actually, this is something I am figuring out currently. As I learn more about branding or platform cultural studies, I contemplate the separation of my intersectional identities, especially online, my artistry, my interests. I feel like it’s so common nowadays to distinguish a person through their instagram handle. I don’t know this persons name, but I can tell you maybe a place they posted that I've been to recently, a post, or their really funny username – but with that type of distinguishing comes viewing real people as just these characters / profiles online. It’s like my vision is strictly focused on a profile, or, a pixel.
On a good day, maybe every day I am LoveNoTussle, but the thing about this whole pixel thing is that I'm challenged every day to critique myself of it too. I mean, I have the same values as LoveNoTussle, thats me – but I have been contemplating a healthy distance between me and that persona.
So, the work that I've made recently or in the past couple of months probably wouldn't have fit under the time of That Lady Luck. But because my collages reflect my personal sign of times, LoveNoTussle is a current persona I am aligned with.
D: So they're more like eras, like you're saying?
T: More eras, but... they're still...they're not really short lasting. They all still go together and it's not that every time I make something new, I have to have a new username. It's just a different approach that I'm coming from that happens to have a significant effect on my life at the moment. That just feels right. Meta-data’s, self authorships, or identity markers pretty much resemble what my usernames are during their times.
D: Could you talk a bit about the new relationship to LoveNoTussle? What kind of brought that about?
T: Yeah, LoveNoTussle. Basically, I changed my username to that last year. So it’s been maybe a year or so with the username. It resembles this type of gray period in my life. I feel like I stopped creating things everyday as much, and I started just researching, reading, lounging more, which felt very slow. Compared to when I would first make my collages and take photos, everything felt so fast, so impatient and explosive. And not impatient in the negative way but it was just so fun and colorful. Fast. And now, I feel like with this username, everything is soaking in, it's more mellow. But I'm learning patience. I feel like it represents more of a serious and mature approach to myself and how I want to be seen online.
D: On that note I would love to talk about the Pixel Doll infomercial. I was rereading your artist statement and I pulled a quote from it that stood out to me. “This work asks viewers to consider how much of their own identity is intentionally pixelated, and how much has been shaped by the conditions of the platforms they inhabit.” I was wondering if you could explain more of that.
T: To be a Pixel Doll, means to convey a visual and a digital expression of yourself online through the means of pixelation because that's what the photo is online when you submit it. It submits to this web or platform, like Instagram. And I took quite literally what the photo is, —the flattened image, its pixelated pixel points, and I just thought of it correlating with being a pixel doll. You know, online’s 2-D, so people can face-tune their photos, they can rotate things a certain way, they can flip images, they can highlight certain colors or certain clothing that they're wearing. When I said that “identity is intentionally pixelated”, what I meant by that is choosing only the parts that you want others to see, like, the obscurities.
When I do my collages I would have hidden texts and actual words and phrases in it that you as a viewer can't really see, and is just for me to see. I'm the main and first person whose judgment and whose opinion matters with this post, so, when I post or when I create something, the first person I'm always looking forward to interacting with it is myself. How do I feel now that this is posted? And I feel like when we post online, we obviously only post what we want our followers in the audiences to see. So that's what I kind of meant by identity being intentionally pixelated versus the conditions that are shaped by the platforms and algorithms. Our biases, our own filter bubbles.I think it also goes back to photo style and photo layout. We can claim to be as unique and as raw online as we think but we're still kind of molded by the algorithm. Only certain people still see your photo and only certain people who see it depending on who you follow, and whose page you land on.
When I made my Pixel Doll Infomercial, it was basically an video infomercial inspired by '90s or 2000s infomercials, so it was meant to be an overload of information. And, itt was meant to overwhelm you with information in an advertising approach. When I first introduced the concept of being a pixel doll, people didn't really get it. It's a bit confusing, but basically in a video, I am selling, I would say identity. I am proposing the questions of how and if we want our identity to be sold due to how much we post and engage with social media platforms. That's essentially what I'm talking about and what I'm selling online.
