View allAll Photos Tagged Composition
Series for one rusting skip. November 2009
(inspired by the beautiful streams of daliborlev, barbera* and modalshift)
I can't really decide if I really like this shot of the Schmidt Hammer Lassen Architects designed ARoS atrium or not. The composition seems quite unbalanced but that's quite unusual for me so I quite like the 'tension' it creates between the two halves of the frame.
More shots of Schmidt Hammer Lassen buildings here : www.flickr.com/photos/darrellg/albums/72157628226227895
From Wikipedia : "The ARoS Aarhus Kunstmuseum is an art museum in Aarhus, Denmark. The museum was established in 1859 and is the oldest public art museum in Denmark outside of Copenhagen. On 8 April 2004, ARoS Aarhus Kunstmuseum opened with exhibitions in a brand new modern building, 10 storeys tall with a total floor area of 17,000 m² and designed by Danish architects Schmidt Hammer Lassen. Today ARoS is one of the largest art museums in northern Europe.
ARoS features a shop, café and restaurant. The architectural vision of the museum was completed in 2011, with the addition of the circular skywalk Your rainbow panorama by Ólafur Elíasson. The installation has helped boost the museum's attendance, making it the second most visited museum in Denmark, just behind the well-known Louisiana Museum in Humlebæk."
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© D.Godliman
CC Week 19: different perspectives
The challenge this week is to photograph our subjects from different or unusual perspectives.
It was interesting to see the way commercial growers manage their apple trees thesse days. While there are some old orchards with more traditionally shaped trees, most orchards now grow and train apple trees like this. Apples are the main crop in this area, though cherries and pears are also plentiful.
South Korean artist Kwang Young Chun combines hundreds of paper wrapped parcels to create sculptural compositions,called Aggregations,that look like crystal formations,asteroids,or the surface of the moon (a feeling I got).The Aggregations are simultaneously Space Age and nostalgic,beautiful and violent,powerful and fragile.They draw on the artist's training in abstract painting as well as memories of his childhood,when Korean apothecaries sold medicine in similar bundles.
Each parcel is wrapped in old book pages printed in the traditional manner on Korea's celebrated mulberry-pulp paper,called hanji.Chun likens the parcels to cells or units of information,and sees analogies to both chemistry and the human condition in the ways the parcels interact physically:sometimes meshing,sometimes clashing.He compares the fragmentary passages of text on the wrappers-most taken from classics of Korean and Chinese philosophy-to voices overheard in a crowd.
The installation features six works by Chun-five wall pieces and one that is freestanding-presented adjacent to Korean objects relating to writing reading and paper that are part of our Arts of Korea galleries-Brooklyn Museum
This image is of a tree taken near Butter Bridge Road, Canal Fulton, Ohio
Nikon FE with Marexar-CX 28mm F2.8 Lens and Kodak Ektar
Ahlure Sense outfit
MP: marketplace.secondlife.com/p/Ahlure-Sense-Complete-Outfit...
Main Shop : maps.secondlife.com/secondlife/TerraVillage/64/81/23
Κάθε ημέρα ίδια αυριανή ανάμνηση του χθες ναυαγός στον ωκεανό, ένας κωπηλάτης στο πουθενά χωρίς να βλέπει πουθενά.
Πιστεύω πως γνωρίζω το μυστικό μονοπάτι της διαφυγής, και για εκεί ορκίζομαι πως θα βρεθώ κάποια στιγμή.
Τώρα απλώς στην αρχή το κενό, και το βράδυ κοιτώντας τ'αστέρια πιο πολύ ονειρεύομαι παρά πορεία χαράζω.
Πόσοι εκείνοι που ξεκίνησαν σκέφτομαι από κάπου προς κάπου να φτάσουν, και στο ενδιάμεσο κάπου σκάλωσαν.
Δηλαδή δεν τα κατάφεραν κι ας ήξεραν το σκοπό τους εξαρχής, κι ας ήταν όλα κανονικά, κανονισμένα λογικά.
Τα σκέφτομαι και εγώ περιπλανώμενος και αγριεμένος ύστερα από τόσες ημέρες χαμένος στη βλάστηση του βουνού.
Κάποιες φορές παράλληλα ταξιδεύω και τυραννιέμαι σε διαφορετικά μονοπάτια, είτε παράλογα είτε στα λογικά μου.
Θα τρελαθείς αν δεν μπορείς έστω και με τη φαντασία σου να ταξιδέψεις κατά νου, να ξεγελαστείς πειστικά.
Θέλει κι αυτός κάμποσα λόγια ψεύτικα θα έλεγα, παραμύθια να ονειρευτεί πως γίνονται να ξαποστάσει να αποκοιμηθεί.
