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Untitled (Hunger 3), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
"The last thing you see is those lights... before they come at you and tear your chest open."
A husk of a toa reanimated and mutated by so many souls that it may as well have none. Blind and driven only by hunger for life. Senses souls. Appears to live in the Keep of the Leech, from where it ventures out, but avoids the Sanctum of the Divided due to Nor's presence.
The cataclysm had shown to mess with life. Many were unable to die, while others were unable to live. In the chaos the most desperate grasping for life became monsters.
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There was no particular motivation for this moc. I had recently traded with a pal for some teal parts, so I challenged myself to make a teal and purple moc with the limited piece amount I had in those colors. For extra flare I threw some glow-in-the-dark in. Also to act as fingers, since black nor silver were an option.
I managed to discover some neat techniques while building this, but I was also left a bit disappointed with the crotch. I didn't really have the right parts to make it adequate.
is the name of the dance. It was created some years ago for the children of Biafra but sadly is still a contemporary issue. A professional dancer performing today in Dunedin about a mother watching her child starve and die. Makes me realise I don't do enough to help those in need :(
My thoughts this Sunday.
Taken for the Active Assignment Weekly! group. This week's assignment: Food Glorious Food
In between the annual stuffing process around Christmas I had short flashes of realizing how fortunate I am and how many people worldwide are not. I just googled that every eigth person on this planet does still not get enough to eat.
I am still somewhat optimistic that on the long run mankind will figure out a way that everybody has enough to eat. Until then all you can do is support programs that at least try to even the global food disbalance a little bit.
What it took:I had this idea of setting up a festive plate and then only fill it with a small hand full of rice. For the lighting I went with my 580 EX II and the Flexidome and fired it from all four directions in a low angle at 1/16th. This resulted in making the rice really pop from the dish.
/ zenshi / HUnger Games
Sept 8, 130pm maps.secondlife.com/secondlife/Zenshi%20South/152/146/27
A malnourished young child in South Sudan cries in hunger while his grandmother futilely tries to console him. Hopefully, they made it to the hospital before it is too late.
The bright, full moon of February goes by the names Snow Moon or Hunger Moon. February is typically the snowiest month in northern North America. And so some Native Americans found it to be the most difficult month in which to hunt, prompting the name Hunger Moon.
It is very hazy out there tonight so this is the best I can do.
Exacerbated ritual mouths
Ace habit or screamed request
Black lips
Hunger is all
Resolution roulette
Nothing spoken of a
White habits final curtain...
(Man, that was pretty sombre, wasn't it? Blame Jason, he sent me a buncha cut-out words, with instructions to use 'em to create my own poetry-based image... I feel like I oughta be adding lines about scat and wamming and sh*t... ;) )
Collaboration with Jason Novak. Original montage: Luis Drayton; early 1994. Completed using cut-out words sent by Jason Novak; 08/03/11.
Youngster getting a bit impatient with the delay in serving lunch in the Mangueiras community, Marajó Island, Pará, Brazil.
Gale (Liam Hemsworth), Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson), from The Hunger Games.
Their look is based from the movies not from the books.
You can View presentations “here”.
Say NO to violence against women and girls! SPREAD THIS CAMPAIGN.
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Photo: Firoz Ahmad Firoz
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
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Copyright: Not for any commercial use, web sites or printing without my written consent. Any posting of this image on twitter, facebook or the like are to be a LINK/share to this Flickr page or the my corresponding Facebook image only. Image freely available for personal use only as electronic screen wallpaper or screensaver.
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* Model Mayhem # 3763448
Hunting I'm not sure what, this cheetah hears something going on over in the zebra compound, distracting him from his play and rousing his curiosity. He didn't know exactly what the disturbance was, but he sure wanted to join the party.
(Three photos.)
#AB_FAV_EMOTIONS_
LOL, never go shopping when you are hungry!
You crave everything you see and buy too much?
Here In Copenhagen, where they have so much great and different bread, the fragrance attracted me from afar.
thanks for your visit, so very much appreciated, Magda, (*_*)
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
Bread, Copenhagen, display, variety, for, edible, hunger, craving, colour, Nikon D7000, horizontal, "Magda indigo"
Hunger: Do You Know The Facts?
It is estimated that one billion people in the world suffer from hunger and malnutrition. That's roughly 100 times as many as those who actually die from these causes each year.
About 24,000 people die every day from hunger or hunger-related causes. This is down from 35,000 ten years ago, and 41,000 twenty years ago. Three-fourths of the deaths are children under the age of five.
Famine and wars cause about 10% of hunger deaths, although these tend to be the ones you hear about most often. The majority of hunger deaths are caused by chronic malnutrition. Families facing extreme poverty are simply unable to get enough food to eat.
Untitled (Hunger 20), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4". Private collection.
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.