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An entire building painted by Skount. Artwork is curated by Street Art Museum Amsterdam.
Read more about the museum and this artwork in my article: dutchgirlinlondon.com/2014/07/17/street-art-museum-amster...
A woman looks over an art piece at the Toronto Outdoor Art Exhibition in Nathan Phillips Square.
One of the more avant-garde pieces on display.
Curently preparing "L'Entreprise" exhibition in St-Etienne, France (International Biennale of Design/Nov 2010)
Altered art necklace
Materials: vintage cameos, watch faces, cats eye, ceramic rose, rhinestones, vintage broken earring, glass beads, acrylic beads
The agony in the garden, after Martin Schongauer, about 1515-1550.
This image is available in full HD resolution upon request.
A life sized sculture in Duck Pond Park, Temecula, CA. It's called, "Singing In The Rain". By Frans Kokshoorn. A gift from the sister city of Leidschendam-Voorburg, The Netherlands. In memory of Sept 11, 2001.
I attended the "Professional Women Photographers" pwponline.org/page.php?page=index ; exhibit at Macy's on the 8th floor this evening, invited by Trish Mayo www.flickr.com/photos/obsessivephotography/ , our "Flickr Friend" who had two beautiful pieces in the exhibit. I also met Barry Yanowitz www.flickr.com/photos/tomvu/5495991940/ , another "Flickr Friend". It was a lovely, well attended opening reception, with an enormous amount of spectacular photographs captured by these very talented Professional Women Photographers... "The PWP's Mission is the advancement of women photographers through the creation of a dynamic and supportive environment while promoting public interest in photography." BRAVA!!!
2005-2007
Colored pencil, modeling paste on wood panel
Collection:
Crocker Art Museum
Hereafter is a transcription of the handwritten text above:
"In the Janus of every artist’s life, the productive time-span is supported by a fulcrum set of ways in the now. The past is an ever increasing encroachment on the future, the challenge, the balance and verticality of the herm. Is Desire of sufficient weight to off-set the freighted past? Is my desire strong enough to prolong the contest, to shed my past, my skin, my song, rather than have it ripped from me by force of failure rather than by embrace of inevitability? Is my desire large enough to maintain balance of the herm while my ever increasing past forces the downward slash of the flayer? I sense a renewed expansion of possibility in the Winter Notebooks. It is as though the past is being absorbed through utilization of its significance in the future, an understanding of its cadence of repetition and determination of conclusion. Perhaps in the pages to come lies the possibility for fusion of time to effect an imperative shift of the fulcrum in the balance of the herm. This would mean a complete reconstruction of the Now. Is this possible? There appears a puzzling wanting to make these pages beautiful. At the same time there is an increasing aversion to audience. further, I have never felt so detached from the actuality of the thingness in the process of making. What is this seeming contradiction? Perhaps the space afforded within the contradiction is the remainder of my life. Perhaps the fulcrum has already shifted. Perhaps the reconstruction of the Now is simply a furthering deconstruction of the audience through a continued faceting of the self. Perhaps by accepting the unchangeable past, its weight and encroachment is decreased. Perhaps the beauty I want for the Winter Notebooks is simply an expression of gratitude for having arrived at this personal state of Isness. [Many questions are posed by the myth of Marsyas. The most fascinating for me being the anthropomorphizing of artifacts, the life or death contest of competing metaphors, and the eternal conflict between artist and culture-maker, creator and controller, chaos and order, host and parasite. The corpse of Marsyas, a fossil trapped in the amber of linear time, is semblance of the artist’s fate. Dates of birth and death parenthesize the flaying, the pain, the ecstasy, and the inevitable forfeiture of his song. At last, skinless, he enters into the rapturous languor of anonymity and repose. I love Marsyas as I love myself as I love all artists who challenge the gods. The real contest lies not outside ourselves in the guise of muses and culture-makers but inside with our unspeakable Desire and the inevitability of failure. There is no victory here, only the promise of it and the bittersweet pursuit of onanistic enterprise. If an artist’s desire is capitalized, his appetite is unquenchable, his boundaries unlimited, his embrace of failure succinct and pure. Praise and criticism are of equal obscurantism. Both are patronizing and both are obstructive. Muses and culture, who confer either, signify nothing other than their own creativity. Their creation is culture, their objective is history, the hook on which hangs the corpse of Marsyas. Within the sphere of time which spins our lives, past, present and future are the affirmation of existence; our skin our song, the extirpation of this illusion. This bifurcation is not contradictory. It is humanity at its highest cadence of evolution. It is also its key to extinction. The actual and the real. That which is and that which IS. The history of myth and the myth of history. art and Art."
Brisbane street artist Sofles feeling the heat while creating a mural at Brightside Brisbane. This was part of the Brisbane Street Art Festival with numerous artists doing paintings throughout the city in public places. Unfortunately I couldn't stay to see the final piece but I'll probably drop by this venue again to see what it's like. Check out his work here: sofles.com/
Windy today. Decided to not go out in the desert and be pelted by dust all day. Drove out to the Santa Fe Depot again in San Bernardino. Ended being windblown all day, just no dust. First thing I see as I get to the depot is someone I kinda' know. PasadenaSub Colin. Kid who's running a nice YouTube channel filming freights, and Metrolink videos. You should check out his channel at: www.youtube.com/c/PasadenaSubColin Also check out my man JonanJello photographing and filming freight graffiti on THE daily! 352 videos and counting!! www.youtube.com/user/jonanjello
Shot today's photos on a few lenses I ended up switching lenses between two cameras. My normal lens for freights is the Fujifilm 23mm f/2, but being so close to the tracks at the depot I mostly used the 7Artisans 7.5mm f/2.8. It's hard to use anything else that close and capture the pieces straight on. Most of these shots I'm between 10-25 or so feet away from the train. Much closer than I normally shoot when I'm out on a hike. Still getting used to shooting this close. The cars roll by much faster when your this close!
Cameras: Fujifilm X-Pro3 & Fujifilm X-E3
Lenses: 7Artisans 7.5mm f/2.8, Fujifilm 16mm F/2.8 & Fujifilm 23mm F/2
For video slideshows...
Es werden nur Teile von alten Schreibmaschinen verwendet.
Die Maschinen werden in alle Einzelteile zerlegt, gereinigt und sortiert.
Alle Teile werden miteinander an den vorhandenen Bohrungen und Löchern verschraubt, geklemmt oder mittels Federn gehalten.
Durchschnittlich werden ca: 10 -15 Maschinen in einem Werk verwendet.
Diese Arbeiten sind nicht käuflich zu erwerben.