D: When did you start to gain an awareness of this digital self that you were interacting with? Could you explain a bit about what interactions you were encountering or was it the way you were posting?
T: I would say I’ve been using Instagram since I was in high school, or maybe even at the end of middle school. I always had online friends. I was a part of this platform called Amino, and I would just talk to people online, hang out in group chats. I had friends from Germany, or states like New York, or random places like Mexico. I was also in group chats between 2013 and 2018, like Nate Clips, fan pages, Nicki Minaj fandoms, and stuff like that.I used to make fan edits of pop punk bands like 5SOS, or emo bands like PTV, or TV show screen caps. I was always surrounded by an influx of different personalities and meme culture on Instagram.
When it comes to high school, that’s kind of when you start to understand yourself, or at least try to find out who you are. I also already felt a bit indifferent socially, like I wasn’t fully plugged into the same conversations or culture around me. But also, I just felt like an awkward teen who didn’t know themself yet.
During that time, I was constantly seeing trends shift visually, how people dressed, hairstyles, the way people presented themselves. Looking back, it’s funny to see how impressionable I was to all of that. But at the same time, I felt like I already had certain values that aligned more with the arts in some way, even if I didn’t fully have a language for it yet.
I took on tech hoarding from my grandpa, who had a crazy archive of old tech, antique weapons, ships in bottles, or jazz records. I eventually began taking photos on my Olympus FE-10, and that’s when I started leaning more into image-making in a way that felt natural to me.
And then when I got into college I realized that I had just made so many different types of friends online from different areas and that's when I started to think about what I could do. II never took many art classes, so I felt quite alone when I started experimenting with photos, or collages, because I didn't know all the tools and terms to call things. I didn't know certain mediums. I didn't know what things were called so I felt very isolated. But I would share my thoughts and I would share my writings or things that I thought with people around me, and they liked it. I feel like the thoughts and the feelings that I had were not small or micro and I felt like social media was a place where I could, and always have really vocalized myself. I guess I felt a sense of rejection in person. So I wanted to create a silent power online. And that's kind of where things felt kind of big and explosive and colorful. My first collages were really colorful. Saturated. Eventually I grew more audacious and I really wanted to push myself out there. I even shaved my head a couple times, I just wanted to feel fucking crazy. I feel like I couldn't think of new ideas because I felt so inside of myself, so I would do things that weren't usual traits of myself to kind of become someone else.
D: Could you speak more about that rejection that you felt and what made you turn to making colorful collages?
T: When I started at ASU I actually started as a psychology major, but I felt so bored and disinterested. I felt like there was just something more fun to do. I would rather always take a risk than choose something safe, and I always told myself that if there was a time to mess up and try new things, it was then.
Around 2022 and 2023, a lot of my social life and interests were still tied to the internet. At that point, I also hadn't encountered a creative community in Arizona firsthand yet, so it felt difficult to imagine where I fit into all of it. Eventually I made some amazing friends, but it definitely didn't start off that way.
I think I was able to maintain great conversations and meet people well, but I felt like there was only such a depth that we could cross. Because of that, I felt like a better means of communication, and a way for people to understand me, was through visuals. I was also just a fresh, high school graduate. I also was first generation, so I was just very new to everything around me.
I feel like because things felt a little dark and uncertain at the time, that's why the work was so colorful. I kind of wanted to manifest and create a world that I could control with all the colors that I wanted to feel. Then eventually life started to feel that fun, and I developed that sense of optimism. I think I've always wanted to hold onto that.
D: That reminds me of a work you did, where it's photos of you lined up, and there's text overlaid in front that says “I'm not an Instagram artist” and the next slide is, “what happened to fun?.” How do you feel about that term, “Instagram artist”?
