View allAll Photos Tagged IndependentArtist
I like supporting independent artists, but lately been having trouble with Kickstarter and others getting any support/updates on projects over a year old. They blame the artist, who blames someone else....or worse yet...doesn't even bother to respond.
Remaining lucid, visible, and still at the center of one's own life, while everything else around rushes, blurs, and moves without a direction. There is no need to hide: it is enough to maintain one's own clarity in the face of the world's confusion.
This editing stems from being tired of fake urban stage designs that exhaust the eye. It is not about rejecting the beauty of decoration itself: it would be wonderful if someone took care of these corners every day, perhaps repainting the bicycle and using it as a real pot to host genuine, living plants and flowers. The rejection triggers when poetry turns into a setup of plastic and laziness, left to the dust of the street just to create a false postcard atmosphere. With this intervention, I wanted to attack the fiction of that sickening reality: I turned off the warmth of the plaster and immersed everything in a frozen, cold, and depressing white, showing the aseptic solitude of a fake, neglected decor.
The gap between the purity of a political symbol and the raw reality of daily life. While flags and ideologies travel intact across the world, at home the people must deal with the reality of a rationing card that no longer guarantees anything. The contrast is violent: the clean, still cloth placed in the foreground clashes with the wasting away of an island consuming itself from within, where daily survival is about the scarcity of food and the hardness of buying groceries, far from the ceremonies.
Under extreme heat, the biological inability of the organism to find rest manifests itself. The temperature transforms the flesh into an overheated circuit, where physical movements and exhaustion become uncontrollable. It is not just fatigue, but a tilt of the organism struggling for equilibrium, showing the vulnerability of man faced with the grip of summer temperatures
#mikeesson #essonart #europeanmodernart #artsy #arte #artwork #artoftheday #arteabstrata #artecontemporaneo #artecontemporanea #artemoderna #abstractpainting #abstractartists #abstractexperssionism #abstraktekunst #abstraktníumění #abstraktkonst #abstractimpressionism #contemporarypainter #europeanmodernart #europeancontemporaryart #gallerywall #curator #kunstværk #kunstwerk #kunstexpositie #modernpainting #modernpainter #independentartist #galeriemestaolomouce #olmuart #peintureabstraite
Kensley Roo in 'Your Move'.
Choose wisely for what you may loose might be more than just a game.
The proverb “The devil makes the pots, but not the lids” comes from Italian folk tradition and has parallels in other European cultures. Its exact origin is not documented, as it belongs to oral, rural wisdom. In this context, the “devil” represents cunning, deception, and the ability to scheme. The “pots” symbolize the plans or actions—often dishonest—while the “lids” represent what is needed to conceal them. The meaning is clear: one may succeed in creating deceit, but cannot fully hide it. Truth eventually emerges, deception is exposed, and responsibility surfaces.
This proverb speaks about the limits of manipulation and the inevitability of truth. It acts as a warning: one can plan and control, but not every consequence.
In my work, I use proverbs as visual material. They are not just phrases, but condensed human experience—tools to interpret behavior, society, and power. I transform them into images to make them immediate, tangible, almost unavoidable.
My use of artificial intelligence is not meant to replace or diminish traditional arts—painting, sculpture, photography, cinema—but to explore a new language. It is a tool, much like past innovations such as the camera or digital media. I aim to study it, understand it, and bend it to my expressive needs. The medium does not dictate the content; the content leads.
Through this process, I also develop other lines of work, such as portraits and narratives connected to specific figures. The goal remains consistent: to use every available language to create images that communicate clearly, symbolically, and directly.
This image belongs to a series I made in 2017.
It is not a new photograph. It is an old photograph that I am publishing today because the reason that generated it never disappeared.
This account was not my first Flickr account.
My first one dates back to 2011, it was not a paid account, and with that account I never reached Explore until many years later, only after 2020.
In 2017, less than a year after opening this other account, I found myself completely blocked anyway.
The wound never closed, also because for ten years, in order to reach Explore, I worked unbelievably hard and was even forced to open three or four other free accounts.
That alone says a lot.
At the time, I found those two small Flickr signs, pink and blue, and placed them on my skin, because Flickr, for better or worse, I already felt it on me.
That is why I am publishing these old images today: because what they represented then is still alive for me now.
I still observe dynamics that do not seem natural, transparent, or healthy to me.
I still see behaviors, mechanisms, and power relations that make it very hard to believe completely in the fairy tale of chance and neutrality.
At this point, since there is a relationship, I want to say it directly: tell me what the hell I am supposed to do.
At 55 years old, alone, independent, anarchic, honest, in a world full of dishonest people, I cannot keep splitting myself into five accounts just to enter Explore once in a while.
It is absurd. All of it is absurd.
Either this really works randomly, or it does not.
And if it does not, then it would be more honest to stop pretending that it does.
These photographs come from there: from a deep bond, from an old anger, and from the awareness that when certain things get under your skin, they do not leave.
