View allAll Photos Tagged Pulsating
Spooky cute and rebated during the Once Upon a Nightmare-Hunt:
3 sets of ghosts
Linen: White, non scripted, 3 versions included
Disco: 3 versions of pulsating colourful glow
and a set of four pulsating glowing uni colours
All ghosties are modifiable (resize-, stretch- and tintable, the scripts are no mod))
LI ~1-2, depending on size
at the mainstore, 100 % original mesh
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Streets of the Medina - Marrakech, Morocco.
It's not called "The Red City" for nothing.
The rose-colored walls that become richer and deeper as light touches it are only a fraction of what Marrakech is known for. Its growing popularity among tourists can also be attributed to its unique vibe that pulls one in as quickly as the heart of the city pulsates in every movement around the main square of Jemaa El Fna, the endless souks, and the winding alleyways. It's a magical place filled with contrasts, colors, patterns, textures and everything that can move all of the senses.
Copyright 2013 - Yen Baet - All Rights Reserved.
DO NOT USE ANY OF MY IMAGES WITHOUT PERMISSION.
Illegal use in websites, blogs or any other media, printing, manipulating and reproducing without proper consent is strictly forbidden.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
The Bridge of Peace, Tbilisi, Georgia.
Relatively newly constructed the Bridge of Peace is definitely the attraction one wouldn’t want to miss in Tbilisi. It is a pedestrian glass and steel bridge in a bow-shaped design that sits over the Mtkvari (Kura) river in Georgian capital. It was officially opened in May 2010. The bridge was brought to Georgia from Italy in 200 unassembled components. The bridge is 156 meters long and has more than 10 000 LED bulbs built-in, that are switched on daily 90 minutes before the sunset.
The pulsating lights are communicating the message in Morse code; the message says chemical elements from the Mendeleev’s periodic table that make up a human body. The idea of the Italian designer Michele De Lucchi was to broadcast the message which is “the anthem of life and piece among people and nations”.
For video, please visit youtu.be/uuXt4UxoeEc
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
This is not a mandelbrot. It is a camera toss. Sorta looking fractalesque tho. There are two lava lamps (one orange and one green) and a purple/pink LED (the cable) that pulsates.
A'dam Tower, a 100-meter-high lookout on the IJ river. A’DAM LOOKOUT is an observation deck with an unrivalled panoramic view of Amsterdam. You’ll see the city’s historical centre, its pulsating port, the unique Dutch polder landscape and you’ll spot the famous canals which belong to the UNESCO World Heritage list. Complementing the experience is a state-of-the-art interactive exhibition and free audio tour about Amsterdam’s history and culture. A’DAM LOOKOUT is located on top of the A’DAM Tower in Amsterdam North. (www.adamlookout.com/)
Poem.
Beautiful Affric.
As if the Caledonian Forest breathes out, the mist slowly rises like a spirit rising to the ethereal heavens.
Just visible, the River Affric surges down the valley, two hundred feet below, just east of Dog Falls.
Life here is so abundant, from Golden Eagle to Wood Ants,
from Red Deer Stag to Pine-Marten.
In the dawn, a slow pulse of life gathers pace.
Life begins to pulsate, quietly but tangibly.
The carpet of life is mesmerising.
Stately, dignified Scots Pine sweep up and down these slopes for over thirty miles.
Early golden gorse contrasts with still burnished bracken.
“Lambs-tail” catkins quivering in the slightest breeze confirm that spring has arrived.
Delicate silver-birch branches hang, bare of leaves, but laden with tiny buds.
The sun is rising fast and soon the mist will burn away.
The promise of a glorious new day creates a quiet excitement and anticipation.
This place is very special.
It has a spirit that absorbs my own and softly whispers its reassuring but unassuming reality.
It beckons the senses to see, hear and feel its stupendous splendour, again and again!
"Aichinger’s current realism has something inevitable, something
mercilessly direct about it. The pointed placement of his figures in
the Euclidean clarity of the pictorial space looks almost monstrous.
The presence of personnel and a backdrop that repudiates
any enlightened understanding oft he picture produces a
naturalistic-looking certainty of being, which is shocking to look at,
in part because the seemingly almost tangible figures have fallen
into a kind of lifeless rigidity, as if they were cut off from the
eternally pulsating vital current, only to remain fixed between the
things surrounding them for all eternity. Here, it is as if a truth
inherent in the medium of the painting were being somewhat
unscrupulously revealed.
