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Le Musée de la Photographie de Maastricht, situé au Vrijthof, présente une exposition saisissante de l'artiste photographe Jimmy Nelson. Intitulée « Entre la mer et le ciel », l'exposition présente 65 photographies et deux vidéos représentant vingt communautés néerlandaises en costumes traditionnels. Ces images, aux ciels majestueux, ont été prises dans de pittoresques villages de pêcheurs, des paysages de polders et des villes fortifiées. Avec son œuvre vibrante, Nelson célèbre la beauté, la richesse culturelle et l'authenticité de l'humanité.
Le photographe anglo-néerlandais est internationalement reconnu pour ses livres révolutionnaires « Before They Pass Away » (2013) et « Homage to Humanity » (2018), qui présentent des photographies captivantes de peuples autochtones uniques dans les régions les plus reculées du monde. L'élégant beau livre « Between the Sea and the Sky » (2022) est un récit visuel et artistique explorant le riche patrimoine culturel de la patrie d'adoption de Nelson et présente plus de 350 portraits intimistes et paysages emblématiques.
Avec cette série inspirante, Jimmy Nelson rend un hommage personnel aux traditions ancestrales. Il allie l'élégance intemporelle du naturalisme hollandais à l'art du portrait contemporain. Pour les portraits individuels et de groupe, cet artiste et conteur passionné utilise un appareil photo analogique grand format. Il en résulte des images pittoresques et romantiques, riches en détails, rappelant les célèbres maîtres hollandais.
La beauté intrinsèque de la diversité humaine et du patrimoine commun renforce le sentiment d'interdépendance mondiale, un thème récurrent dans l'œuvre de Nelson. Les visiteurs sont invités à un dialogue visuel et à une réflexion sur l'importance de la préservation et de l'unité culturelles. Avec son mélange unique d'architecture historique et moderne, le monumental Fotomuseum aan het Vrijthof offre un cadre idéal. Le musée organise un programme parallèle avec des conférences d'artistes et des activités scolaires.
Jimmy Nelson (Sevenoaks, Angleterre, 1967) a passé son enfance en Afrique, en Asie et au Moyen-Orient. Depuis 1993, il vit à Amsterdam, où se trouve le Jimmy Nelson Studio & Gallery. L'artiste photographie depuis quarante ans et expose dans les plus grands musées et galeries du monde entier. Son travail indépendant a également été présenté lors de foires d'art et de photographie telles que PAN Amsterdam, Photo London, Paris Photo et TEFAF Maastricht, ainsi qu'à la Fabrique des Lumières.
The Maastricht Museum of Photography, located in the Vrijthof, presents a striking exhibition by photographer Jimmy Nelson. Entitled "Between Sea and Sky," the exhibition features 65 photographs and two videos depicting twenty Dutch communities in traditional costumes. These images, featuring majestic skies, were taken in picturesque fishing villages, polder landscapes, and fortified towns. With his vibrant work, Nelson celebrates the beauty, cultural richness, and authenticity of humanity.
The Anglo-Dutch photographer is internationally recognized for his groundbreaking books "Before They Pass Away" (2013) and "Homage to Humanity" (2018), which present captivating photographs of unique indigenous peoples in the world's most remote regions. The elegant coffee table book "Between the Sea and the Sky" (2022) is a visual and artistic narrative exploring the rich cultural heritage of Nelson's adopted homeland and features over 350 intimate portraits and iconic landscapes.
With this inspiring series, Jimmy Nelson pays personal homage to time-honored traditions. He combines the timeless elegance of Dutch naturalism with contemporary portraiture. For both individual and group portraits, this passionate artist and storyteller uses a large-format analog camera. The result is picturesque and romantic images, rich in detail, reminiscent of the famous Dutch masters.
The intrinsic beauty of human diversity and shared heritage reinforces the sense of global interdependence, a recurring theme in Nelson's work. Visitors are invited to engage in a visual dialogue and reflect on the importance of cultural preservation and unity. With its unique blend of historic and modern architecture, the monumental Fotomuseum aan het Vrijthof provides an ideal setting. The museum organizes a parallel program with artist talks and school activities.