T: So, actually, I made that post in reaction to my professor, because I took an experimental video art class and the professor had expressed that he liked the work that I was doing. He was very interested in my pixel doll philosophy I guess. But he had referred to me as an ‘Instagram artist’ in front of the class when I was presenting a video for an assignment. And it made me really upset. Because I just felt like I was demeaned in a way. I feel like although my outlet was Instagram to be called an ‘Instagram artist’ just felt like my ideas and feelings were small, and I never felt small. So it made me feel quite aggravated and I would post a lot, I would post every day. I would post even my pencil collections at one point. Post shoes, my shoe collections. It was never about quiet performance at first. It was just being a user online.
D: Right. And having fun.
T: Literally just having fun. What's also interesting is that that person comes from an older generation. People find it corny or they find it weird to post everything that you do online. But for me at the time it just felt fun and normal. It feels new, it feels fresh. It feels more raw and not everything has to have that deep of a meaning. Yeah, what happened to fun was a little bit, like, what happened to just having fun on Instagram?
D: How would you describe your relationship to being an artist? Was there a certain point in your career where you were like I'm gonna call myself an artist?
T: The term ‘Instagram artist’ got to me for a couple of months and it made me feel like what I was doing wasn't actually productive or meaningful. It made me feel kind of let down. I think it caused me to ask myself questions about the things that I'm posting. How intentional I truly was or am. So for a while I didn't really want to refer to myself as an artist. It just felt like such a big statement or commitment. There is no conclusion. I feel like I just make things. I just post stuff that I like. I think it’s art. I think to call myself an artist means that I'm taking myself more serious, and I think that's beautiful, and I feel like that's something that I'm trying to be more comfortable with. So, I like the term artist, and I wanna explore that in a more mature and intentional and productive way especially since I'm online. And already posting such an influx of images, it's hard to feel like you're not just adding to the big world of images. So, I want most things to feel meaningful.
D: That resonates a lot with what you were saying earlier too with this new era that you're in. What are your thoughts on galleries and residencies?
T: I recently had a showing at a gallery here at ASU at the Harry Wood Gallery. I've been in shows before. I feel like being a digital or multimedia artist where your main basis is digital, it just feels a bit too flat sometimes. And I feel like in my collages when I'm making 20 layers and I'm masking and I'm editing, it's hard to convey that work when you just see the finished image. So I guess I'm trying to figure out how I can relay the same substance and time that it took to make that to the physical space. I think that's kind of why I am leaning towards video work because I can create and sustain moments and I think that's pretty nice.I think they're very informative and a great space to go when you need to be ambushed by a visual scene. I'm definitely interested in showing more, I guess I don't just wanna show my video on a screen. Creating an interactive set would be awesome. But I feel like it's also studying languages and patterns online. Cultures online. Sometimes I'll talk about a digital diaspora, which I had talked about in an essay for class but I got points marked down, since I guess it's not a real thing. Like, it's not an actual term that people use.
But I feel like it's also about studying languages, patterns, and cultures online. Sometimes I'll talk about a digital diaspora, which I wrote about in an essay for class. I got points marked down because I guess it's not a real term people use.
D: What were you explaining in your paper?
T: I was writing about this app called PI.FYI. At the time it was a very low key platform where people could post notes, thoughts, or songs they were listening to. I was analyzing its user interface and how the app allowed for more tight knit communities because it was still so small.
That's where I related it to what I call a digital diaspora. When I use that term, I'm talking about artists who may be geographically scattered but are still able to meet, connect, and build communities through platforms and the spaces they occupy online. That's something I'm interested in exploring further.
I think the idea of a digital diaspora is something I want to explore more. It's a concept that already exists, and I came across it through Anna Everett's Digital Diaspora: A Race for Cyberspace. It relates to a lot of the things I'm already interested in. When I talk about a digital diaspora, I'm thinking about how people who are geographically scattered are still able to meet, connect, and build communities online. It's something I want to keep referencing in my art and studies and use as a branch to explore other ideas around platforms, identity, and online culture.
D: Do you feel like other apps work in relation in this digital diaspora?