[...] Hans Aichinger’s new paintings represent a vehemently allegorical
realism, in which the conditio humana of the present is illustrated on
well-calculated stages. It is painted anthropology that technically and
poetically, as it were, dovetails grandly with an allegory of the
medium of painting. The thread running through all his recent paint-
ings is the theme of the creature that creates itself—homo faber
and divino artista, so to speak—in search of the meaning of its exis-
tence. Frequently, Aichinger manages to present in individual paint-
ings, precisely by means of the exaggeratedly posed quality of their
figures, a symbolic contend that goes beyond the level of concrete
action. This results in parable-like paintings à clef of a human exis-
tence that connects the course of time. [...] Hans Aichinger’s allegories
obtain their disturbing effect from a connection—one that is sensed
more than actually seen—to a contemporary aesthetic conveyed by
cool realism with archetypal forms of thought that rise out of the
symbolic worlds of old, increasingly forgotten myths, resulting in a
peculiar afterlife in the garb of the present.
[...] The extreme sharpness, capturing every point on the picture
plan, in which he causes the viewer to see his symbolic figures,
should be understood as an efford to outdo photography’s claim to
reality—which in the meanwhile has taken on almost mythological
status in the media age—and hence as a joyful affirmation of the
concept of illusionism. On the other hand, Aichinger seems to be
removing from the contemporary production of paintings the
media-reflective and media-imitative veil—which has become a
formative stylistic influence in order to focus again on the reality in
the image on the canvas. The resulting, virtually blinding clarity of
the pictorial events can be seen as a question about the truth of the
world. But that can be understood only by a medium that depicts a
reality that is deceptive—indeed, even false by nature—when
measured against the living.“ 1
Joachim Penzel, art historian, curator and publicist, talking with
Hans Aichinger about pictorial spaces and the space of the observer,
being human and the sense of being, timelessness and a tangible
claim to reality, all summed up in the essay „By Nature False—or,
The Truth of Painting“.
1. From: Joachim Penzel „By Nature False—or, The Truth of Painting“. In: Mono-
graph: „Hans Aichinger. Truth or Duty“ Hirmer 2013.
Artist unknown, 1941.
Pulsating drums and rapturous dance, a brilliant cover from pulp era Brazil.
A bit of digging gave me no clue into the O Globo artist on this 2nd July issue of X-9. Most if not all issues of X-9 knocked off American pulp covers. If this has an American precursor, I'm not familiar with it, but wish I was. A bit of plastic glare remains at the top of the issue, as it was encased in one of those horrid CGC boxes in a recent Heritage auction.
A'dam Tower, a 100-meter-high lookout on the IJ river. A’DAM LOOKOUT is an observation deck with an unrivalled panoramic view of Amsterdam. You’ll see the city’s historical centre, its pulsating port, the unique Dutch polder landscape and you’ll spot the famous canals which belong to the UNESCO World Heritage list. Complementing the experience is a state-of-the-art interactive exhibition and free audio tour about Amsterdam’s history and culture. A’DAM LOOKOUT is located on top of the A’DAM Tower in Amsterdam North. (www.adamlookout.com/)
The Accademia Degli Incogniti - L'orologiaio (The watchmaker)
by Daniel Arrhakis (2024)
Giovanni Francesco Loredan, noble by origin and rebel by vocation, founded the Accademia degli Incogniti, Ex Ignoto Notus, in 1630.
The guilty place of clandestine meetings is our Palazzo Ruzzini, in full Palazzo Loredan Ruzzini Priuli, Loredan's noble residence in the pulsating heart of Venice. Here, far from prying ears, their faces hidden by traditional masks to escape the deadly accusation of treason and apostasy, they read forbidden, censored books, printed in religious secrecy by Venetian printers.
Their activity did not end only in the literary universe, but also touched other areas, such as music, theater and figurative art.
Its influence began to wane in the late 1650s, and by 1661, the academy had ceased to meet.
The secrecy of this now extinct society was the starting point for the creation of a Mystic Arts Resistance movement, which, although linked to the Mystical World of Ion and the Mystical Humanist Movement, can be a reflection and a light for those who resist the shadows that they try to voraciously swallow our current society.
L'orologiaio (The watchmaker) He is the master of the Academy, the one who sets the mechanisms of the clock and therefore the one who governs time ...
