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On a walk around the city to catch up on the earthquake rebuild. January 2018 Christchurch New Zealand.
Eight giant spray cans have taken up residency in central Christchurch as part of a plan to attract young people to the city centre.
The oversized cans on the corner of Manchester and Lichfield streets will be a canvas for street artists to test their wares. Three of them would be semi-permanent and were painted by street artists Jacob Yikes, Ikarus and Wongi Wilson.
For more info: i.stuff.co.nz/national/99470562/eight-giant-spray-cans-pr...
Noon, Cheboygan county 48 x 58 acrylic own canvas
THE PACE OF NATURE
www.blurb.co.uk/b/4613946-pace-of-nature-hardback
LOOKING OUT
www.blurb.co.uk/b/7144518-looking-out
IPSDEN IN WINTER
www.blurb.co.uk/b/4693698-ipsden-in-winter-rev-ed
LANDSCAPES OF IPSDEN
www.blurb.co.uk/b/4693349-landscapes-of-ipsden-rev-ed
RECENT PORTRAITS
www.blurb.co.uk/b/2931284-recent-portraits
DRAWING AND PAINTING by Kate Wilson
www.amazon.co.uk/Drawing-Painting-Materials-Techniques-Co...
PORTRAIT REVOLUTION
www.amazon.co.uk/Portrait-Revolution-Julia-Kays-Party/dp/...
Pour son exposition au Centre d’art contemporain de la Matmut – Daniel Havis, Maia Flore fait se rencontrer deux composantes essentielles à la vie : le rire et le rêve. Ses photographies, créées à partir de souvenirs et d’impressions, nous emmènent dans l’imaginaire de l’artiste. Un imaginaire foisonnant remplit de malice et de poésie.
Maia Flore utilise la photographie comme principal médium, qu’elle souligne par la pratique du dessin et du collage. Comme une conteuse visuelle, l’artiste transforme la réalité et magnifie les choses simples qui nous entourent. Un coucher de soleil, un arbre en fleur ou encore un ciel un soir de pleine lune : découvrir le travail de Maia Flore c’est s’autoriser à rêver…et à rire d’un petit rien ! La photographe s’inspire de ce qui l’entoure pour créer ses compositions, parfois numériquement. Un brin surréaliste, elles sont souvent teintées d’humour. Maia Flore s’empare de situations du quotidien pour en faire des mises en scène cocasses dont elle est la principale actrice. La place du corps est au cœur de ses images : il est toujours en mouvement, en lévitation, gracieux, parfois même en fusion avec son environnement. Toutefois, l’artiste nous cache son visage pour que le spectateur s’identifie mieux au personnage de ses photographies. Le parcours de l’exposition met en avant le travail métaphorique de Maia Flore, qui navigue habilement entre le monde réel et le monde imaginaire laissant place à une intimité visuelle qui unit le corps humain et le paysage. En explorant les galeries du centre d’art, les visiteurs sont transportés dans un rêve onirique captivant et amusant.
La photographe française Maia Flore née en 1988 oscille entre la France et les États-Unis. Juste sortie de l’école des Gobelins, elle devient membre de l’agence Vu en 2010 et reçoit le Prix pour la photographie HSBC en 2015. Les différentes résidences auxquelles elle a participé et les expositions internationales l’on amenées à voyager de Rio à Rome, ou de Moscou à Buenos Aires. Elle a exposé à la galerie Themes+Projects à San Francisco et à la galerie Fremin à New York. Les thèmes du voyage, des paysages, du mouvement et du corps lui sont chers.
For her exhibition at the Matmut – Daniel Havis Contemporary Art Centre, Maia Flore brings together two essential components of life: laughter and dreams. Her photographs, created from memories and impressions, take us into the artist’s imagination. A teeming imagination filled with mischief and poetry. Maia Flore uses photography as her main medium, which she highlights through the practice of drawing and collage. Like a visual storyteller, the artist transforms reality and magnifies the simple things that surround us. A sunset, a tree in bloom or even a sky on a full moon night: discovering Maia Flore’s work is allowing yourself to dream…and laugh at a little nothing! The photographer draws inspiration from what surrounds her to create her compositions, sometimes digitally. A bit surreal, they are often tinged with humor. Maia Flore takes everyday situations and turns them into comical stagings in which she is the main actress. The place of the body is at the heart of her images: it is always in motion, levitating, graceful, sometimes even merging with its environment. However, the artist hides her face so that the viewer can better identify with the character in her photographs. The exhibition itinerary highlights Maia Flore's metaphorical work, which skillfully navigates between the real world and the imaginary world, leaving room for a visual intimacy that unites the human body and the landscape. By exploring the galleries of the art center, visitors are transported into a captivating and amusing dreamlike dream.
French photographer Maia Flore, born in 1988, oscillates between France and the United States. Fresh out of the Gobelins school, she became a member of the Vu agency in 2010 and received the HSBC Photography Prize in 2015. The various residencies in which she participated and international exhibitions have led her to travel from Rio to Rome, or from Moscow to Buenos Aires. She has exhibited at the Themes+Projects gallery in San Francisco and at the Fremin gallery in New York. The themes of travel, landscapes, movement and the body are dear to her.