Jimmy Nelson (Sevenoaks, England, 1967) spent his childhood in Africa, Asia, and the Middle East. Since 1993, he has lived in Amsterdam, where the Jimmy Nelson Studio & Gallery is located. The artist has been photographing for forty years and exhibits in major museums and galleries worldwide. His independent work has also been presented at art and photography fairs such as PAN Amsterdam, Photo London, Paris Photo, and TEFAF Maastricht, as well as at the Fabrique des Lumières.
I have always thought of these forms as pipes of some kind. It is true that they are more like coaxial cables in that they have an internal structure that often is just a tube. The general structure is one with some repeated elements that recur in a detectable order on the outside.
pensiero ricorrente:
...devo andare a Parigi...
recurring thought:
gotta go to Paris!
[+.nei.commenti]
Hector the Convector is a cumulonimbus thundercloud that forms regularly nearly every afternoon on the Tiwi Islands (90 km NNW of Darwin) in the Northern Territory of Australia, from approximately September to March each year.
Hector is known as one of the world's most consistently large thunderstorms, reaching heights of approximately 20 kilometres (66,000 ft).
Named by US and Australian airforce pilots during the Second World War, (who were attempting to defend Darwin against Japanese bombing) the recurring position of the thunderstorm made it a navigational beacon for pilots and mariners in the region.
Hector is caused primarily by a collision of several sea breeze boundaries across the Tiwi Islands and is known for its consistency and intensity. Lightning rates and updraft speeds are notable aspects of this thunderstorm and during the 1990s National Geographic magazine published a comprehensive study of the storm with pictures of damaged trees and details of updraft speeds and references to tornadic events.
Since the late-1980s the thunderstorm has been the subject of many meteorological studies, many centred on Hector itself, but also utilising the consistency of the storm cell to study other aspects of thunderstorms and lightning.
In the run down to the end of 2021, I'm reposting some of my most successful photos and videos. This was my most faved video in the past 9 years. Kookaburras have an alarm call they give when the perceive danger or a threat. At such times, my dear Flatty would come to me and together we would scan the sky for danger. Her eye sight was hundreds of times better than mine, but I never told her so.
On these occasions I would stand very close to her and speak soft and reassuringly to her. These emergencies could last a long time, and recur several times on some days. I always responded to her danger calls and gave her whatever time and reassurance she needed.
On this occasion I shot some video footage and edited it together. Now that she is gone, this for me is a treasured memory of the love, trust and times we shared together.
Press L to view large,
Grazas polas vosas visitas e comentarios.
شكرا جزيلا لزيارتك والتعليقات
Moltas grácies per la teva visita
Gracias por vuestras visitas y comentarios.
Obrigado pelas suas visitas e comentários.
Thanks for your visits and comments.
Grazie per le vostre visite e commenti.
Merci pour vos visites et vos commentaires.
ご訪問とコメントありがとうございます。
Vielen Dank für Ihren Besuch und Kommentare.
Спасибо вам большое за ваш визит
Σας ευχαριστώ πολύ για την επίσκεψή σας
Eskerrik asko zure bisita
DERECHOS DE AUTOR:
Todas las fotografías de este sitio, están protegidas por el real Decreto Legislativo 1/1996, de 12 de abril, por el que se aprueba el texto Refundido de la LEY DE PROPIEDAD INTELECTUAL. Queda totalmente prohibida su reproducción total o parcial sin el expreso consentimiento de su autor. Si estás interesado en adquirir alguna copia, o los derechos de reproducción de alguna de las fotografías aquí publicadas, contacta con el autor. Si la finalidad de las fotografías deseadas no es con fines lucrativos, igualmente debes contactar con el autor indicando el uso que se dará a las imágenes.