The motto of the new Accademia Degli Incogniti - "We are not, we do not exist... but we resist! - Mystic Arts Resistance" and you can follow it on Twitter
Accademia Degli Incogniti (@AcademIncogniti) / X x.com/AcademIncogniti
self-portrait with moths
(July 6, 2015)
Location: in the middle of nowhere, Oklahoma, US
At night I was feeling like an intruder to the wild and cruel world of animals and insects. The woods were pulsating a heavy and loud sound which was much more than scary to my ears...That was definitely their kingdom, not mine. I was standing there watching my kitchen window and thinking that it was fascinating after all that they couldn't hurt me.
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My artwork may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
© All rights reserved
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Lots of LED panel on this corner casts different white balance on the buildings facade. Catch the pulsating scene in SEOULSCAPES! Coming soon!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Gives character to your avatar with this perfume, symbol of absolute, sophisticated and glamorous femininity!
marketplace.secondlife.com/p/S-H-O-C-K-Bad-Biker-Girl-Per...
maps.secondlife.com/secondlife/Miami%20Beach/144/238/2302
In this box you will find:
★ HUD
★ Clutch
★ 2 Bottles: 1 wearable and 1 to rez for your collection.
★ 4 Static poses to take your picture with the perfume!
Bad Biker perfume fragrance:
"The creation of intense wild fragrance, pulsating, glamorous, fiery, sensual and vibrant…to excess.
They are the expression of a sophisticated, creative and excessive true wild biker.
Its notes are: Lemon, Lavender, Ozonic accord, Amber Wood, Patchouli"
The HUD is very simple and you will find in the box a notecard that will explain how to use it, so please read it!
Wears the Hud, the Bottle of perfume and the Clutch and start to be cool with your perfume!
Your avatar will take the bottle of perfume from the clutch, approaches the neck and will spray the fragrance,
emitting a series of very nice particles!
At the same time it will send a message to the local chat about the perfume and its fragrance.
You can turn off the perfume at any time using your very easy hud.
You will find several options:
TIME >> Set the time interval between a spray of perfume and the other (1 to 10 minutes)
CHAT >> Enable / Disable perfume's sentences in local chat
SOUND >> Enable / Disable the sound of fragrance and set the volume.
CLUTCH >> Makes the Clutch visible / invisible
PARTICLES >> Enable / Disable perfume particles
RESET >> Resets the the product to its default settings
INFO CONFIG >> Writes in local chat the summary of your settings
In the box you'll find also the rezzable Bottle version.
Rezz and touch it, there will be a message in local chat with features that cover all elements that compose your fragrance!
Remember, you can't be fully dressed without [ S H O C K ] perfume!
--------------------------------------------------------------------------------
Custom Perfume?! Please contact us to create the perfect fragrance for you and your special person!
Poem.
Golden Cherry,
Yellow Larch.
Orange Birch.
Bronze Ferns.
Upright, bottle-green Spruce.
Stately, cone-laden, Scots Pine.
Bushes of Gorse and Broom.
Rock-faces.
Hills.
Mosses.
Algae.
Fungi.
And a mist “melting” into an Autumnal sky.
Forests can be sterile,
too uniform.
Not here.
A lavish, richly painted canvas.
Atmospheric.
With an ambience of pulsating,
multi-coloured, vibrant life.
Commentary.
The endless swathes of imperial Scots Pine.
Exquisite , calm waters of Loch Beinn á Mheadhoin and Affric,
convoluted by dips, hollows, bays and enchanting fresh-water islands.
Lofty, imposing peaks of Càrn Eighe, Màm Sodhail and Sgùrr na Lapaich, often snow-capped, well into April, and even May.
A glen of pulsating life.
From Wood-Ants and Dragon-Fly
to Salmon and Trout.
From Red Deer and Golden Eagle
to Wood-Cock and Wildcat.
Iconic, momentous, overwhelming, breath-taking
in early morning mists, under winter snow
or in colourful Autumn garb.
In Spring when Broom and Gorse smother slopes in dazzling yellow flower to Summer when green dominates and life buzzes with a frenzy.
As here, in Autumn, when the sun falls earlier behind the West Coast peaks, the tranquil, golden reflections of peaks, forest and island create a sumptuous vision of utter peace,
serenity and prodigious beauty.
Beyond doubt, this glen has a mystical magic beyond my powers of description.
If you ever go there, and catch it in a more convivial mood,
you will never forget it, never regret it and you will surely return.
It really is a little bit of heaven……paradise.
I know nowhere quite like it.
Once smitten, the love affair
is likely to be eternal!
Moon Jellyfish approach the intercoastal shoreline, most likely brought in high volume by the wind generated by Hurricane Irene which passed by the coast a few days later.
