View allAll Photos Tagged Fluidity
there's fluidity in life--ebbs and flows in emotions, health, and circumstances. we're wired to resist change, yet change is what we receive, daily. i'm trying to be more fluid. i'm trying to not mind what happens. in a way, it's like dancing with life. and i love to dance.
MELLOW YELLOW... Tulips
#AbFav_PHOTOSTORY
#AB_FAV_ANYTHING_GOES_ 🎨
I love the way they sit in the frame, the fluidity of the leaves, very expressive? You can make up your own story today.
I wish you all a very good day and thank you for all your kind words, time, comments and likes.
Very much appreciated. M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
tulips, many, sway, sing, yellow, pale, emotion, flowers, portrait, studio, black-background, colour, design, square, "conceptual art", "Magda indigo"
Murmuration—named after the mesmerizing patterns formed by flocks of birds and swarms of insects—is the latest creation by Lalie Sorbet and Chrix. Part of a special SLEA Grant Residency from the Second Life Endowment for the Arts (SLEA), this immersive and organic experience continually reinvents itself. Nothing is static: dancing particles, animated textures, and random animeshes emerge to form ever-changing compositions. Each glance is unique, and each visit reveals a new facet of this evolving display.
Murmuration is a perpetually recomposing visual symphony, celebrating chance and fluidity. Every moment is a surprise, every appearance a fleeting poem. Let yourself be swept away… and become, for a breath, a particle in this infinite dance.
The Opus
Design Architect: Zaha Hadid Architects
Lead Consultant/Architect of Record: Brewer Smith Brewer Group – BSBG
Client: Omniyat
Main Contractor: Multiplex
Structural Engineer: BG&E
Façade Consultant: Koltay Façades
Façade Fabricator: Alu Nasa + Permasteelisa Group
Type: Mixed-use (Hotel, Offices, Serviced Residences, F&B)
Hotel: ME Dubai by Meliá
Height: approx. 93 m
Floors: G + 22
Approx. GFA: 84,300–93,000 m²
Completion: 2018
The Opus is designed as a pure glass cube carved by a fluid void; a subtractive design move contrasts solid geometry with organic, parametric forms. This eroded space divides the mass into two towers while maintaining one visual identity, creating a dynamic interplay of glazing, shadow, and spatial composition. The concept reflects Zaha Hadid Architects’ philosophy of fluidity, movement, and iconic façade design, making it a strong reference for architects and interior designers exploring contemporary mixed-use architecture.
Website | Instagram | 500px | Behance | LinkedIn | Pinterest | Facebook | X | Tumblr | Deviantart
Inscultures de les Creus de Planelles
Thought to be between the mid Neolithic and the Chalcolithic so around 5,500 to 3,800 ybp
A Takumar 50mm f1.4 shooting wide : multiple shots running its focal plane over the rock surface before being trimmed into diagonals and recomposed by hand. Some micro bokeh mixes into the effect.
It seems that the deep cups and canals have been ground over a lengthy period of time with both attention and fluidity.
ISBN-10: 8449036127
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
C’est important de se rappeler de ses racines », affirme Heaven Love. À 22 ans, ce maquilleur, qui se définit comme un artiste pluridisciplinaire(poète, chanteur, peintre) se définit comme gender fluide. "Je navigue un peu dans le spectre du genre entre le neutre et le masculin. Aujourd’hui, je peux me sentir neutre, demain, je peux me sentir plus masculin. Et les gens ont parfois du mal avec ça. Même mes proches autour de moi, je vois qu’ils ont du mal à comprendre cette fluidité. Il y a encore des efforts à faire, il ne faut pas se contenter du strict minimum et c’est pour ça que la pride compte".
It’s important to remember your roots,” says Heaven Love. At 22, this make-up artist, who defines himself as a multidisciplinary artist (poet, singer, painter) defines himself as gender fluid. "I kinda navigate the gender spectrum between neutral and masculine. Today I may feel neutral, tomorrow I may feel more masculine. And people sometimes struggle with that. Even my loved ones around From me, I see that they have trouble understanding this fluidity. There are still efforts to be made, we must not be satisfied with the bare minimum and that is why pride counts".