COPYRIGHT:
All photographs on this site are protected by Royal Decree Law 1 / 1996 of 12 April, approving the revised text of the Copyright Law. It is strictly forbidden to reproduce in whole or in part without the express consent from the author. If you are interested in purchasing any copy or reproduction rights for any of the photographs published here, please contact the author. If the desired purpose of the photographs is not for profit, you should also contact the author indicating the use which will be the images.
Comento vuestras fotos en las visitas que tenga; Gracias a tod@s por los comentarios.
Esta es una imagen con © Todos los Derechos Reservados. Por favor no use esta imagen en páginas webs, blogs, facebook u otro medio sin mi explicito permiso.
This is a copyrighted image with © All Rights Reserved. Please don't use this image on websites, blogs, facebook, or other media without my explicit permission.
Si quieres ver mi galería con fondo Negro presionar L / If you want to see my gallery on black background: L
Please comment with your fav.
Veuillez commenter avec votre fav.
Geef alsjeblieft commentaar met je fav
Por favor comente con su fav.
Bitte kommentiere mit deinem fav.
Por favor comente com seu fav.
Reageer alsjeblieft met je fav.
يرجى التعليق مع فاف الخاص بك.
Παρακαλώ σχολιάστε με το fqv σας
Prosím, vyjádřete svůj příběh.
Proszę komentować swoje ulubione fav.
請評論你的fav。
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© Copyright : You can not use my photos !
© Copyright : No se puede utilizar mis fotos !
© Copyright :Sie können nicht meine Fotos !
© Copyright : Vous ne pouvez pas utiliser mes photos !
© Copyright : Non è possibile utilizzare le mie foto!
© Copyright: Ezin duzu erabili nire argazkiak!
© Copyright: Δεν μπορείτε να χρησιμοποιήσετε τις φωτογραφίες μου!
©著作権：あなたは私の写真を使用することはできません！
© Copyright: Вы не можете использовать мои фотографии!
©版權所有：你不能用我的照片！
© حقوق النشر: لا يمكنك استخدام صوري!
©*Mis fotografías están protegidas por derechos de autor. Todos los derechos reservados. Ninguna de estas fotos pueden ser reproducidas y / o utilizadas en cualquier tipo de publicación, impresa o Internet sin mi permiso por escrito.....
Presionar L Para apreciar mejor la imágen.
Took this image from outside my home in Betws yn Rhos North Wales at 20.45pm.
Three hours earlier, we had recurring thunderstorms and heavy rain - courtesy of those ongoing Towering Cumulonimbus Clouds I mentioned and posted earlier!.
The next few days show no sign of a change either - so more interesting times and extremes of weather ahead!
Excerpt from www.oakvillegalleries.com/exhibitions/details/228/Sascha-...:
Sascha Braunig's paintings and drawings are exercises in colour, form, and illusion. Citing an artistic lineage that stretches from the Pictures Generation through to the Chicago Imagists and horror-movie practical effects, her sometimes barbed, tubular, netted, or neon-lit forms speak of many of the tensions of the current moment, such as being a subject within the grid of digital or gender systems.
In this exhibition, which stretches over both Oakville Galleries sites, the Canada-born, US-based artist brings together new and recent works that are based on the compositional motif of figures engaged in conflict with a dress-like structure. These works use material qualities to analogize an immaterial idea: the feeling of struggling with a system more powerful than you, in which you are also deeply entangled.
Braunig builds and uses three-dimensional models as visual aids in the making of her work, some of which are included in the exhibition. Because of this observational painting practice, she sees her work as being linked to the academic nineteenth-century painter's use of the “lay figure," a jointed doll, not quite to-scale, that artists used as a stand-in for a live model in the studio. The exhibition's title, Lay Figure, refers to this historical practice, but Braunig extends its meaning to the schematic wiry figure that recurs in her recent work. Here she imagines the lay figure coming into a life of its own, squirming to free itself from rigid systems and resisting its status as the inanimate muse in patriarchal painting's history.