Cours Saleya market in Nice is at the heart of the Old Town and it’s always pulsating with life. Striped awnings cover its centre and shelter the products on offer in the daily market. Crowds of locals and tourists come here to do their shopping or sometimes just to look and snap photos of the colourful displays. The scents of fresh produce and flowers seem to put everyone in a good mood and the atmosphere is friendly.*
*https://www.thegoodlifefrance.com/cours-saleya-market-in-nice-france/
To carve an elephant
First, feel its might pulsating
Under your finger tips
Feel its gentleness
Feel its strength
Feel its tenderness
Towards its young
Read more in -
a1000reasons.blogspot.com/2012/06/part-ii-to-carve-out-so...
via modemworld.me/2016/11/29/ashemi-oriental-neon-in-second-l...
Ashemi, Azure Star (122, 101, 27) - Moderate
Chill out in a colourful garden, situated right in the middle of the pulsating city. Many peaceful spots to enjoy and relax with friends. City, garden, colours, gallery, flowers, asian, lights, chill, romantic, love, pictures, photo, landscape, art
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
.
Walked down the driveway with a
Nikon D300, Nikkor 70-300 VR.
Not sure just what they were doing
but maybe a mating dance ?
The blue colors were pulsating and
for the most part they kept bumping
and humping each other.
Seldom did they ever stop, this is one
of the rare moments they did ......... ;-)
Thank You.
Jon&Crew.
Please help with your donations here.
www.gofundme.com/saving-thai-temple-dogs.
Please,
No Political Statements, Awards, Invites,
Large Logos or Copy/Pastes.
© All rights reserved.
.
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Point of View for this Image "Nyhavn" [?]
Nyhavn
Nyhavn is at one and the same time the most vibrant meeting place of present-day Copenhagen and an attraction of historical significance. In the olden days ships from around the world came alongside the quay and sailors, pubs, prostitutes and party left their mark on harbour life. The new harbour became Nyhavn and the old and crooked houses, which once housed merchants and brothels, were beautifully restored and are today crammed with cozy restaurants, which offer indoor and outdoor seating.
On the sunny side
Nyhavn has a certain Danish charm to it. The harbour was digged out by Swedish prisoners in the 17th century as one of the first extensions of the Copenhagen borders. Ever since then the artificial canal has provided the setting for a pulsating yet folksy city life. On the quay in Nyhavn you will often run into lively folk music or jazz performances and as soon as the sun shines every day in Nyhavn becomes a party. What's more, you can investigate the old, wooden vessels and the medieval architecture alongside the quay. All through summer an international crowd makes the sunny side of the old harbour buzz with high spirited singing and cheering and there is nothing like having a chilled draft beer while watching the crowds pass by. Nyhavn is also the starting point for the popular canal tour boats.
The steam engine it did stand on its track,
The pulsating machine seem’d to be a living thing,
It seem’d to be a young, a young and unbridled steed
Who did bit the rails with his steel muscles
(cit. F. Guccini - The steam engine)
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Robbie took in a deep breath and adjusted his goggles. The cold air formed a quick cloud as he exhaled and grinned once more looking at the bright sun above. The helicopter moved into position above the snow covered peak. "Finally" he thought. His coordinator made a final check to see if his GoPro camera was secure and tapped his shoulder and gave him the thumbs up. "Catch you on the flip side" said Robbie and he launched himself over the edge. He wasted no time shredding into the white slopes of Mt. Erling. As Robbie picked up speed, he looked for spots he could pull off a few tricks. He took a few chances to get some air under him and tried a spin or two but wasn't happy with the results so far. "I need more speed" he thought. His patience payed off and he saw what he'd been waiting for. It was a shelf that looked curved enough to give him a boost for his next decent. He angled in for a hard bite into the snow when the shelf unexpectedly gave way. Tumbling down, all he could see was the white of snow and the blue clear sky flashing all around. He landed with a 'thud' that winded him, but he seemed unharmed from the fall. He looked around to see high walls of snow and a sliver of the blue sky above, but no sign of the helicopter. Robbie had fallen into a ravine and had no idea where he was at. Checking on his camera, he removed his helmet to find it missing. Frustrated, he unstrapped his snow board and decided to try to find a better place to be seen. He hadn't walked far before he came to the edge of a cavern in the ravine. A strange blueish glow emanated from somewhere not far from the opening. Robbie decided to investigate the strange glow and cautiously made his way inside. A small crater of snow formed around a glowing blue rock that was slightly larger than a football. Robbie removed his helmet and knelled down to get a closer look. The pulsating meteorite got brighter as Robbie reached down for it. A wave of energy washed over Robbie, freezing him for a moment before releasing him with a jolt of adrenaline. A tingling sensation began from where he touched the stone and surged through his body as the light slowly faded and stopped altogether. He no longer noticed the cold temperature around him and looked down at his hand where the tingling could still be felt. Frost formed on his finger tips and it appeared as if snow were falling from his hands. He balled his hand into a fist and ice formed around it, but he felt none of the cold he had expected. Suddenly his fist vibrated at an astonishing speed and blurred before his eyes. A grin formed wide on Robbie's face and he looked to his fist again. "This is gonna be cool".