Minolta SRT 101. Kodacolor 200 Color Film.
Tetenal Colortec C-41. Epson Scanner.
Lucknow, India. January 10, 2020
Several Chapultepec Castle rooms occupied by Maximilian and Carlota have been restored.
The castle is located in the first section of the Chapultepec Woods. Chapultepec means “Mountain of the Grasshopper” (Montaña del Chapulín).
Today the castle is the Museo Nacional de Historia of Mexico.
Throughout the years the building was modified and adjusted to meet several purposes.
In 1859 it became the Imperial Palace and the residency of Maximilian I and Carlota, then Emperors of Mexico.
With the years, the Castle fell in disuse but in 1939 the Castle was set to function as museum.
The Castle is divided into two areas: The Military School and the Alcázar, the residency of the Emperor.
The Alcázar rooms, show the life inside the Castle at the time of Maximilian, with furniture, jewelry, paintings and other objects.
The palace would remain the official residence of the president of Mexico until 1939 when President Lázaro Cárdenas made it the National Museum of History.
LA TRESSE collective, en collaboration avec l'Arsenal, est heureuse de vous inviter à une soirée de danse.
À la suite d’une résidence de deux semaines dans l'espace, LA TRESSE vous partagera le fruit de sa recherche le 19 avril dans le cadre des #MardisCulturelsTD.
Elles présenteront des extraits du prochain volume de Beauté Brute ainsi que la première du solo, A Girl, du chorégraphe israélien Roy Assaf.
Performances de 19h à 20h30.
Entrée libre.
___________
"An Evening with LA TRESSE"
LA TRESSE, in partnership with Arsenal, invites you to an evening of dance.
Following a two-week creative residency in the space, LA TRESSE will be sharing the result of their research on April 19th as part of the #TDCulturalTuesdays serie.
In addition to presenting excerpts from the next volume of Beauté Brute, they will premier the solo, A Girl, by Israeli choreographer Roy Assaf.
It is said that this Residential complex called Lucknow Residency was first laid by the king Nawab Asaf-ud-daula of Avadh in 1775 for providing a residence to the British visitors and completed in 1800 by Nawab Saddat Ali near the bank of river Gomti in Lucknow.
"The Residency, Lucknow" at it looked right before 1857, from vol. 3 of 'The Indian Empire' by Robert Montgomery Martin, c.1860
PLEASE READ THE ALBUM DETAILS FOR MORE INFORMATION
Ebey's Landing National Historical Reserve
The Jacob Ebey House was the evidence of the historic settling of the Ebey family more than 150 years ago at this very corner of the country. Sitting on a hilltop and looking directly toward the Admiralty Inlet and the faraway Olympic Range, one could imagine the opportunities that were as boundless as the landscape.
Set number #300 - time for something special.
It was a cold winter morning in 2009. I drove to the usual rendez-vous parking spot to meet up with my buddy NeQo. I finished my take-away cup of black gold and packed my stuff, ready to go, off for a full day of decay.
Once seated I pulled out my endless list of places to visit. But NeQo insisted on skipping those. I'm taking you somewhere else...
After driving for 50 minutes we pulled over to a bewildered piece of land. I could spot a decayed house between the trees, with late medieval touches, but had no idea what to expect. Until NeQo told me. This is Residency Theodoricus, my friend.
Now I've seen a couple of old places, but this one tops the list. It's from the 1600's and no noteworthy changes have been made to the house. What started as a regular mill was later transformed into a brewery of fine liquors. It's a family affair and the brewery was never commercialized or sold to a large investor. Good!
On with the explore. The place itself is divided into two parts: the stables with a tasting gallery, and the house itself. I checked some windows and doors from the residential part, but it was locked tight. Before squeezing ourselves through a bathroom window we started out with the stables and tasting gallery. Which turned out to be an antiques goldmine. Record players, old radio transistors, Solex motorcycles, unopened pre-WW2 wine bottles, rifles of hunters, wooden horses for children, ...
We went up the attic and and unreal scenery opened up for our eyes: the complete attic was covered in gigantic cobwebs. This must be the result of 410 years of cobwebs in the making. I had to wade through this white jungle a couple of times to take my shots. 10 minutes later all my clothes were wrapped up in spider webs. On top of that my pants were completely white because of the chalk of the very unstable and rotten floor. And right there, amidst this chaotic maze, we popped a beer. Cheers. To 400 years of dust.
Right after we finished our beer we continued the program, on to the second part: the house. I checked the door handle of the house again. Shock! It was open. Now I've might been slightly tipsy because of the beer but I knew this door was locked one hour ago. We went inside. Hello? Anyone here? Silence. We closed the door. My buddy NeQo went inside the living room. Hello? And old & cracky voice sounded from below. Yes! Hold on a minute. Dang! Someone lives here? We went back to the door, to make it look like we were just entering.