Special release for the SL Home & Decor Weekend Sale
Sep 4 - Sep 5
L$60 for the Decor (flowers, books & candlesticks)
L$75 for the Console
Out now at the Main Store
Gallery here and on Seraphim
www.seraphimsl.com/category/recurring-events/s/sl-home-de...
A ship replica of Lady Washington was built in Aberdeen, Washington, US. Named "Washington State's Tall Ship Ambassador", as well as the State Ship, the new Lady Washington is operated by a professional and volunteer crew under the auspices of the Grays Harbor Historical Seaport Authority.
Film and television appearances:
Lady Washington has appeared and served as a set in various films and television series, most famously portraying HMS Interceptor in the film Pirates of the Caribbean: The Curse of the Black Pearl and the brig Enterprise, a namesake of the Starship Enterprise, on the holodeck in Star Trek Generations. She also transported Chinese immigrants to America in the IMAX film The Great American West. The ship played a prominent role in the miniseries Blackbeard, as Captain Hook's ship Jolly Roger on Once Upon a Time, and as a recurring background piece in Revolution.
It's always great to find a structure to place in your composition, especially during direct sunlight, to get that deep black contrast.
First time in this location, didn't knew about it, but it's pretty near, so I guess it will become a recurring theme.
As a subject we have St. Nicholas church in Lungani, Iasi, Romania. The structure in the right is a bell tower.
One of my most recent 'lifer' birds, it's been great to be able to observe this one on a recurring basis in Janice's yard...it gives a much better sense of familiarity with its behavior patterns!
On a photo assignment last year I encountered this monk on a staircase, and made a number of frames of his ascent and descent. The fact that he was looking at his phone amused me at the time, but more and more it recurs to me how much we've all become captivated by these seductive magic mirrors. With the rise of AI and a burgeoning era where facts lose ground to feelings and opinions, we will all need to keep our wits about us and apply a critical eye to the things our devices show and tell us, if we are to avoid being catastrophically tripped up. I read the phrase 'chronically online' the other day and it hit home hard!
The other two versions I posted were portrait-oriented, and I wanted to try out a landscape version to make him a larger part of the composition.
Contribution to MM challenge for 11/3/18, theme: Timepiece.
A recurring problem for me with many of the challenges is that I now live between 2 homes and not very much stuff has made its way north with me yet. So I have no clocks in the house (other than my digital alarm which isn't interesting in the least!) Also I haven't worn a watch for a great many years and while I still have watches they are all still in Londinium. But then I had the idea for an egg timer/hourglass but again i didn't have one. Fortunately I had an appointment in York this morning which gave me the opportunity to skive and hunt a little!
Not quite the image I had envisaged but given my time constraints it's not actually a million miles off. Some laziness is evident in that the glass managed to get dirty quite quickly and I just left it!
Strobist bit: 2 x SB200 units. one set to manual at 1/100 to the right, slightly behind the glass. The other on TTL with -0.7 EV aimed at the background. Both(!) firing on rear curtain.
La Muntanya de Sal és un fenomen natural únic al món i encara avui creix a mesura que la pluja l’erosiona. Els seus 120 metres són només la punta d’un enorme diapir de prop de dos quilòmetres de profunditat.
Durant anys, esdevingué una de les mines de sal potàssica més importants del món, Mina Nieves de Cardona (1929-1990). Avui, el vell recinte miner és el Parc Cultural de la Muntanya de Sal, un gran equipament cultural que pretén divulgar la importància de la sal, l’excepcionalitat geològica del jaciment i l’aprofitament que l’home ha fet d’aquest recurs natural durant segles.
Si us ve de gust veure mes fotografies de la Muntanya de sal cliqueu aquest enllaç: elmeupaispatit.blogspot.com/search/label/Muntanya%20de%20...
