The “research-driven” product line was developed by Revive Biotech, a health and wellness company headquartered in The Woodlands. Slimane Aboulkacem and his Chief Medical Advisor and co-founder, Jeffrey Pruski, focused on developing and manufacturing effective, high-quality pain-relief products.
“Through our global research consortium and tech innovations, we are breaking through a market saturated with varying qualities of hemp-based products to deliver well-researched, advanced solutions that are more effective and affordable for consumers and enable people to revive, move, sleep and feel better for a better quality of life,” Aboulkacem explains.
The new Revive Biotech product line features potent THC-free pain-relief topicals and drops made with carefully selected ingredients from distinguished hemp farms in Oregon. The lineup includes balms, creams, roll-ons, drops and gummies, offering varying strengths of CBD derivatives to aid in pain relief, sleep and overall wellness. All products undergo an extensive three-stage R&D protocol.
Revive Biotech employs pain-management doctors, pharmacologists and organic chemists, and partners with renowned public universities and companies in the U.S. and abroad to formulate and test its products.
The new hemp-based products are available online and at a soon-to-open retail location in Huntsville.
Lillian Warren's 'On the Edge of Tomorrow'
While wandering through her neighborhood near the Museum District where she and her husband have lived for seven years, Warren saw and experienced her familiar surroundings in an entirely new way. “Life felt so precarious, which heightens your senses,” says Warren. “I started getting interested in that very ordinary landscape that most of the time you completely ignore.” Inspired by Smartphone photos she took of that “ordinary” landscape, Warren created a mysterious, and beautiful new body of work: Constructed Realities, a series of oil and acrylic urban landscapes on view beginning March 3 at Anya Tish Gallery. Works by Marfa-based painter Ann Marie Nafziger will be exhibited as well.
Constructed Realities is dramatically different from Warren’s humorous, pre-pandemic series, Story Telling, where portraits of friends, colleagues, and volunteer models appear within the pages of re-imagined illuminated manuscripts. “My paintings have gone back and forth from being of absolutely nobody to being full people,” laughs Warren. “The commonality for me is an overarching interest in liminal spaces — in-between, transitional spaces and states of mind.”
Although paying attention to what people typically overlook is a time-honored tradition in contemporary art, the paintings in Constructed Realities are not literal, representational renderings of “real” places. Back at her studio after her walks, Warren used Photoshop to grab an object from one photo, place it into another, and construct a scene that captured what she was feeling at the time, rather than what she saw. Interestingly, whether it’s an outrageously painted dumpster or an abandoned toy, Warren doesn’t think of the objects in these paintings as part of a concrete narrative. “I see them more as symbolic of how odd our lives are,” says Warren, “and how casually we discard things and leave traces behind.” Color is also used poetically in Constructed Realities, often suggesting an emotional state. But Warren takes great pains to avoid “the realm of melodrama” and instead bring the viewer into a “liminal” space.
'Reconsider Where We Belong' by Lillian Warren
Ann Marie Nafziger's 'Cactus Witching'
The connection between Constructed Realities and Nafziger’s abstract paintings of “wild and remote” landscapes may be how attentive each artist is to their respective surroundings. “They come from a sense of being very present in our current environment,” says Warren of her and Nafziger’s work. Both artists value the act of slowing down and paying attention, although Warren admits her recurring motif of dumpsters in all kinds of unexpected colors is a slight dig at our culture of consumption. “We generate so much trash!” says Warren.
With her first post-pandemic show just around the corner, Warren is perfectly content to leave room for the viewer to come up with their own ideas and feelings about what they will see. “To me, as I look at the paintings, the emotion that comes across is a kind of quiet loneliness,” says Warren. “But then maybe a quiet joy from the unexpected beauty that comes from being present.”
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