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
Sometimes, I think the fast shutter freeze-the-moment style of photography fails to capture the gorgeous fluidity of birds in flight.
This seagull was cavorting around the back of the ferry (in hope of getting fed by the tourists), and I tried my best to follow its aerial display.
In the post-production stage, I took the advice of Paul and went to ask my son to make the decisions. My 9-year old mini-me decided that a lower contrast setting would make the bird look more ghost-like and better capture the ephemeral feel of the moment. Bloody smart alec.
Equipment: Nikon D7000, Nikkor 70-300mm @98mm, ISO 100, F32, 1/8 sec
Post-production: Colour balance set to "fluorescent" and spots due to dust on the sensor cloned out, exposure lightened slightly.
In this mesmerizing art collection, we delve into a world where Salvador Dalí's iconic "The Persistence of Memory" melds with the eerie, surreal landscapes of Zdzisław Beksiński. Created in 1931, Dalí's masterpiece is renowned for its captivating, yet bewildering portrayal of melting clocks in a desolate landscape. This piece has become a symbol of the fluidity and strangeness of time, especially in the context of the then-emerging theory of relativity and the subconscious realms explored by psychoanalysis.
Dalí's work is a testament to Surrealism, a movement that sought to unlock the power of the subconscious mind, blending dream and reality into an almost hallucinatory clarity. The melting clocks, often interpreted as a rejection of time's rigid control, invites viewers into a world where conventional perceptions of reality are challenged and reshaped.
In this collection, the haunting beauty and surreal atmospheres of Beksiński's work intertwine with Dalí's fluid conceptions of time and reality. Beksiński, known for his dystopian surrealism, adds a layer of profound depth and emotion, creating landscapes that are both dreamlike and nightmarish. The synergy of these two artists' visions produces a series of images that are not only visually arresting but also rich in symbolic meaning, offering a contemplative journey through distorted realities and the enigmatic nature of time and existence.
Each piece in this collection invites the viewer to step into a world where the boundaries between dreams and reality blur, where the persistence of memory and the echoing depths of the subconscious mind create a surreal tapestry of haunting beauty and timeless mystery.
Poem
In realms where time’s soft hands do fade,
And memories like shadows parade,
Beneath a sky, both grim and bright,
Lies a world beyond the night.
Echoes of Dalí’s twisted clocks,
In Beksiński’s land of paradox,
Where trees of bone and rivers deep,
Whisper secrets they cannot keep.
A canvas painted with surreal dreams,
Where nothing is quite as it seems,
In every stroke, a story untold,
Of a world that's both new and old.
A dance of light, a twist of fate,
In these scenes that time creates,
Here lies the beauty, eerie and sublime,
In every corner of this timeless clime.
Haiku
Twisted time whispers,
In surreal, dreamlike visions,
Eternal echoes.
A squiggle is mirth set into fluid motion when two teams of fairies play dodgeball by flinging molecules. Sometimes, under circumstances not yet completely understood by even the most learned of alchemists, the squiggle loses fluidity and abruptly solidifies - much as water can phase through liquid, gaseous, or solid states. Some speculate that, as sometimes seen in the realms of the common Tree Fairy (Fairius arboreteae), this solidification significantly correlates most frequently with sudden losses by the ‘Home’ team - the efficacious result (from the standpoint of the empirical observer) often being wonderfully patterned wood such as that exhibited here.
Since the corporeal existence of fairies and molecules cannot be definitively confirmed by our everyday experiential perceptual senses, we know of both only by the observation of concomitant phenomena such as the squiggle. Or because someone told us so.
As suggested by the amplitude of the squiggles in its atmosphere, the fairies and molecules of Jupiter surely must dwarf all others in our solar system - and perhaps some beyond as well.
For Mosaic Montage Monday theme of Fluid Forms is this montage of the young curled fern frond at the Dale Chihuly Exhibit at the Adelaide Botanic garden and an overlay of flowing lines and dots. Many of Dale Chihuly pieces exhibit flowing curls and curves too indicating fluidity. HMMM
www.warrendaviesphotography.co.uk
After spending a couple of days exploring the wonderful city of Seattle it was time to head north over the border into Canada. Hopping on the Greyhound bus we headed upto Vancouver where we were met by my sister-in-law, Karen, who would drive us the final 80 miles or so to their place in Whistler.