💟ᴏsᴍɪᴀ - ᴡɪɴɴɪᴇ ᴋɴᴏᴛ ғʀᴏɴᴛ ᴛ-sʜɪʀᴛ sᴛᴏʀᴇ
💟ᴏsᴍɪᴀ - ᴡɪɴɴɪᴇ ᴡɪᴅᴇ ʟᴇɢ ᴊᴇᴀɴs sᴛᴏʀᴇ
💟ʙᴏɴᴅɪ . ʟɪʟɪᴛʜ ɢʟᴀssᴇs . [ᴛʜᴇ ᴡᴀʀᴇʜᴏᴜsᴇ sᴀʟᴇ]
💟[^.^ᴀʏᴀsʜɪ^.^] ʀᴇɴᴇᴇ ʜᴀɪʀ-ᴇxᴄʟᴜsɪᴠᴇ ᴋɪɴᴋʏ
Sunrises and sunsets aren’t really my thing … I usually prefer the time before or after. The blue hour is a recurring theme in many of my photos.
But then there are those moments—when the light of our planet, combined with breathtaking landscapes, strikes right into my photography-obsessed heart. And in those moments, I simply can't resist capturing a sunrise after all.
Well then, dear sun—you've earned your exceptions.
Created by the well-known Spanish artists ARYZ. The giant duck was painted in 2011 for the Street Art Festival. Location: Melkvoetstraat 19. Aryz is a famous Spanish street artist and an illustrator. He was born in 1988 in Palo Alto, California but moved back to Spain at the age of three where grew up in the suburbs of Barcelona. He quickly showed interest in the graffiti scene, joined up with a local crew as a teenager and then started experiencing painting in the form of graffiti.
Aryz is known for his large-scale murals. Generally, his murals depict humans or animals of both surreal colors and muted colors. Bones are a recurring motif in the artist’s work with characters revealing their entrails, organs or bones. Regardless of its definition, Aryz enjoys using classic street art tools such as brushes, spray paint, rollers, and more. He enjoys painting in abandoned factories because people avoid bothering him there. These factories often offer a perfect location due to their huge walls and varied surfaces. Aryz attributes his skill as a painter to aerosols because that was the method that he used primarily to practice. (streetart.bio.com; my wanderlust.pl)
Mountain Range, a solo exhibition by Los Angeles-based artist Jennifer Guidi, organised wih Gagosian. This is the first time Guidi, who has gained international recognition for her sand mandala paintings, present a show solely based on landscapes. These new paintings are unveiled in the Richard Rogers Gallery, a tranquil space cantilevered over the rural hillside setting of Provence.
Mountain Range explores a recurring motif in Guidi’s oeuvre—the mountain. For Guidi, mountains symbolize a place of contemplation and reflection, a physical representation of the spiritual journey towards a higher consciousness. As paintings, they are also a formal investigation into color, composition, and material. Evocative of California’s rocky landscapes and resonant with the hills of Provence, the paintings have a mesmerizing serenity, reflecting the importance of nature and meditation in the artist’s life and practice.
Guidi’s linen surfaces begin with a base layer of sand mixed with pigments and mediums which she then marks with a hand-carved wooden dowel to create a pattern radiating from a central point, signifying an energy source. The mountain forms are then built up using a new additive technique of topographical layering of colored sand and oil paint dots that give the paintings a rich, textured and three-dimensional quality. The results are bursts of saturated colors, infused with Impressionist and Pointillist influences, representing an evolution in her work and intertwining pure abstraction with the exploration of natural and constructed, inner and outer landscapes.
Light is another key element pervading Guidi’s canvases. Painted in the sunny atmosphere of Los Angeles, her new series finds the perfect background in the equally striking “painter’s light” of Provence, the land of Cézanne and Van Gogh. In Mountain Range, Guidi further develops her established use of color, gradients, and mark-making. The Richard Rogers Gallery, seemingly floating amongst the trees, presents an opportunity for Guidi to interact not only with the pastoral landscape
but with the architecture itself.
