View allAll Photos Tagged Hunger
More tiny writing . . . I enlarged the image so the words are readable here (I hope). This entry involves my complex relationship with food as well as geographic and social isolation.
Her facial sculpt is special just for this doll. Her hair is in a braid and is packaged attached to her outfit.
Personal work.
And as she sits there alone,
frozen in time, in love and life.
The hunger for warmth is there,
but is it within reach?
Can she reach for it,
Or will her heart be forever cold?
My profile at Deviantart: embrisionarts.deviantart.com/
My Facebook: www.facebook.com/EmbrisionArts
Please view large: View On Black
Credits:
Model: browse.deviantart.com/?qh=§ion=&q=magikstock#... (Purchased stock)
Background: Folkvangar store- www.folkvangar.com/store/index.php?main_page=product_info... (modified)
Butterfly + mask: Folkvangar store- www.folkvangar.com/store/index.php?main_page=product_info...
Fire: Renderosity store- market.renderosity.com/mod/bcs/index.php?ViewProduct=66610
Icicle: browse.deviantart.com/resources/?qh=§ion=&q=i...
Light: leonawindrider.deviantart.com/art/The-Lazy-Star-Brush-435...
Hair repainted.
Some other little elements painted and retouching.
---------------------------------------------------------
Copyright © 2010 ~ Gerbren/Brenda M. /Brenvisions
All rights reserved: All the materials/work contained in my gallery may not be reproduced, copied, tubed, edited, published, transmitted or uploaded in any way.
...
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.
If you happen to visit Chiang Mai, Northern Thailand, try Ristr8to Coffee (www.ristr8to-coffee-chiangmai.com/)
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.
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.
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
Main Flickr Account // Facebook // Flickriver Most Interesting
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.
* Only the models pictured in this photo shoot have my permission to print or use this image for non commercial use.
* My models, Please link & share rather than download and repost to your Facebook or sites, thank you.
* 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.)
Hunger, Dortmund Aplerbeck, 2019
(Checkout my captures at S T R E E T)
Hier gibt's Gerichte zum Mitnehmen.
* * * * *
Here are takeaway dishes.
#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"
A hyaena looks up to see who is disturbing his meal. In the background a pair of vultures fight over scraps of meat.
The Red-Shouldered Hawk visited during the ice storm. I had put out extra seed and bread to feed the finches and sparrows etc. The hawk was attracted to the commotion and had an unsuccessful hunt. After that fiasco, here he is on the old swingset (AKA: vineyard) watching the hungry sparrows tempt fate.