The route is pretty straight forward, leave Vancouver and head north on highway 99, better known as the Sea to Sky highway. With out doubt this is the most sccenicly spectacular stretch of road i have ever travelled on. From the salt waters of Vancouver the road climbs steadily up through the highest peaks of the mountains, with fjords, lakes, rivers and forests all around.
No sooner had we set off than the sun began to set, truly stunning. I think Karen could sense i was itching to get out and take a few shots so very kindly she pulled over into one of the many viewing points and allowed me to get my fix.
Big thanks to her for doing so.
Karen, this one is for you.
Prompts: watercolor troubadour painting blue man head by marc van dijk, in the style of distorted perspectives, exaggerated forms, dark navy and white, shwedoff, optical illusion body art, bold shadows, multi - layered figures, social media portraiture --ar 16:9
Created with #midjourney #photoshop
Thank you for your visit, faves, and kind comments. 😊
© AI Art Legends 2022
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
In this extraordinary painting, a star of the National Gallery’s Canadian collection, Carr achieved the fluidity and grace of her works on paper, which she had executed in her improvised medium of oil paint mixed with gasoline. Here, though, she translated her experience of the forest and sky worlds into a sturdier medium with no loss of spontaneity or ethereal communion with her subject. The painting breathes.
El baptisterio neoniano, (en italiano, Battistero Neoniano), también llamado Baptisterio ortodoxo, (en italiano, degli Ortodossi), para distinguirlo del Baptisterio arriano construido a instancias del rey ostrogodo Teodorico unos cincuenta años más tarde, es la más antigua de las ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996. Según la evaluación ICOMOS, este es «el mejor y más completo ejemplo superviviente de un baptisterio de los primeros tiempos del Cristianismo» que «retiene la fluidez en la representación de la figura humana derivada del arte greco-romano».
En parte se construyó sobre una terma romana.
La estructura es de planta centralizada octogonal, puesto que estamos ante un baptisterio, es de ladrillo fue construida por el obispo Urso a finales del siglo IV o principios del V, como parte de su gran basílica (destruida en 1734). El baptisterio fue concluido por el obispo Neon a finales del siglo V, tiempo en el que se añadieron las decoraciones en mosaico.
El baptisterio tenía una función de propaganda a fin de incitar a las gentes a hacerse bautizar.
El diseño octogonal del edificio, empleado prácticamente en todos los baptisterios del primer cristianismo, simboliza los siete días de la semana más el Día de la Resurrección y la Vida Eterna. El ocho se relacionaba así con la resurrección, siendo la suma de siete, el tiempo, más uno, Dios. Esta forma octogonal se encuentra en los monumentos bizantinos o de inspiración bizantina (como el Domo de la Roca en Jerusalén).
es.wikipedia.org/wiki/Baptisterio_neoniano
The Baptistery of Neon (Italian: Battistero Neoniano) is a Roman religious building in Ravenna, northeastern Italy. The most ancient monument remaining in the city, it was partly erected on the site of a Roman bath. It is also called the Orthodox Baptistery to distinguish it from the Arian Baptistery constructed on behest of Ostrogothic King Theodoric some 50 years later.
The octagonal brick structure was erected during the late Western Roman Empire by Bishop Ursus at the end of the 4th or beginning of the 5th century, as part of his great Basilica (destroyed in 1734). The baptistery was finished by Bishop Neon at the end of the 5th century, at which time the mosaic decorations were added.
The octagonal design of the building, employed in virtually all Early Christian baptisteries, symbolizes the seven days of the week plus the Day of the Resurrection and Eternal Life.
The ceiling mosaic depicts John the Baptist baptizing Jesus (depicted with beard) standing waist high in the Jordan River. Zeus, as personification of the Jordan, is also present. A procession of the twelve apostles proceeds around the center mosaic in two directions, ending with Saint Peter meeting Saint Paul.
The Baptistry is one of the eight structures in Ravenna registered as UNESCO World Heritage Sites. According to the ICOMOS evaluation of this patrimony, "this is the finest and most complete surviving example of the early Christian baptistery" which "retains the fluidity in representation of the human figure derived from Greco-Roman art".
