View allAll Photos Tagged Hunger
Wasn't sure about my minced chuck grilled burgers.
My wife was hungry, but she doesn't like being a guiena pig for just details of my cooking, so I made a complete slider for her to try.
Well, smaller than a slider actually, but she liked it.
It was supposed to be a tiny cheese burger, but the cheese slice was so small so I lost it and forgot about that little detail.
Some cooking pressure on me tonight.
Go figure: youtu.be/h61PbLOmyY0?si=8YUrLZUjaLEJ63gk
At this point, the hunger artist endured everything. His head lay on his chest - - it was as if it had inexplicably rolled around and just stopped there - - his body was arched back, his legs, in an impulse of self - preservation, pressed themselves together at the knees, but scraped the ground, as if they were not really on the floor but were looking for the real ground, and the entire weight of his body, admittedly very small, lay against one of the women, who appealed for help with flustered breath, for she had not imagined her post of honour would be like this, and then stretched her neck as far as possible, to keep her face from the least contact with the hunger artist, but then, when she couldn’t manage this and her more fortunate companion didn’t come to her assistance but trembled and remained content to hold in front of her the hunger artist’s hand, that small bundle of knuckles, she broke into tears, to the delighted laughter of the auditorium, and had to be relieved by an attendant who had been standing ready for some time. - Franz Kafka
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Untitled (Hunger 7), 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.
Something different this time: The beauty of narrow depth of field discovered with an old Fujinon 50/F1.4 on a Nikon D90.
Topaz Adjust to bring out the details in the bread, some PS tweaks to reduce the background saturation.
Thanks for looking, comments and favs!
Madrid, Spain
MADRID SERIES
Please, do not use this photo without permission
Por Favor no usar esta fotografía sin permiso
Anna Valeriya : "...I wonder if I'm even a human. No..no... I'm not one of your kind."
Viktor Marion : "Do not ever think in that way my dear. You are one of us... you can breathe, feeling hungry, greed, and willingness to learn something.. that's one of the things that make us human."
Anna Valeriya : "...Really?"
Viktor Marion : "Of course my dear. But you are the smartest woman I've ever met. I'm sure that you will find the answer of your own question someday. For now, don't think too hard about it. Shall we eat my dear? Your cook taste great!!!" :)
On our last vacation, I was lucky enough to immerse myself in the Scottish Cospley scene for about two hours. A fantastic experience. Thank you for your patience. More photos will follow on FLICKR soon.
Lothian 723 is currently carrying a side advert for The Hunger Games Mockingjay part one. 723 is seen here on service 25 to Riccarton. 26th November 2014.
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.
* Only the models pictured in this photo shoot have my permission to print or use this image for non commercial use.
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* Model Mayhem # 3763448
My custom movie poster and tribute to one of my favorite films, 'Hunger' (2008), directed by Steve McQueen.
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.
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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.
For Toy Sunday Theme: Extreme Sports
This idea came to me when I heard my granddaughter, Eleanor, singing this verse she wrote:
I blew up the force field
I am lost in the confusion
Currently my home is District 13
Bad things are happening
In Chapter Twelve
Now Watch Out
now NOW N O W
Cuz WAR is coming DOWN
Peeta, Katniss, Rue played by Lalaloopsies
Force field: by Food Service Wrap
Cave cannon: by Playmobil
Weapons, back packs: Playmobil, Furryville
Our nation plays....does yours???
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.
/ zenshi / HUnger Games
Sept 8, 130pm maps.secondlife.com/secondlife/Zenshi%20South/152/146/27