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Beijing, China
798 Art District.
I think this logo design is so clever - see the 7,9,8 in the Yin Yang symbol? The characters underneath say 7, 9, 8 in old chinese characters.
.. probably, this is how it all began! when cattle farmer was sitting idle, grazing his cattle.
see my fav ART related images here
I was on a day walk and got inspiration from syringa flowers on the ground. It was the first time that I was using sigma 24mm art lens properly at leisure.
"the crossing"
escaped the enmeshing and are crossing over the bridge towards new worlds...
fragments of the old order veils scattered to the wind behind the four crossing
Pressed Australian leaves
sewn onto purple veil fabric with coloured thread
Nature collage
finished artwork 255 x 335cm
The final piece in this set
‘The Crossed’
This final piece of ‘Leaf Art’, in this series, is about joy, about a journey with others, about sailing through a landscape of wonderment. All were once leaves, serving in vital roles on trees, somewhere in the physical world.
'Now, after the leaves have experienced separation and a second birth they find themselves, still in the physical realm, but moving in landscapes they have never experienced before. Their feet walk on the earth but their very being exists in heaven’.
‘They have all crossed over a bridge that they can not return on. As their feet still move on the earth they find themselves moving through a world made anew, a world made of spirit. They are all still leaves but are now serving in new ways. All have found what God had designed uniquely for them to do on this journey and all draw down the power from the Holy Spirit as they serve humanity.
"On earth as it is in heaven..."
The theme of thread is very powerful in this piece once more. Its application is not only to show the relationship between the two realms of spirit and the material but it now also depicts the crossing. The use of the crossed thread is about this powerful stage that humanity has now entered
‘a bridge that we shall not return on’stated by the Universal House of Justice.
The stage of the crossed.
The purple fabric has been rent as under and the leaves are not veiled. The realm the leaves are now living in has been forged between two other worlds, which are still veiled.
The little pieces of fabric, sewn within this ‘between world’ are only remnants to keep the individuals, who have crossed over, reminded not to go back to being veiled back to sleep.
‘Leaving thoughts’
The leaves I use in these pieces of ‘Leaf Art’ are symbols of themselves and my humble attempt to show some of the ways I see Bahá’u’lláh describing them in his sacred texts. If I sit here and create pieces of ‘Leaf Art’ for the rest of my life I will never exhaust this theme.
The leaves I collect are mainly from native Australian trees, which I have grown up with in Perth, Western Australia. As a young child I was allowed to play and befriend entire forests. Forests that God had planted and that had been growing in this landscape for centuries. The spirit of these trees and the land and the rocks completely encapsulated me and until I was 35, I actually believed I was a tree.
When I found Bahá’u’lláh’s writings a few years later I was so over flowing with love and joy to have found His sacred words. Can you imagine what I felt like when I found the sacred words that said all humans were ‘like unto a tree’. The spirit from these Australian native forests kept my ‘spirit ember’ burning until I found the source of that spirit , Bahá’u’lláh.
The leaves of Australian trees are like leather and I press them to preserve their subtle beauty. Most of the leaves I collect and use in my work are one’s that have just fallen to the ground or have just turned yellow, red or orange hues on the trees and are about to fall. This is the Australian tree’s equivalent to the European tree’s dropping their leaves in autumn.
The Australian native trees only let a few leaves drop gradually over the entire year. These trees have adapted to grow in very poor soils so they have to feed themselves by dropping their own parts gradually over an entire year. These parts that gently drop to the ground all year long are leaves, flower caps, flower petals, twigs and nuts. Most people who come and live in Australia from all corners of the earth don’t understand these unique trees systems of adaptation and call them ‘messy’. Very little of this native Australian forest remains today in the developed and suburban areas or farm lands.
There has been more of these forests and heath lands cleared here in Western Australia in my own live time,over the past 40 years,than was cleared by the first European settlers who arrived here in 1826.
The leaves that I collect are symbolic of me. When I collect the leaves it is how I see my own life’s journey when God picked me up as I was falling.
He preserved me and gave me another life another chance, I maybe still a human and an artist but nothing in my life today is anything like my life was back then. God gave me another chance another shot at life. I collect the leaves and give them another chance another role, a sacred role.
When each leaf is about to fall from it’s immature stage of uniformity and is forced to go through the second birth stage. I pick them up, as God did with me, from this immature station, preserve their essence and when they are changed and transformed they are given a new purpose to serve, to be worked and woven and sewn into a new sacred role of expression.
The local Aboriginal people regarded the Lost City as sacred place and held circumcision ceremonies there. The healing properties of two nearby trees are evidence of this. The green plum is an anesthetic tree, used for everything from toothache to stomach ulcers, and the snotty gobble, also an anesthetic tree, grows near the green plum and they formed a most useful combination for curing ailments.
Read more about the Lost City.
My friend K is moving into an old 1930s house that had a single owner until now. There are a few interesting details.
The contractors who were supposed to be painting, fixing the floor, putting in kitchen cabinets, etc. "lost" all the art deco doorknobs that were on every door -- except this one.
Every other door currently has NO doorknob (except for the outside doors which had had theirs replaced previously). You can see the marks on the doors around the art deco shape where the doorknobs are missing.
What's worse, the doors and the drill holes are nonstandard sizes, so it is a pain to replace all the knobs, though at least the landlord is paying.
I used Hipstamatic on the iPhone for these pics. It was nighttime and I used no flash, but I like the way they turned out anyway.
Lens: Lucifer VI
Film: Claunch 72 Monochrome
Random film/lens choice.
exhibition of my photos about how we renovated halls and box office in Cankarjev dom, Ljubljana, SLO
for GEISAI TAIWAN #3
很高興能在今天參加了 GEISAI TAIWAN #3，雖然金獎在我對面而不是我，
但很感謝今天特地跑來的朋友，以及有在我作品前停留的朋友們，
我會繼續努力，讓我們下次見 :)
心得在這
been busy painting big paintings lots of updates soon...thank you sasha for the pictures of these chilly times.
i was aghast. looking at this green candy art installation by felix gonzales-torres, i pondered the security oddities of the ft. worth modern. i'd been admonished for photographing one of a few pieces where that wasn't allowed, despite no way of knowing which ones those were. and wendy had been warned about getting too close to something.
just then a couple guys grabbed some of this candy from the installation and popped them in their mouths. um, security? vandals are eating your freaking art! shouldn't someone tackle them before they eat a warhol or something? of course, when i found out it was ok to eat the art there, so i tried some candy too.
surprisingly, it tasted a little van goghy.