Flickr at My Feet, the Horizon Beyond the Window
This image is part of a series created in 2017.
It is not a new photograph, but a photograph from that time that I am publishing today because what generated it never truly disappeared: the dissatisfaction, the fracture, the difficulty of my relationship with Flickr.
In the water of the bathtub, a window is reflected. At my feet, instead, there are two anklets in the same colors as Flickr, pink and blue, clinging to the body almost like marks impressed on the skin. On one side there is a window that points to elsewhere, to possibility, to a horizon; on the other there is Flickr, not before me as a fulfilled opening, but on me, at my feet, as a close, concrete presence, almost held back.
This photograph is intimate and at the same time blocked, just like the relationship I have lived over time with Flickr: strong, insistent, even deep, but never truly free, never truly clear.
I am publishing it today because that knot, in truth, has never come undone. It remained there through the years, in different forms, like an unresolved question. That is why this image does not belong only to the past: it still speaks now, because it still contains a wound, a bond, and a horizon that remained beyond the window.
Biological reality shows the harsh face of this species: when they invade human spaces, wild rodents reveal themselves as dangerous vectors of serious diseases such as Leptospirosis and Hantavirus, so much so that for human beings their only direct utility lies in their continuous exploitation as laboratory test subjects. Their true function belongs solely to the natural ecosystem, within which they represent a crucial link in the food chain. This specific specimen, found lifeless right at the doorstep, thus transforms into the close-up testimony of a biological cycle that has been interrupted: a dead mouse that sanctions the definitive end of all its underground race.
In this frame, the Canal Grande of Trieste sheds its urban skin to become a horizon. Here, the neoclassical geometry of the Borgo Teresiano opens up to embrace the sea, transforming the canal into a liquid gateway towards the infinite.
These waters, framed by the rigorous symmetry of the historic palaces, represent the true nature of Trieste: a city that never closes in on itself, but uses its waterways as arms reaching out to the world. The boats moored along the banks are silent witnesses to a merchant identity that has evolved into culture and resistance.
For me, as an independent artist, this image is a hymn to freedom. It captures the exact moment where the blue of the sky and the sea merge, dissolving borders and leaving space only for the city's breath.
A blue silence that speaks of the pride of a port that is, above all, a harbor for the soul.
The image is created with artificial intelligence in order to use artificial intelligence as a tool to my advantage, to visually translate sayings, idioms and proverbs.
The expression “Favoritism Corrupts Justice” does not originate as a traditional folk proverb with a specific date, but as a modern formulation of a very ancient moral and legal principle.
The idea that justice must be impartial and that favoritism corrupts it already appears in ancient religious and civil laws, particularly in biblical texts and in the legal traditions of the ancient world, where it is stated that showing partiality in judgment is wrong.
The meaning is that when people, friends, or the powerful are favored, justice loses its purpose and turns into injustice.
More broadly, the expression reminds us that a society can only be considered just if the same rules apply to everyone, without privileges and without exceptions.
The image is created with artificial intelligence in order to use artificial intelligence as a tool to my advantage, to visually translate sayings, idioms and proverbs.
“A Bird in the Hand Is Worth Two in the Bush” is an ancient English proverb that dates back to medieval times and belongs to Anglo-Saxon folk tradition.
It means that it is better to hold on to something certain, even if small, than to risk losing everything while chasing something bigger but uncertain.
On a deeper level, the saying encourages appreciation of what we already have, awareness of the present moment, and caution against trading certainty for mere possibility.
Italian conceptual equivalent: Better an egg today than a hen tomorrow.
The image is created with artificial intelligence in order to use artificial intelligence as a tool to my advantage, to visually translate sayings, idioms and proverbs.
The expression “Who buries the truth will be buried by it” derives from a famous statement by French writer Émile Zola, written in 1898 during the Dreyfus Affair, in which he stated that if truth is silenced and buried, it grows underground and gathers such explosive force that it destroys everything when it resurfaces.
From this statement comes the modern, condensed formulation of the saying.
The meaning is that truth cannot be erased: those who try to hide it will eventually be overwhelmed by the consequences of their own lies.
More broadly, the expression warns that suppressing the truth does not protect anyone, but prepares a deeper fall, because what is hidden continues to live, grow, and sooner or later returns.
Piazza Unità d'Italia is more than just a square; it is a monumental stage where the history of Central Europe has played out its most dramatic acts. In this frame, the Palazzo del Municipio (City Hall) stands as a stern, eclectic witness to the passing of time and the crossing of lives.
What strikes me as an independent artist is the contrast: the rigid, imposing symmetry of the architecture against the fluid, disorganized movement of the people. This is the heart of Trieste—a city built on the grandeur of an empire but fueled by the rebellious and proud spirit of its citizens.
I chose to capture this wide perspective to show how the "small" daily lives of people are embraced (and sometimes overshadowed) by the immense weight of history. It is a reminder that while buildings are made of stone and power, a city’s true soul is made of the ideals and the resistance of those who walk its stones every day.