This yellow-breasted chat showed up today , a first for the water feature.
More likely to be heard than seen as they like heavy, thickets.
Rondeau Provincial Park, Ontario, Canada, August 12, 2025.
Icteria virens
The Yellow-breasted Chat offers a cascade of song in the spring, when males deliver streams of whistles, cackles, chuckles, and gurgles with the fluidity of improvisational jazz. It’s seldom seen or heard during the rest of the year, when both males and females skulk silently in the shadows of dense thickets, gleaning insects and berries for food. Larger and chunkier than a warbler, the chat is a widespread breeder in shrubby habitats across North America, venturing to Central America for the winter.
source allabouttbirds-org
This is a close-up HDR photo of the inside of a wine glass, with a CD in the background. I love how the image of the wine glass seems like an observing eye - an ocular witness. My eye is drawn first to the circular shape of the wine glass stem, which being in-focus, nicely visually balances the fluidity of the soft-focus shapes and colours in the rest of the image that are beyond the focal plane. Also, the multiple placement of adjacent complementary colours (red/green, blue/orange) draws one's gaze around the composition, and gives it both balance and a visually engaging dynamic energy.
*Mandana's Photos on Flickriver
Weisman Art Museum by Architect Frank Gehry
architecture.about.com/od/greatbuildings/ig/Buildings-by-...
If a second equates to a snapshot, then an interaction equates to a continuous video sequence. When one simply observes a particular scenario, that person experiences quite the show; in the case of the ol' classic trails, I was treated with an infinite amount of color for only as long as my a6000's camera was told to do--only a mere 30 seconds. Ha--just a lil' reminder to process our respective day more like a[n uninterrupted] video clip and less like a snapshot--where we have a pretty narrow understanding and recollect of X-particular moment.
Photo captured via Minolta AF-Maxxum 16mm Fisheye F/2.8 lens. City of Spokane. Spokane County, Washington. Mid January 2023.
Exposure Time: 30 sec. * ISO Speed: ISO-100 * Aperture: F/22 * Bracketing: None * Color Temperature: 2950 K ** Color Grading: Kodak E100VS
Radha’s heart,
Paths to Kṛṣṇa,
Love’s journey unfolds.
In the Hindu tradition, Lord Kṛṣṇa is often depicted as having both male and female qualities, which is known as Ardhanarishvara. Therefore, some male devotees of Lord Krishna choose to dress as women to express their devotion and to emulate the gender fluidity of the deity.
This practice is known as "Radha Bhava" or "Radha Bhakti" and is particularly popular among the followers of the Gaudiya Vaishnavism sect of Hinduism. Radha, who is believed to be a female companion and lover of Lord Krishna, is considered the embodiment of devotion and love for the deity. By dressing as Radha, male devotees hope to experience the same love and devotion that she had for Lord Krishna. The practice is also seen as a way to overcome gender and social barriers in expressing devotion to the deity.
This is a detail image from one of my Fluid Paintings using Acrylic paints. You can see all of my paintings in full on my website at www.markchadwick.co.uk. Thanks for viewing! #fluidpainting
The Opus
Design Architect: Zaha Hadid Architects
Lead Consultant/Architect of Record: Brewer Smith Brewer Group – BSBG
Client: Omniyat
Main Contractor: Multiplex
Structural Engineer: BG&E
Façade Consultant: Koltay Façades
Façade Fabricator: Alu Nasa + Permasteelisa Group
Type: Mixed-use (Hotel, Offices, Serviced Residences, F&B)
Hotel: ME Dubai by Meliá
Height: approx. 93 m
Floors: G + 22
Approx. GFA: 84,300–93,000 m²
Completion: 2018
The Opus is designed as a pure glass cube carved by a fluid void; a subtractive design move contrasts solid geometry with organic, parametric forms. This eroded space divides the mass into two towers while maintaining one visual identity, creating a dynamic interplay of glazing, shadow, and spatial composition. The concept reflects Zaha Hadid Architects’ philosophy of fluidity, movement, and iconic façade design, making it a strong reference for architects and interior designers exploring contemporary mixed-use architecture.
Website | Instagram | 500px | Behance | LinkedIn | Pinterest | Facebook | X | Tumblr | Deviantart
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.