Two large paintings, hanging back-to-back, suspended in mid-air, bisect the gallery space and present the viewer with an imagined landscape, playfully interrupting the expected view of the Luberon mountain range. Along the walls, smaller mountainscapes, acting almost as windows, lead you through the space providing unique vignettes rich in color, form, and texture.
The meditative quality of Guidi’s paintings, set against the vineyard and lavender adorned hills of Provence, with sweeping vistas and valleys below, all combine to produce a soothing effect. Guidi’s everyday practice of mindfulness is also applied to her studio work. Together with the intuitive nature of painting and the ritualistic application of the mandala, the artwork becomes an environment through which Guidi’s intention to connect shines, inviting the viewer to consider their own path.
ABOUT JENNIFER GUIDI
Born in 1972 in Redondo Beach, California, Guidi works and lives in Los Angeles. She received a BFA from Boston University and an MFA from the School of the Art Institute of Chicago. She is represented by Gagosian, Massimo de Carlo and David Kordansky. Her work has been exhibited around the world. In 2022, she presented a solo exhibition at the Long Museum in China. Later this year, the Orange County Museum of Art, California will host her first institutional exhibition in the United States
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Excerpt from www.oakvillegalleries.com/exhibitions/details/228/Sascha-...:
Sascha Braunig's paintings and drawings are exercises in colour, form, and illusion. Citing an artistic lineage that stretches from the Pictures Generation through to the Chicago Imagists and horror-movie practical effects, her sometimes barbed, tubular, netted, or neon-lit forms speak of many of the tensions of the current moment, such as being a subject within the grid of digital or gender systems.
In this exhibition, which stretches over both Oakville Galleries sites, the Canada-born, US-based artist brings together new and recent works that are based on the compositional motif of figures engaged in conflict with a dress-like structure. These works use material qualities to analogize an immaterial idea: the feeling of struggling with a system more powerful than you, in which you are also deeply entangled.
Braunig builds and uses three-dimensional models as visual aids in the making of her work, some of which are included in the exhibition. Because of this observational painting practice, she sees her work as being linked to the academic nineteenth-century painter's use of the “lay figure," a jointed doll, not quite to-scale, that artists used as a stand-in for a live model in the studio. The exhibition's title, Lay Figure, refers to this historical practice, but Braunig extends its meaning to the schematic wiry figure that recurs in her recent work. Here she imagines the lay figure coming into a life of its own, squirming to free itself from rigid systems and resisting its status as the inanimate muse in patriarchal painting's history.
Villa Torlonia - Casina delle Civette.
Bagno degli ospiti.
"Lago con cigno e piante lacustri".
Per quanto riguarda la loro attribuzione non sembrerebbe possibile poterle assegnare al Maestro Picchiarini, che aveva formulato pesanti critiche sul Liberty realizzato con l'uso-abuso del motivo degli iris, che è proprio quello qui ricorrente.
Comunque, anche se non sono facilmente attribuibili a nessuno degli autori delle altre vetrate, esse facevano parte dell'arredo originario della Casina e costituiscono un documento importante per la comprensione di quanto l'arte della vetrata abbia riscosso successo e diffusione nei primi decenni del secolo.
Villa Torlonia - Casina delle Civette.
Guest bathroom.
"Lake with swan and lake plants".
As regards their attribution, it would not seem possible to be able to assign them to Maestro Picchiarini, who had formulated heavy criticisms of the Liberty made with the use-abuse of the iris motif, which is precisely the recurring one here.
However, even if they are not easily attributable to any of the authors of the other stained glass windows, they were part of the original furnishings of the Casina and constitute an important document for understanding how successful and widespread the art of stained glass was in the first decades of the century .
IMG_6213m
Excerpt from www.citywindsor.ca/residents/Culture/Windsor-Sculpture-Pa...:
Assumption Park
Haydn Davies
Composition with Five Elements, 1980
Painted aluminum, 244 x 300 x 214 centimetres
Composition with Five Elements developed from a maquette entitled Cromlech.
