View allAll Photos Tagged Existence
i am remorseful on writing again
i am contrite of listening to my own voice
i cannit longer bare my sole existence.
i cannot fathom any more words
nothing is like before...
why do i talk to her again? certainly my existence was washed away from her thoughts. i am certain that i was no longer in her thoughts then, why did i even bothered to talk to her again
i think all the dust on my hand makes me look zombified.
i sanded spots where daniel had spackled over the new drywall so that it'd be ready to prime & paint. i remembered to wear a mask this time so the chances of my hacking up anything disgusting are appropriately remote.
i can't wait till all the work is finished on everyone else's apartments so we can get back to working on daniel's living space. it's way more fun to fix up the space where he's actually going to be living, for sure. or at least more rewarding.
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Skinner is more than just an artist who paints psychodellic images of metal band mayhem, he is an event, a personality, a one-stop-shop of the super rad. It is within this personality that we begin to understand Skinner's work, and the detail, time, and focus he puts into everything he produces. We sat down with the artist to talk about his new show at The Shooting Gallery entitled "The Fragile Art of Existence" which explores a new place in the Skinner's body of work.
Read the full interview on Warholian here: www.warholian.com/2011/08/11/skinner-fragile-existence/
Studio photos by Hal Rotter
Opening Night Photos by Michael Cuffe
A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze!
Sunflower Sutra by Allen Ginsberg
Artist: Ruozhe Xue
4me4you features “ xue ruozhe: chronoscape”.
During a recent visit to Rosenfeld Gallery, 4me4you had the opportunity to engage with the thought-provoking exhibition "Xue Ruozhe: Chronoscape" by the artist Ruozhe Xue. This compelling body of work offers a profound meditation on the intersection of time, memory, and painting. In Xue’s hands, painting becomes a time-based medium, where every brushstroke serves as both a reflection of the artist's personal experience and a window into broader, universal concepts of temporality and existence.
At the heart of Xue’s practice is the belief that painting is an evolving process, not just a static act of representation. Time, for Xue, is woven into the very fabric of the artwork—its materiality, its layers, and the artist’s interaction with the medium. Each gesture and each layer of colour is a moment in time, a mark of passage. The works in Chronoscapeinvite the viewer to witness this ongoing dialogue between the artist and the medium, where the passage of time itself is not just a theme but an integral part of the work's form and content. Through a restrained yet emotionally charged methodology, Xue creates paintings that transcend traditional notions of figuration, situating them within the broader context of contemporary art and media. There is a palpable psychological tension in Xue’s works, where reality is subtly distorted, suspended, and re-contextualised—pushing the limits of perception and inviting reflection on the fleeting, fragile nature of life itself.
A cornerstone of Xue’s Chronoscape is the artist’s ongoing series YYYY-MM-DD, where Xue paints a single flower every day, beginning on the day their youngest daughter was born. Each flower is marked with the date, creating a visual record of time’s passage. This daily ritual has become a lifelong practice, a meditation on the transitory nature of both the subject and the artist’s own experience. The flowers, in their quiet simplicity, reflect the constant flow of time, and through their repetitive yet unique presence, Xue offers a profound exploration of how we relate to the moments that make up our lives. This ritual, though intimate, extends beyond the personal to speak to broader themes of endurance, memory, and the human need to mark time in an ever-accelerating world. In this sense, YYYY-MM-DDoffers a quiet counterpoint to the rush of contemporary life, creating a space for reflection and resilience in the face of uncertainty.
Xue’s work also reflects on the very processes of making art, often folding self-referential layers into the work. In the My Studio-based Practice series, for instance, a bouquet of orange lilies from YYYY-MM-DD reappears in a minimalist studio setting. Here, a young woman in black paints at her canvas, but in the painting before her, the lilies have already withered—creating a temporal disjunction that reflects the cyclical nature of life and art. This recursive approach to time and space creates a layered, intertextual dialogue between the artist’s past and present works, offering the viewer an invitation to explore the complex ways in which time and memory shape both the artist and their art.
In works such as The Misplaced Studio, Xue delves even further into the concept of time, space, and the relationship between artist, model, and image. In this painting, three identical figures exist in slightly distorted, disjointed spaces, connected by painted tape in a trompe l’oeil effect. A translucent white cloth, often used in studio settings to establish a scene, becomes a veil that obscures the figure behind it, alluding to the ancient Greek myth of the painters Zeuxis and Parrhasius. In this myth, Zeuxis creates grapes so lifelike that birds attempt to eat them, only for him to realize that the curtain concealing Parrhasius’s painting is itself part of the artwork. In The Misplaced Studio, the veil functions as a metaphor for the illusionary nature of art and space, where time and reality are rendered fluid, ambiguous, and unstable.
Through these works, Xue continues to push the boundaries of painting, interrogating its relationship to time, identity, and the act of creation itself. Their art is a testament to the quiet, ongoing negotiation between past and present, self and other, and the complex, often elusive nature of existence. In Chronoscape, time is not just a theme but the very medium through which the work is created, woven into every brushstroke, every layer of paint. As the viewer moves through the exhibition, they are invited to contemplate not only the artwork but the passage of time itself, and the profound ways in which art can reflect, embody, and transform that passage into a visual language all its own.
...of all existence.
I had done this drawing traditionally in my sketchbook in the week Leonard Nimoy passed away. I figured he deserved that I put my effort into a tribute, since he was such an important figure in pop culture and in the lives of so many people, who learned so many things with the amazing Spock. He's the synthesis of knowledge, of logical thinking and working towards peace.
Tools:
Canson Paper
0.03 Mechanical Pencil
0.03 Copic Multiliner ink pen
0.05 and 0.01 Unipin ink pen
Copic gray sketch kit
Photoshop CS6
#Existence is a #mirror It doesn't #pamper you when you #throw #tantrums His Divine Holiness #Bhagavan Sri #Nithyananda #Paramashivam Follow HDH Sri #Nithyananda #Paramashivam on Twitter (@SriNithyananda): twitter.com/SriNithyananda?s=09 Original Video youtu.be/qSmCNiTMY1U Guru Purnima message
"... I dare you to move, I dare you to lift yourself up off the floor"
-Dare You To Move, Switchfoot
p.s. Bored again. I found this wonderful tutorial on the internet so I decided to do this photo manip thingy.
Ever feel like people see right through you? Sometimes I'd want to fade into the night under everyone's radar and just be by myself.
gridded sunpak pz42x cam right @1/32 (i think) double exposured layers and faded in post.
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.
Existence is all about duality and plurality, good and bad, light and dark, etc. Separateness and borders and boundaries make us who we are. I am me not you. My eyes are blue, not brown. I do this, not that. I am that, not this. It feels good to have a singularity of focus for a while but eventually it gets uncomfortable and I feel like I'm going crazy. That's something I need to work on, being a channel for as much light that I can be.
Punk Liberation Vol.9 Special (An existence claim!!!!) at Kakamigahara city Unuma BaBaBar 2011.04.09
Darge
The Hips
Crime&The Vacation
Bloody Smile
川瀬悟
info: Oze /Darge darge@softbank.ne.jp
Rafa/Darge misoshiru_of_death@docomo.ne.jp
岐阜県各務原市鵜沼西町1-631
Village Vanguard 1F
名鉄犬山線 鵜沼宿駅より徒歩５分
Meitetsu Line - Unuma juku station
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If you use the photo, please give the proper credit:
Photo by Rafael Yaekashi
The photos are with 30% of the original size, I have all with actual size, and
without a signature, if someone needs is just send me an email.
Any use of the photos in the business circles without my permission, is prohibited.
For more information please contact me.
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