A place of stone, a soul of wind.
The image is created with artificial intelligence in order to use artificial intelligence as a tool to my advantage, to visually translate sayings, idioms and proverbs.
Do Not Push Your Fingers Through Your Paper Lantern is a figurative expression inspired by East Asian cultural imagery, particularly Japanese tradition, where a paper lantern represents something delicate, fragile, and easily damaged.
The lantern becomes a metaphor for situations, relationships, or emotional states that require care and sensitivity.
The expression warns against acting roughly, impulsively, or without awareness in fragile contexts.
It means that certain things must be handled gently, because a single careless gesture can cause irreversible damage.
More broadly, it warns against acting without awareness and reminds us that some situations require tact, measure, and intelligence.
The sun burned down on the pavement of the small festival stage as Naïa closed her eyes, feeling the pulse of the music. Her arms moved in sync with the congas, the maracas in her hands creating a hypnotic sound that captivated the crowd.
Behind her, her bandmate drummed with tireless energy, while Naïa surrendered completely to the moment. The people in front of the stage danced barefoot, laughed, and let the music carry them away. This was her moment—an instant of perfect harmony.
As the last note faded, Naïa opened her eyes. Silence. Then, an explosion of cheers. She smiled. The rhythm of the street had once again touched people's hearts.
This flower exists among the grass, but it doesn’t hide.
It is thick, bold, visible.
It doesn’t adapt. It doesn’t disappear into the background.
It is built according to a natural order that needs no approval: the Fibonacci sequence.
It is proof that beauty, coherence, and strength exist even where no one is looking.
I left the flower in color, turning the grass black and white—
to make it clear what matters, what deserves to stand out, what must no longer be lost in the background.
This flower is me: I do not blend in.
I resist.
In a precise, full form—yet invisible to most.
I am not seeking approval. I am existing.
And that is enough.
In this self-portrait, the camera lens remains the only solid point of
As an independent artist, I often feel like this: a presence that must constantly reshape itself to fit into a reality that is never truly flat or simple. There is no filter here, only the raw interaction between light and a distorted surface. It is a visual metaphor for the liquid nature of our times and the struggle to maintain a clear vision when everything around us is out of focus.
The lens sees the truth; the reflection tells the story.
This work comes from a fracture that never truly healed. It is not only about a single image, but about years of observation, work, public exposure, and questions that were never answered. Over time, I have witnessed dynamics that, in my eyes, never seemed transparent, healthy, or truly random. I have seen free accounts gain visibility while those who paid, worked seriously, and kept producing were left at the margins. That is why I am speaking again today. Not through a shouted accusation, but through a direct visual testimony. This collage stages my experience: suspicion, exhaustion, anger, exclusion, but also the clarity of someone who keeps watching and asking one simple question: what is really being rewarded, made visible, and pushed forward? This work does not come from the urge to destroy, but from the need to say publicly that something, in what I see, has not convinced me for a very long time.
~~~~~~~~~~~~~
All images and photography © Tanjica Perovic
►►► Getty images stock photography
►►► Redbubble store
►►► Society6 store
►►► Zazzle customizable store
►►► Curioos store
►►► Displate metal posters
►►► Threadless T-shirts and store
►►► Pinterest inspiration and ideas
There is a special kind of smile that does not reject a compliment — it simply pretends to be modest for one more second.
A small pause, closed eyes, a softened face.
The compliment has already reached her, but the answer still keeps its gentle playfulness.
Dedicated to Lelya, goddess of love.
Md: Tatyana
Singer-Songwriter and rising star across Europe from Dunedin, New Zealand
(Bronica SQ / 50mm Lens / Kodak Portra 160 film / Mettle 600w strobe)
Strobist: Mettle 600w strobe camera right, about 45, above head height on half power. With 120 x 80 soft box. No fill, no reflector. black walls, black floor...
Model: Kylie Autumn
When you are refined an of good class, none will notice when you have a side habit of murder.
Instagram @kylie_autumn_official
www.instagram.com/kylie_autumn_official/
Facebook:
This image stages an unbalanced dynamic of power: on one side, the composure of the person who occupies the dominant role; on the other, the lowered silence of someone subjected to judgment, pressure, or humiliation. The sober, almost institutional setting does not speak only of a personal relationship, but of all those contexts in which authority ceases to be guidance and turns into abuse, and management deteriorates into public denigration.
The image does not seek to portray a single episode, but a deeply recognizable human and social mechanism: the perverse confusion between authority and oppression, between responsibility and control, between leadership and humiliation. It is precisely in this confusion that the failure of those who do not know how to lead without wounding is revealed.
I use artificial intelligence as an expressive tool, not as a replacement for the pure arts. I use it to make visible, directly and immediately, images born from a thought, a moral tension, or a symbolic concept. Photography, painting, and the visual arts remain for me autonomous and irreplaceable languages; here, AI is simply a means shaped to serve a precise artistic intention.