The original title is derived from the Cromlechs (megalithic stone monuments) found in Davies' native Wales and surrounding Britain, the most famous of which is Stonehenge.
An association with these ancient British monuments has been a recurring theme in Davies' sculptures for years, but according to the sculptor this relationship is purely formal.
A few hours into the Cold Springs Fire near Nederland Colorado, the destructive force of the fire was readily apparent. What smoldered as a campfire for a couple of days turned into an inferno that burned 250 acres (100 ha) in a couple of hours. Eventually the fire reached 525 acres (200 ha), and destroyed 8 homes. The two culprits who didn't put their fire out have been apprehended.
To get a sense of scale, find the speck that is a helicopter carrying a water bucket in the smoke on the right of the picture.
The dark smoke indicates an area where a stand of trees has just ignited. Note the line of fire on the left side under the black smoke.
Fires like this are scary, particularly when started by nimnods, and it is terrible that people lost their homes and property. However fire has long been a part of this ecosystem, with fires of this intensity and size recurring every 200-300 years. Recovery will begin soon, probably aided by the water managers who want to keep the sediment out of Boulder Creek that drains this area.
well i think i can count on one hand the amount of times ive had an image in my head and actually got the exact conditions that i required. this was one of those morning i can now add to the list so ill have to start using the other hand. ive been to this location i dont know how many times and over the last year or so i havent even got the camera out of the bag. the conditions have never been what i wanted. so last night i thought id try my luck here again. i pottered off out for a few hours before work in hope that the forecast was to be as predicted. upon driving down into ullswater my heart sank as it was crystal clear, but not wanting a wasted journey i still drove round to the boathouse regardless and within five minutes i could see that all the fog had stuck itself exactly where it needed to be.
job done. now on to the next classic in amazing conditions.
Trees keep recurring in my images of the River Dove, reflected in whole or part. I like the strangeness that the water’s movement, and sometimes the breeze, can introduce and the unending permutations that are possible. A small seed has been sown, an idea for a possible new series, which draws on and in a sense connects some of the work that I showed in my brief talk at the On Landscape Meeting of Minds conference. I think that I omitted to say one sentence. When I chose Reflections of Truth for a gallery title, I had in mind the Japanese translation of the word ‘photography’: sha-shin, a copy of truth, or reproduction of reality, and in a play on the phrase, the fact that some truths, while literal, could be distorted and strange. I meant to say that I now see it differently – I have the means at hand and the vision to create my own truths; to explore and to enjoy the art (or whatever else you want to call it) than can be found in water. From the seed came this image.
Image is copyright © Michéla Griffith. All rights reserved. Please contact me if you would like to use this image.
agfa ambi silette - telinear 90mm f4 - kodak portra 400nc (exp. 2004) - reflecta 10t (@5k)
recurring theme
Looking through my old photos I found some pics I'd like to show to my friends. The photos from Lofoten trip still remain the most attractive series for me. Here is a view we used to contemplate for more than a week. It's still a recurring dream in my head. A monochrome dream....
Thank you for all the comments and favs, my friends.
dear friends!! there is a dream i've had since i was a little girl: i am walking along a street in the dappled light of afternoon. there is a house with a beautiful garden, and i walk up the path to the door. an old woman, with a kind face and deep eyes, meets me at the door and invites me inside. she offers me tea and cookies, talks with me, and then leads me to the back door of her house. i step outside and see a flowing stream, and beyond that a grove of trees. as i walk toward the stream, i notice a bridge, which i begin to cross. as i do, a feeling of gratitude and joy comes and i wake... tonight, the gentle words of poeira de estrada reminded me of this beloved dream. thank you, paula. :)
may all travelers find joy!!
and gentle guides along the way...
jeanne
assembled and altered images, july 14, 2008
(two digital photos taken near a beloved river this weekend... and a golden tray for serving tea)
The thought of the Masquerade Ball brought Tilly to Venice, in the middle of its Carnival and then back in time, to the French Court of Queen Marie Antoinette.