T: I think that there's different ways that people meet depending on the platforms. For example through Are.na I met someone through commenting or sending a message that I loved their work or their board and it was crazy because the message almost didn't send because on Are.na, you constantly see new posts when you refresh, it's just gone forever. You meet people through collaborative boards that you make. For Pinterest, it's more algorithmic. Now you're able to like a couple of posts on Instagram and have similar aesthetics or vibes pop up but it still feels very algorithmic. I think they recently had backlash from having Ai scan and report certain photos that users were uploading. I still get emails every day about posts that are inappropriate. And I've gotten my account banned when I've had Pinterest since I was in middle school. It's kind of crazy but I think that when it comes to Instagram, the people that you follow are found through the likes that you see on others' posts, the ones who comment rarely, and you peek their username. You can look at a username and it'll be something ridiculous, funny, or interesting, and you follow them and now you guys have an interest. It just feels kind of like the Instagram family tree. It literally just feels like that.
I think there's different ways that people meet depending on the platform, and that's what interests me about the idea of a digital diaspora. People who may never meet in person, who live in different cities, states, or countries, are still able to find each other and build communities online.
For example, through Are.na I commented on someone's board because I loved their work. Eventually I found their Instagram, and we've stayed connected. More recently, I even collaborated with them on one of their projects where I had to speak Russian for a video reel for their brand, A.B. Culture. I don’t speak Russian, and it was completely random. A small interaction on one platform can lead to an actual creative relationship.
For Pinterest, it's more algorithmic. You're able to like a couple of posts and have similar aesthetics or interests show up, but it still feels very algorithmic. With Instagram, people can be found through likes, comments, mutuals, or even usernames. You'll see a username that's funny or interesting, follow them, and suddenly you share an interest.
What interests me is that each platform creates different pathways for people to find one another. Even though everyone is geographically scattered, they're still able to build relationships, exchange ideas, and collaborate through these digital spaces.
D: You had made a post in 2024, where you pose this question and ask, “What is the pixel image? What is identity, and how can we explore these ideas and feelings on corporate platforms that aim to dilute us?” And I was wondering, since it's been some time since then, have you found an answer to this question, or have you developed more thoughts upon that?
T: I’ve been more interested in, but also let down by, my participation in understanding the meta of Instagram. I feel like even posting at all contributes to that system. Sometimes I wonder how much of my photos are actually saying what I feel, or if they’re just getting lost in the platform.
It’s interesting to think about radicalism as a constant action, as well as something that you're able to do in your own silent and quiet time, where you don't have an audience to see.
D: Do you feel like radicalism is something that you want to carry into your work, or that you do, and if so, could you explain your thoughts on that? On how you use radicalism?
T: That's something I definitely want to explore more in my work. I actually want to be more political in my work. I think right now, I'm more interested in studying and learning more about the systems and languages online, how we communicate, and the digital diaspora. I want to talk about the blurriness of photos.
D: The blurriness?
T: Yeah and just like ‘Arizona’ style of photo, because I think that also has something to do with my work, or at least in the way that I take photos and how I see other people take photos.
D: How so? Could you explain?
T: You had a question for me earlier, when we were talking about our pixelations or our selfhood being shaped by the world or our algorithms, and I think there's a quiet kind of algorithmic bordering.When I think of Arizona and how a lot of girls post, or even you, or even how I’ve posted before, it feels very glazy and blurry and dewy. And when I think of why I do that it's kind of like a masking, but also a celebration of the boringness of Arizona. I wouldn't want my photos to be so sharp 'cause there's truly nothing exciting in the background but me in the photo. I just think it's so interesting. And also, sometimes it’s just really hot and we’re all sweaty.
D: I know exactly what you're talking about through this blurredness of an image and my connection to that is that it blurs the image to look like a memory. I'm holding more importance to the photograph of that moment through the photograph, and not actually in the present moment. For example I could take a picture of these trees right now, blur my camera, and take the photo and for some reason, I'm romanticizing the moment through the blurredness of the photo because that's how it lives in my memory, rather than this, like, ultra high-def image.