Αν βλέπεις πως την ελπίδα χάνεις με τη λογική, τότε σπρώξε τον στο λίγο που μπορεί να απομένει, για περισσότερο δεν ξέρω.
Βοήθησε να σε βοηθήσω να ανέβουμε το βουνό, να προσπεράσουμε το δάσος του ψέματος και της λογικής μας.
Πολυπρόσωπη και η φύση, χλωρίδα και πανίδα της και ρούχο σου που πρέπει να αλλάζεις ανά πάσα στιγμή.
Το κρύο απέχει ακόμα και τυχερός είμαι σκέφτομαι, που στην αρχή δεν έπεσα στη βαθιά χαράδρα του.
Κι αυτό επειδή πισινή κρατούσα εξαρχής σε τούτη την ιστορία, με τα βήματα μου πάντα προσεχτικά και ταπεινά.
Όταν ανθρώπους βλέπεις διαφορετικούς σου, τότε κάμποσο κενό πρέπει και να κρατάς μέχρι να καταλάβεις και εσύ.
Και όλα τούτα με έφεραν εδώ παροπλισμένο της αγάπης μα οπλισμένο της υπομονής μου να ξεφύγω, να καταλάβω ότι δεν κατάλαβα.
Υ.Γ...Μυστρί..."Παροπλισμένος της αγάπης"
20230316-3610
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PuuHonua O Honaunau is a National Historic Park on the Big Island of Hawaii. Also known as the City of Refuge, there is also some spectacular shoreline to explore. This shoreline is old lava, with ponds and channels through it, making for some interesting compositions.
Photo Description (Gemini AI)
The Spiritual Realism of Gib Singleton: Materiality and Supplication in "Opening the Heart"
Visual Analysis of the Monumental Courtyard Installation
The photograph showcases a monumental, life-sized bronze sculpture titled Opening the Heart by the renowned American sculptor Gilbert "Gib" Singleton. The sculpture is installed in an outdoor courtyard along Canyon Road in Santa Fe, New Mexico, positioned directly in front of the Legacy Gallery. The composition is framed against a classic Pueblo Revival adobe building with soft, rounded, terracotta-tinted plaster walls, exposed dark wooden vigas (roof beams) projecting above a recessed entryway, and a partially visible bronze plaque reading "LEGACY GALLERY" in the background.
At the center of the image, the bronze figure of a Native American man stands on a flat, circular bronze base, which rests on a elevated, square masonry pedestal topped with a cracked, rustic stone slab. The figure is captured in a state of profound spiritual supplication, with his head tilted completely backward, facing the sky. His eyes are closed, his face is serene yet emotionally charged, and his mouth is slightly parted in prayer or song. His muscular arms are thrown wide and high in a dramatic "V" shape, with his hands open and palms facing upward to the heavens. He is adorned with traditional Native American elements: multiple strands of thick, textured beaded necklaces, bracelets on his wrists, a loincloth, and heavily textured, fringed leather leggings and moccasins.
To the right of the figure’s feet, resting on the masonry pedestal, is a highly detailed, hollow bronze sculpture of a bighorn sheep or ram skull, its prominent curled horns adding a stark, desert-themed iconographical element to the base of the monument. To the left of the sculpture, also resting on the stone-slab pedestal, sits a large, rounded ceramic planter. The planter features a rich, glossy glaze that transitions from a deep, earthy crimson red at the base to a dripping, cobalt blue and turquoise wash at the rim. This vessel is overflowing with vibrant, living flora, including tall, spiky green ornamental grasses, purple petunias, yellow pansies, and bright red tubular wildflowers.
The scene is bathed in the brilliant, high-altitude sunlight characteristic of northern New Mexico, which casts sharp shadows beneath the pedestal, the planter, and the sculptural folds of the bronze figure’s clothing. Behind the adobe building, a delicate deciduous tree with deep burgundy or reddish-purple leaves stands out against the warm plaster, while taller green trees frame the left side of the composition under a vibrant blue sky filled with soft, wispy white cirrus clouds.
The Artist and the Aesthetic of Spiritual Realism
To understand the stylistic and emotional weight of the sculpture in the photograph, one must examine the life and artistic philosophy of its creator, Gib Singleton (1935–2014). Represented heavily in the elite gallery spaces of Santa Fe, Singleton pioneered a genre he termed "spiritual realism" or "emotional realism". Trained at the Art Institute of Chicago and later at the prestigious Accademia di Belle Arti in Florence, Italy, Singleton developed a deep mastery of classical European bronze casting. While in Italy, his technical expertise was so highly regarded that he assisted in the restoration of Michelangelo’s damaged Pietà.
