View allAll Photos Tagged Create
World Cup 2018 - Belgique Vs Japon
Match de la Belgique contre la Japon (3-2)
( Coupe du monde 2018 : Ou est la fete? )
Created by Ben Eine, on Caithness Walk close to the other entrance to East Croydon station.
He pays tribute to the 1966 Warhol film "Chelsea Girls" with the typography here.
Yesterday Kristin posted a wonderful challenge on Shutter Sisters, to go out and find a joyful word. Abbie and I didn’t get a chance to go window shopping but we did visit our local library. I love sharing these challenges with my 9 year old daughter. While at the library I saw the little sign about TODAY, and it hit me not so much a joyful word but a word that means so much. TODAY, I often find myself reminiscing about yesterdays and thinking ahead about tomorrows so every so often I forget about today and living fully in TODAY. This to me was a visual reminder, my little partner stepped up and found a word (s) that met the challenge in a more literal way and little 9 year old hands used my camera on manual focus and found find your Groove, CREATING JOY. I think these two pair nicely and I’m happy Abbie and I had a little adventure yesterday at our local library. Thank you Kristin for your inspiration yet again.
"I was created to re-unite with You:
To suffer terrible blindness
until these eyes are soaked in You alone
everywhere …and ever nowhere
To endure the prolonged agony of deafness
until all of Creation echoes triumphantly
with inexplicable Silence through me
To agonize bitterly without smell and taste
until your Fragrance excites a strange blossoming
rolling the Nectar of Life ever sweetly across my tongue
To be torturously paralyzed without a voice
until an unbearable urge bursts open
Intensified by every inward outward breath
Expression dances with abandon
while the ecstatic heart wildly pounds out a rhythm:
Joy explodes uninhibited out of this burning body
What was a dark ache of longing
becomes rapturous discovering
A crash of wave against wave
in an ocean of increasing Awareness
A Peace-bringer disappears only to reappear
as the Great unending Song of Life plays on"
© Ganga Fondan, 2010
Another art piece and poem out of this same profound meditation:
“When we know the Truth and understand the Truth and enter the wisdom of the Truth, we become the Truth. “ – Tulshi Sen
Live from Chang Mai Thailand tonight Mr. Sen will be discussing “Becoming a Dream Machine”. Join Here if you like.
*My creative juices have been exuberantly flowing so I'm a bit pre-occupied but I’ll catch up with everybody soon.
Created for Faestock Challenge 117
Space machine from amechanicalmind in Deviant Art
Get your last minute holiday and crafting done and create Christmas theme Pens! Both pens will be sent as Christmas gifts to 2 of my mailing list subscribers @ PolyPediaOnline
Love to get an inspiring Facebook cover for your Facebook personal profile or Facebook page? Here's a quick and easy step-by-step video of how to create a Facebook cover in FotoJet!
If you get any idea in mind, create your Facebook Cover from blank template. If not, just don’t worry. With the many professionally designed Facebook cover templates in FotoJet, you can be inspired to make your own one. Let’s start here: www.fotojet.com/features/social-media-design/facebook-cov...
I added a bunch of vinyl decals to make the Silhouette extra pretty! I also made covers out of scrapbook paper for the control panel. I can switch them whenever I'm in the mood.
At our eldest son's wedding we created a photo-booth where people could create their own wedding memories. Here's (most of) the grooms party. In one of many departures of tradition he had a best woman, rather than a best man!
Three bots:
1. Created in the starfish galaxy by the Xeno-race Buggy-boggers this unit that ended up in our galaxy originally had a hissing-noise name, but after he was propelled at light-speed by an asteroid impact on his homeworld, he was later renamed 4-ey-black by the Blacktron that iadopted the alien droid as used him as a spy
2. Originally an anthropomorphic mutant humanoid duck with anger management issues, he Picked a fight with J. Cash the Elder a famous bounty hunter that eded up making a filet with his single combat claw… but his brain was accidentally pickled in a pub grub jar and later found by the pirat Captian Aaargh and salvaged and resurrected to life in a mecha suit, technically a cyborg but only his blue cap and his brain are organic parts of his former body…
3. This rudimentary creeper bot belongs to the undercity mafia crime-lord named Buddah the Jab… his official task is to inspect vents and pyramid secret chambers and strange rabbit hole systems, but his real duty is to satisfying The Jabs secret paraphiliac pleasures, which it hates
Created by Hana Vyoralová of Leporello.cz.
Blogged: www.allthingspaper.net/2013/07/leporello-paper-art-and-pa...
Kris Fairchild was on an underwater kick at the moment, so she continued to work on a new piece in that theme while waiting near her booth
Created by Zaha Hadid
Dark blue steel ribbons swoop up from the ground and swirl around each other, defying gravity, and creating a sculptural moment suspended in motion.
[Cancer Research UK]
Created by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the four northern transept vestibule windows feature quotations from the Bible. Each window, like the other non-figurative windows around Saint George's Presbyterian Church, features design elements typical of their work. This lancet window in the western wall of the vestibule features a latticed "diaper" pattern containing stylised floral designs in yellow. It has a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles, also common element of Ferguson and Urie's windows. The quote "Come unto me all that labour and are heavy laden", comes from the Book of Matthew XI 28 - 29. Written in brilliant orange Gothic script against a black background, the Biblical quote appears in a panel midway down the lancet window.
The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.
The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.
The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.
The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.
Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.
St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.