Built for the League of Lego Heroes
Spooky cute and rebated during the Once Upon a Nightmare-Hunt:
3 sets of ghosts
Linen: White, non scripted, 3 versions included
Disco: 3 versions of pulsating colourful glow
and a set of four pulsating glowing uni colours
All ghosties are modifiable (resize-, stretch- and tintable, the scripts are no mod))
LI ~1-2, depending on size
at the mainstore, 100 % original mesh
Light painting on the beach. Tweaked the colors in Photoshop afterwards. The darker orange light is the moon.
Exposure: 13 sec (13)
Aperture: f/5.6
Focal Length: 55 mm
© All Rights Reserved
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
The Northern Lights in a superb all-sky Kp6 to 7 display on August 11-12, 2024, here over 70 Mile Butte in Grasslands National Park, Saskatchewan, near Val Marie. This was also a peak night for the 2024 Perseid meteor shower, and one bright Perseid meteor shoots down the Milky Way in Cygnus at top, amid the converging rays of the aurora at the magnetic zenith.
This was one frame from a 730-frame rapid-cadence time-lapse, set for the aurora and its fast pulsating motion. Each exposure was only 2 seconds with a 1-second interval, so I was lucky to catch the meteor in its entirety on this frame.
This is a single exposure with the Venus Optics/Laowa 10mm Z lens wide open at f/2.8 on the Nikon Z6III at ISO 6400. Adobe DeNoise AI applied.
I don't know how else to say it: today we saw a dragon.
I'm just glad it didn't see us, because it was huge and probably a carnivore. Let me explain.
Djiimi and I were walking above the abyss on the narrow strip in single file while small clouds rolled in the wind around us, sometimes obscuring our trail. There were a few ferns here and there to point the way, but they were growing sparsely, and we would only find one every couple dozen yards or so. Besides these and whatever Djiimi disturbed this morning when she threw a stone into the abyss,we hadn't seen any signs of life here. It was eerie, but I was finally getting some peace and quiet to contemplate our situation. First there was Quane, who I was terrified we'd be too late to save. Djiimi has been stuck here longer and has some knowledge of the plants and animals; (which explains how she knew what plant to heal me with) she assured me that if Quane's captor was what she thought it was, it wouldn't touch her until it got to its lair, which definitely wasn't here. I still worried though. And then there was Djiimi. I didn't know what to think of her, she seemed to be on our side, but her story didn't add up. She had thanked nameum or something when I came to, and it sounded like some sort of deity. I remember vaguely that there was something called religion when I was small, but the Empress got rid of it when she came to power. Djiimi seemed younger than me, so how could she have gods? I'd also never seen any other mutants in the Empire, although there were myths and whispered stories of children born with extra limbs and eyes or red fur...
My train of thought was interrupted by a distant rumble from below us. Djiimi looked at me, and though her face was as expressionless than ever, there was fear in her eyes.
"We should get away from here," she said.
The rumbling noise sounded again, closer this time.
We started running.
It emanated from beneath us again, and this time I recognized it as a roar. We fell back and cowered as a giant purple shadow burst through the clouds, a scaly winged terror with wings twelve feet long and a horned face with a pair of wicked looking mandibles at the front. Two green slits stared out at us, but by some miracle it did not notice us as its lithe serpentine body arched over our little stretch of solid ground before plunging back into the infinite blackness on the other side. It roared again, a deep pulsating hiss that penetrated my bones and shook my soul. Then it was gone.
We are both terrified and on the alert as we continue on our way. My staff is gone now, it was knocked into the chasm when the dragon passed us. Now that I know what lurks in the depths below us I dare not return to my conjectures about Djiimi...