A skinny man in his late fifties shows up. Looks like's he's been missing a few lessons on personal hygiene. Bad teeth. Greasy hair. And an overal neglected look. But he seems calm. My buddy tells him we're photographers, interested in heritage. Always works, you know. The old man tells us he's the son of the old lady who lived here. She passed away in 2003. He grew up in this house, but can't maintain it. None of the children want to maintain it. The property will be sold, lock stock & barrel.
After a short brief into the history of this place the old man looks at me. And inspects me. I know I look horrible. I'm completely covered in cobwebs and my pants are powdered with white chalk. I'm wearing gloves and a hat, all wrapped up by silken threads of little spiders. I see them hanging in front of my glasses. I'm coughing dust. I'm a total mess. There's this awkward silence, and with the 0.5 liter beer still fresh I can barely hold myself from laughing. Where on earth have you been crawling out? must he been thinking. But the old chap doesn't say a word.
I cannot hold it any longer. Break the silence. Can we take pictures here?, I ask. Once again the old man scans me completely. Did my breath revealed the beer we just drank? Did he pay attention to the chalk on my shoes? Did he notice the cobwebs in front of my eyes? Does he even know the attic is one gigantic spiderweb? Finally, an answer.
No. Sorry boys, you can't take pictures here!
And off we were, bursting out in joy once we were out of sight. Great explore. Thanks mate!
'There are things known and there are things unknown, and in between are the doors of perception.' ~ Aldous Huxley
Strobist:
Key: Phottix Indra500 into PCB Parabolic silver reflector camera left
Fill: Phottix Indra500 into PCB parabolic white shoot thru camera right.
Accent: bare Canon 600EX RT behind subject, full CTO gel
Now for something a little different... This is part of the "Foot And Arch" sculpture in Glasgow's Bellahouston Park. It was created by the Indian sculptor Ganesh Gohain during an artist residency in the city.
The British Residency at Lucknow was built in 1800. It was the scene of the great siege of Lucknow. The British Residency was the place that served as a refuge for approximately 3000 British inhabitants during the time of the uprising (Sepoy Mutiny) of 1857. Lucknow was center of all British activities during the siege and the Residency became the monopolistic center of the British for almost 90 days.
The Residency still has within its walls, the graves of around 2000 British soldiers who died in the Revolt of 1857. The people of Lucknow tell intriguing stories of British who fled from their homes to seek shelter in these red buildings. Only a 1000 inhabitant survived this tough ordeal. On November 17th, the British troops led by Sir Colin Campbell defeated the Indian forces. Though they triumphed, it was victory in the true sense.
Today, the British Residency of Lucknow serves as a government office. The Residency also has a museum that is well-maintained by the authorities. One also finds the tombs Sadat Ali Khan, who was the first Nawab of Awadh, Kaisarbagh Palace and an observatory built for Colonel Wilcox, who was a British astronomer.
Minolta SRT 101. Kodacolor 200 Color Film.
Tetenal Colortec C-41. Epson Scanner.
Lucknow, India. January 10, 2020
The British Residency at Lucknow was built in 1800. It was the scene of the great siege of Lucknow. The British Residency was the place that served as a refuge for approximately 3000 British inhabitants during the time of the uprising (Sepoy Mutiny) of 1857. Lucknow was center of all British activities during the siege and the Residency became the monopolistic center of the British for almost 90 days.
The Residency still has within its walls, the graves of around 2000 British soldiers who died in the Revolt of 1857. The people of Lucknow tell intriguing stories of British who fled from their homes to seek shelter in these red buildings. Only a 1000 inhabitant survived this tough ordeal. On November 17th, the British troops led by Sir Colin Campbell defeated the Indian forces. Though they triumphed, it was victory in the true sense.
Today, the British Residency of Lucknow serves as a government office. The Residency also has a museum that is well-maintained by the authorities. One also finds the tombs Sadat Ali Khan, who was the first Nawab of Awadh, Kaisarbagh Palace and an observatory built for Colonel Wilcox, who was a British astronomer.
The British Residency at Lucknow was built in 1800. It was the scene of the great siege of Lucknow. The British Residency was the place that served as a refuge for approximately 3000 British inhabitants during the time of the uprising (Sepoy Mutiny) of 1857. Lucknow was center of all British activities during the siege and the Residency became the monopolistic center of the British for almost 90 days.
The Residency still has within its walls, the graves of around 2000 British soldiers who died in the Revolt of 1857. The people of Lucknow tell intriguing stories of British who fled from their homes to seek shelter in these red buildings. Only a 1000 inhabitant survived this tough ordeal. On November 17th, the British troops led by Sir Colin Campbell defeated the Indian forces. Though they triumphed, it was victory in the true sense.
Today, the British Residency of Lucknow serves as a government office. The Residency also has a museum that is well-maintained by the authorities. One also finds the tombs Sadat Ali Khan, who was the first Nawab of Awadh, Kaisarbagh Palace and an observatory built for Colonel Wilcox, who was a British astronomer.