Despite his classical European training, Singleton returned to the American West, where he fused his deep spiritual beliefs and familiarity with Biblical narratives with the mysticism and iconography of Native American culture. His works are instantly recognizable by their highly expressive, tactile surfaces. Singleton chose not to polish his bronzes to a smooth finish; instead, the bronze retains the raw, gestural finger marks, tool textures, and clay-working scars from the original wax and clay maquettes.
When placed in the intense, direct sunlight of Santa Fe's high-altitude environment, these heavily textured surfaces perform a critical visual role. The rough, hand-worked bronze catches the light unevenly, generating deep shadows within the hollows of the muscles and brilliant highlights along the raised ridges of the figure's arms, necklaces, and fringed leggings. This interaction between light and rough metal gives the sculpture a flickering, lifelike quality, making the stationary figure appear to vibrate with spiritual energy as the sun moves across the sky.
Iconography and the Southwestern Landscape Dialogue
The composition of Opening the Heart utilizes a powerful triad of visual elements—the supplicant human figure, the hollow ram skull, and the thriving floral planter—to establish a symbolic dialogue on life, mortality, and transcendence.
The Supplicant Figure
The central figure's physical posture is a universal gesture of surrender and connection to a higher power. By throwing his arms wide and tilting his head completely back, the figure exposes his chest and throat, displaying vulnerability and absolute trust in the cosmos. The closed eyes and slightly parted mouth suggest an internal, meditative state that transcends the physical surroundings, converting the gallery courtyard into a sacred space.
The Bighorn Ram Skull
Positioned at the figure’s feet, the bronze ram skull serves as a classic Southwestern memento mori. It represents the harsh, uncompromising reality of the desert, physical mortality, and the remnants of past life. The contrast between the upright, living posture of the man and the hollow, earthbound skull beneath him emphasizes the cyclical nature of existence.
The Glazed Planter and Living Flora
The inclusion of the glazed ceramic pot, bursting with green grasses and brightly colored wildflowers, acts as a vital counterpoint to the static bronze and dry adobe walls. While the bronze skull represents death and the bronze figure represents spiritual aspiration, the living plants represent the physical renewal of the earth. The dripping blue and red glaze of the pot mimics the colors of water and earth, anchoring the installation to the immediate, tangible ecosystem of the high desert.
Cultural and Architectural Integration on Canyon Road
The placement of Opening the Heart in front of the Legacy Gallery highlights the deliberate spatial curation that defines the Canyon Road art district. By positioning a highly vertical, expressive sculpture against the low, heavy, horizontal planes of a Pueblo Revival adobe building, the curators create a powerful visual tension.
Adobe architecture, rooted in the ancient building traditions of the Pueblo and Spanish cultures, represents a grounded, earthbound aesthetic. The soft mud-plastered walls seem to emerge directly from the soil, emphasizing mass, shelter, and horizontal lines. When Singleton's figure is placed in this context, his upward-reaching arms and skyward gaze break through this horizontal plane, acting as a visual lightning rod that directs the viewer's attention away from the terrestrial architecture and up toward the vast New Mexico sky. This architectural dialogue reinforces the core theme of the sculpture: the human attempt to rise above physical boundaries and establish a direct connection with the infinite.
The most famous street in Santa Fe, New Mexico, is Canyon Road. Located near downtown, this historic half-mile stretch is world-renowned for its high concentration of art galleries, studios, restaurants, and adobe architecture.
www.tripadvisor.com/Attraction_Review-g60958-d117221-Revi...
Over 80 art galleries line this charming Santa Fe street. Make sure you set aside a few hours of your stay to walk down Canyon Road and see the world-class art on display here, which ranges in style from historic Native American art to contemporary painting. In addition to art galleries, you'll also find boutiques and restaurants along Canyon Road. Be sure to take note of the adobe architecture in this atmospheric arts district. Canyon Road has a very long history, and many of today's galleries and shops are located historic buildings that were once homes, schools, or grocery stores. You can wander Canyon Road on your own, or for more insight on the history of the area and the artwork on view, guided tours are available.
New Mexico 2026
Canyon Road Santa Fe
Nikon F Micro-Nikkor 55mm 3.5 (Non AI) XP2-400
Waist Level Prism
On the Towpath Trail, just outside of Canal Fulton, Ohio
Stunning views from St.Paul's Golden Gallery over looking The Smith of Derby clock during the blue hour.
Compositionally Challenged Week 36: Nature. Taken on our campsite at Long Point Provincial Park. This bird was part of a large group of mixed, migrating warblers.