T: When you take the photo, it feels like a perfect moment. When I take a photo and it's blurry, there's nothing truly perfect about it than the filling it creates. And it's interesting how when you take the photo and it's blurred, it's kind of like you're already reminiscing on that surpassed or nostalgic moment. And that's something that I've always been interested in playing with. I photograph these moments and I stretch and I distort them. But it's like I just want to create new ways of seeing the image and having it breathe in my mind and that's why I like the manipulation of it too.
D: I've noticed your attraction to stretching and pulling (the image) and you've done these edits of your friends and these distortions of yourself and your family. Could you talk more about that process?
T: Yeah. I love embossing, stretching, and overall distorting an image because it's not boring. It's fun. That to me feels unconventional because you're changing the standard way of viewing an image. You're deliberately overwhelming the person who's seeing it. And I think that's fun. It's so much more interesting and distorting an image of my friend kind of protects their image in a way. We know how the first image looks. Now I'm asserting a different perspective over you while still at the same time protecting your original self. And I feel like that's a unique relationship that I like to have with my friends. They never really know how any of their photos are going to turn out, ever. And sometimes maybe they might not even like them, but they respect it and they think that it's interesting. It's definitely not a traditional way of photo taking. It feels fresh.
D: You've also done these insane edits of artists in music videos, such as FKA twigs, Usher, and Babyxsosa. Could you talk about these? What has that process been like for you to explore thematically or with this new altered image?
T: I think when people ask me about my work and if it's like a very long series or a carousel of photos, and honestly my Instagram page it's kind of like a portfolio. Which I guess it is, but it's just really raw. A lot of my works on my page sometimes are not even finished, they're just there. I'm quite actually showing people the process of how I'm editing the photos, or sometimes I'm building or rebuilding a concept from awhile ago. With the video edits that I've been doing I got really interested in embossing. I was playing around one day, and I just loved the boldened look, especially when applying color, and masking, and making it feel vibrant. It felt like a new way to view a video. You have your regular video, but something about embossing it just makes it feel so forced in your face. It makes it feel provocative to me, at least. And that's something that I like to feel. I just love how colorful it is. I love the pink ones. I love the ones of Babyxsosa. I've also been interested in jugging in video edits. It feels a bit glitchy, a bit slow and chaotic.
T: So MC Music Choice, it was when me and my mom didn't have cable. And we would just watch TV and it had this channel where all you could watch were music videos on it. It's kind of like Vevo. It's kind of just like an old YouTube but you only had one specific slim selection of videos, and I would just always watch that one over and over and over again, because I just love that video (Selena, Dreaming of You) and I love her voice and the song. And it just felt very pretty. And as a kid, when you're watching something and you're kind of fascinated by it for the first time, it just feels more slow and very sensual. So I think that's also a feeling that jugging gives me in videos. I want things to feel sensual, and very slow, chaotic.
D: Would you say that by referencing this time when you grew up watching music videos through this channel, that it is tying to some aspect of nostalgia with jugging and slowing things down?
T: I actually think that nostalgia is an inspiration for a lot of my work although it's not something I'm really excited to say or talk about, because it feels easy to relate back to something you once saw and remake it or hit at those same feelings. It just feels very easy. Not very fun. And honestly actually I might add, when it comes to the embossing, another reason why I like the embossing, especially on black people or darker skin, or where their features are more ethnic because typically the clips I choose weren't as new. They're older and used with an older format of camera. I feel like our features get lost and not highlighted as much. So I think that with the embossing, it kind of makes the video penetrate in a different way into your brain.
D: Yeah it's pulling your attention and your eye to look at outlines and I love how you can see the body moving. I meant to ask you this at the beginning of the interview but could you explain what you're studying in school and does that relate to your artwork?