Tilly has revised the richness and splendor of shapes and colors and wanted to reproduce this with the double and large collar and with wings.
Why wings? Because they represent air and fire at the same time because the draped movement and the colors recall the dance of flames that stand out high in the sky.
The dress is blue, reminiscent of water, as well as the small lights that rise along the body.
And then the earth, in the decorations in the hair and around the hips; both for the colors chosen and for what they represent.
Finally, on the eyes, a mask whose most significant and recurring function is that of a communication tool between men and the divinity, as it allows one to detach oneself from space-time conventions to project oneself into an 'other', divine world , ritual, mystical. The result was meant to be flashy but at the same time elegant and harmonious, just as the 4 elements that allow life in perfect balance and synergy are harmonious.
And the clouds were running in the sky.
Creating endless lace shadows on that
desolate and empty land. But I couldn't
help but keep on waiting for you, even
though I knew you wouldn't come back.
Please excuse the lack of upload on here, it's really uneasy for me to enjoy taking pictures or such due to the recent events at the moment. I mean I'm good, it's just in my unconscious.
I'll get better! Anyway here is one more thing I really loved about Iceland: the fact that there are no trees at all in most places because it makes you completely lose the scale of things, you know? I mean this very landscape could be huge and quite small at the same time... There's no way to say the exact size of it, so I feel like there's more space for imagination and I like it! I hope you all are doing great! :) (and thank you all so much for your kindness on my previous post, it really helped me)
I've been feeling kind of discontent lately. But I'm not sure what it is that I want. To be able to write again would be fabulous. To know what I want to do with my life would be great.
I slept in horribly late today. I need to fix that.
Last day of Jumping Week.
Wow. I have nothing to say.
Except that I would like to watch "Once" or "La Vie en Rose," but nobody else wants to. Does this not seem like a recurring circumstance in my life?
Jumps: 40ish.
Old school cut & paste (paper, scissors & glue) collage created for the blog with a weekly theme/challenge:
THE KOLLAGE KIT
THEME: Heading for a Fall
What could I say? For many it has been a very complicated year. As I already said in a previous publication, I have had to face my greatest fears and gradually get out of the dark hole in which I was stuck. Throughout this year there have been many times when I have been on the verge of giving up. "I can't do it", "I'm not enough", "I deserve whatever happens to me" and "I'm never going to get it" have been my most recurring thoughts, and I would be lying if I said that I have never felt tempted to pay attention to them, to leave everything and simply go with the flow.
But somehow I have managed to move forward. Whether by embracing anger, despair, or hope itself, I have achieved things that others, or even myself, believed I could not achieve. I managed to stop crying because of my grief, I managed to get my driving license (and I haven't run over any grannies in the process, we can be proud) and I have started studying Pharmacy and Parapharmacy, a complicated area (especially for someone who was never of science, but of literature), and I have managed to pass the first trimester with one of the best grades in the class after a lot of effort and perseverance.
2024 will be very complicated for me. I still have a long way to go to be able to love myself, accept all the bad things that happened and show the world and myself that I am worth it. I am going to continue fighting for it and to achieve my dream of being free from my dementors.
I'm still broken, but maybe I'll be able to conjure my own Patronus after all.
I wish you all a prosperous and happy new year. May you also fight for yourselves and achieve all your goals ♥
NEW: LACONIC/SIMP
Available in 3 colours /texture HUD
Reborn
Legacy
kupra
Lara X
Exclusive for PLANET 29 EVENT
Kingdom:Plantae
Clade:Tracheophytes
Clade:Angiosperms
Clade:Monocots
Order:Asparagales
Family:Iridaceae
Genus:Iris
Subgenus:Iris subg. Iris
Section:Iris sect. Iris
Species:I. croatica
Iris croatica
en.wikipedia.org/wiki/Iris_croatica
wiki.irises.org/TbPthruT/TbRecurringDelight
Colorado Springs, CO