Well here's number fourteen, enjoy and PLEASE favor and comment, because that dragon taxed both my patience and the laws of physics! :D
In the neon-lit labyrinth of a cyberpunk world, Isabela and Elsie, the dynamic duo, take on the roles of futuristic combat androids. With sleek metallic armor reflecting the pulsating lights of the cityscape, they stand ready for action, their gaze piercing through the digital haze
Poem.
Beautiful Affric.
As if the Caledonian Forest breathes out, the mist slowly rises like a spirit rising to the ethereal heavens.
Just visible, the River Affric surges down the valley, two hundred feet below, just east of Dog Falls.
Life here is so abundant, from Golden Eagle to Wood Ants,
from Red Deer Stag to Pine-Marten.
In the dawn, a slow pulse of life gathers pace.
Life begins to pulsate, quietly but tangibly.
The carpet of life is mesmerising.
Stately, dignified Scots Pine sweep up and down these slopes for over thirty miles.
Early golden gorse contrasts with still burnished bracken.
“Lambs-tail” catkins quivering in the slightest breeze confirm that spring has arrived.
Delicate silver-birch branches hang, bare of leaves, but laden with tiny buds.
The sun is rising fast and soon the mist will burn away.
The promise of a glorious new day creates a quiet excitement and anticipation.
This place is very special.
It has a spirit that absorbs my own and softly whispers its reassuring but unassuming reality.
It beckons the senses to see, hear and feel its stupendous splendour, again and again!
A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal
Jemaa El Fna - Marrakech, Morocco.
The heart of Marrakech pulsates most feverishly at night in its main square, Jemaa El Fna. Just before sundown, the market stalls start preparations for a long night of dining, shopping and gawking. Not only the sight, but the cacophony of sounds and the various aroma emanating from this location are truly overwhelming - in my opinion, one of the best experience one can ever have from exotic Morocco.
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A free Spirit
Mirit Ben-Nun was born in Beer- Sheva in 1966. Over the years she has presented in solo exhibitions and participated in group exhibitions in Israel and around the world.
When she was six, her father was killed in a car accident, leaving behind his wife and two daughters, Mirit and Dana.
Ben-Nun had difficulty concentrating on studies, which caused behavioral problems, and at the age of fourteen she dropped out of the education system and went to work. The colors and writing tools gave her a quiet private space and her own way of surviving. Creativity eased her tumultuous soul.
Until her early 30’s she worked as a telemarketer and for the next fourteen years she doodled and doodled. While talking to customers she filled thousands of pages with lines and dots that resembled hundreds of compressed eggs and seeds which she threw away.
In a large portion of each page she would pick a random word and would write it down over and over while concentrating on her hand movements.
Even then she noticed the rising of her need and obsession as she practiced the endless doodling and writing.
Ben-Nun testifies that the lack of artistic training to paint "correctly" freed her from adhering to the rules of painting and allowed her freedom and spirit of rebellion.
In 1998, she received a bunch of canvases and acrylic paints as a gift from her sister.
She brought the acrylic into her world of lines and dots; she went back to painting women and masks that appeared in her childhood paintings and flooded them with lines and dots without separating body and background.
This is also the moment when Ben-Nun began to refer to herself as a painter.
and when art became the center of her life.
The intense colors in Ben-Nun's paintings sweep the viewer into a sensual experience. The viewer traces the surge of dots and lines formed in packed layers of paint. The movement leads to a kind of female-male hormonal dance within the human body and to a communion with an artistic experience of instinct, passion, conceiving and birth.
Contributing to this experience is the wealth of characteristics reminiscent of tribal art. Ben-Nun merges these with a humorous and kicking contemporary Western Pop art. In the language of unique art, Ben-Nun creates an unconventional conversation between past and present cultures.
It is evident that the paintings emerge from a regenerated need and desire, a force that erupts from her soul, a subconscious survival instinct to which she cannot or does not want to resist.
Ben-Nun places women at the center stage where they are her work focus. The paintings obsessively deal with the existential experience of being a woman in the world. A few of the women's paintings carry feminist slogans stressing the women's struggle in society, a critique for being held to perfection and being required to perform as a model of "beauty, purity and motherhood". Feminism pulsates in Ben-Nun's psyche, through her diverse female images and the play between beauty and unsightliness; Ben-Nun assimilates the consciousness of feminine possibility, of not being "perfect", of being powerful, influential, and outside social norms. This mandates a departure from acceptable limitations where Ben-Nun creates a new world of free spirit for women.
Mirit Ben-Nun is a mother of three and the grandmother of three grandchildren.
Mirela Tal