T: My major is in film and media studies and my minor is in media arts and sciences. So creating visuals through code. I'm just coding visuals and squares and I'm making them move and activate. I'm also studying apps and platforms and movies. ASU's program, it's not as exciting as I would have hoped it to be. I feel like it doesn't apply well to our constantly evolved and progressive state of media and art. I think that my studies have made me acknowledge foundational histories and aspects, but it hasn't taught me how to elongate that knowledge and think in a more futuristic tone. I think that's why I've learned to outsource my ideas. That's what leads me to be so determined about my work and the distortion because I'm constantly manipulating something that feels traditional. I'm constantly rebirthing or giving birth to something that I like.
D: I relate to that a lot about how traditional ASU feels. My gripe is with the art history department, a lot of aspects taught within art history are mostly focused through Western or Eurocentric perspectives of hierarchy. And so I feel like in that way, we as students, we still have to teach ourselves outside of that system. Like how you're outsourcing or evoking new meaning in your work and how you're thinking about the future. Where do you think the future of the internet is headed?
T: Where do I think the future of the internet is headed? I think there's going to be more surveillance on the internet actually. And I think that it's going to be harder to share opinions and thoughts and images due to the algorithms and censorship. I think that's a negative aspect of where I think the internet will lead in that direction when it comes to art. And I would say with internet art, I think there's going to be various types of critiques and expressions. But I don't know, I think to think of the future of the internet is kind of hard because it already at the same time feels futuristic. Like, there's just something new every day. It kind of just doesn't feel old. And it feels new, but not, like, super new.
D: I wanted to ask you about your relationship to fashion. There's a time where you were working with metal and making bags and shoes that were reinforced with hardware. What was that like? Are you still exploring fashion in that way?
T: I'm still exploring fashion, and I'm trying to reuse my old ideas. When I first started making my collages I always had a uniform I’d wear while editing. I used to just wear a beater tank, jorts and jeans, boots. I feel like that uniform in itself was a lucky state that gave birth to so many ideas and thoughts that I still go back on. I think I'm trying to implement that again into my life. When it came to the metals that I was mixing, I would go to Ace Hardware and I would buy tools like toilet pipes and clamps, and things that didn't make sense to be jewelry. But it felt like a daily or weekly practice of thinking outside the box and using my mind in a different way. It also felt radical to me to engage in a space that felt more associated with men.
It feels very queer. That's something I want to explore more. That’s definitely a medium that I'm expecting to show up soon and just have fun in. I feel like it'll be great because it's going to be a physical asset that I'm not used to engaging with all the time since a lot of my work is online.
D: I'm excited for that. Do you think that you would make a website or have your works live on a website rather than, I guess, how they're existing now?
T: I definitely need to focus on making more physical work, but a portfolio website is definitely in my head too.
D: I’m gonna end with what you're working on now. But before I ask, what or who are some of your inspirations?
T: When I first started making collage work, I would scan parts of the ground as skins and textures for the collage. So one has to be outside. When it comes to people. I think it would have to be the saturation in black movies, specifically. Hype Williams, Spike Lee is cool. Music videos, rap, hip hop. Babyxsosa is dope. Other inspiration, I would also say moments and memories in my life that I want to continuously hold and mold into something. Color always inspires me. Past conversations always inspire me. The blurry image again, this phoenix photo style. When I think of people who contain that style. It feels very feminine and soft.
D: Do you feel like you might ever explore sculpture?
T: Yeah, I would explore sculpture. I actually would love to explore sculpture work.
D: There was this moment too, when you were doing image transfers, weren't you?
T: Oh, yeah. Acetone transfer. I still do them. That's actually my recent project. I bought my first SLR film camera. I've been shooting film, so I'm excited. I've been buying different types of paper and textures and I've been experimenting with the amount of ink that is pressed onto the paper and how it holds paper. I've been holding it in the light and seeing how opaque it looks. It's been fun. I'm excited.
D: Yeah, I'm excited for that too. Thank you so much. You're amazing, Tatiyanna. I love talking to you.
T: Destiny, I miss you.
D: I miss you, too.