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Promotion Booklet slips for LOVE LUCK AND LEAVING by JONATHAN DALE.
About Jonathan Dale:
Jonathan Dale from Season Two of CMTs Can You Duets, 1st Runner Up Duo; JB Rocket. After JB Rocket finished as 1st runner up, they inked a record deal along artist like Taylor Swift, Justin Moore, Steel Magnolia, Reba McEntire, Jack Ingram and many other top Country Music recording artist to be part of the Big Machine Records sister label; The Valory Music Co. A year later the duo split to pursue seperate goals and careers. Jonathan Dale was awarded the 2010 Randy Travis Award - Country Male Vocalist of the Year at the 2010 Carolina Music Awards. Also recently in Nov '12 Jonathan Dale's Music Video for His fan favorite track "Jezebel" landed as the #1 Country Music Video on MTV's Ourstage.com, Jonathan Dale is the youngest performer to ever sing the National Anthem for the Carolina Panthers and The Dallas Cowboys when He was only 10 years. He currently is living back and forth between Nashville, TN, New York, and His home state of North Carolina. Jonathan Dale also recently opened up about dealing with rejection in the music industry but turning to and developing a problem with addiction in 2011, Sense then He has became sober and launched a Nationwide Foundation called "The Recovery Road Foundation" helping millions of teenagers and young adults deal and cope with their problems of depressions, addictions, and all around mental and physical health. You can read more and listen Jonathan's music by visiting any of the following website:
www.jonathandalemusic.com (Official Website)
www.jonathandaledaily.com (Lastest News and Fan Forums and Connections)
www.thejournalofjonathandale.com (Jonathan's Official Personal Blog)
www.therecoveryroadfoundation.com (Jonathan Dale's Addiction Recovery Foundation)
www.facebook.com/JonathanDaleMusic (Jonathan Dale - Official Facebook page)
www.facebook.com/OfficialJonathanDaleST (The Official Jonathan Dale Street Team)
www.twitter.com/JonDaleMusic (Jonathan Dale's Personal Twitter page)
www.youtube.com/JonDaleMusic (Jonathan Dale's Official YouTube Channel)
#49/365
Kei made em. Jessie seems to love em.
Problem is they have little traction @_@, the kid is fine as long as she doesn't go in the kitchen...then it's the Ice Capades!
Here are the slippers she used to wear...well, hold and run around with but sometimes wear.
The phone slips from a loose grip
Words were missed then, some apology
I didn’t want to tell you this
No, it’s just some guy she's been hanging out with
I don’t know, the past couple weeks I guess
Well, thank you and hang up the phone
Let the funeral start
Hear the casket close
Let’s pin split-black ribbon to your overcoat
Well, laughter pours from under doors
In this house, I don’t understand that sound no more
Seems artificial, like a T.V. set
Well, haligh, haligh, a lie, haligh
This weight it must be satisfied
You offer only one reply
You know not what you do
But you tear and tear your hair from roots
Of that same head you have twice removed now
A lock of hair you said would prove
Our love would never die
Well ha ha ha
I remember everything
The words we spoke on freezing South Street
And all those mornings watching you get ready for school
You combed your hair inside that mirror
The one you painted blue and glued with jewelry tears
Something about those bright colors
would always make you feel better
But now we speak with ruined tongues
And the words we say aren’t meant for anyone
It’s just a mumbled sentence to a passing acquaintance
But there was once you
You said you hate my suffering
And you understood
And you’d take care of me
You'd always be there
Well where are you now?
Haligh, haligh, a lie, haligh
The plans were never finalized
But left to hang like yarn and twine
Dangling before my eyes
As you tear and tear your hair from roots
Of that same head you have twice removed now
A lock of hair you said would prove
Our love would never die
And I sing and sing of awful things
The pleasure that my sadness brings
As my fingers press onto the strings
In yet another clumsy chord
Haligh, haligh, an awful lie
This weight would now be satisfied
I'm gonna give you only one reply
I know not who I am
But I talk in the mirror
To the stranger that appears
Our conversations are circles
Always one sided
Nothing is clear
Except we keep coming back
To this meaning that I lack
He says the choices were given
Now you must live them
Or just not live
But do you want that?
Brought back luggage full of these wonderful vintage cotton/linen German Slips! If you can find them in LA or NY you will pay dearly for these! Celebrities are pairing these with jeans or leggins'! So comfy!
Visit my Profile page to see more of the unique things I love!
This is pretty much the story of how my day slips by before I realise it's nearly over. One of the clocks in the house has decided to go beserk and spin forward in time really quickly all day. It's automatically set by the local radio frequencies so I think it's just trying to reset. Or maybe I'm time travelling.
Either way I thought it was a good way to exemplify how my photo a day project always gets me rushing right in the last minute.
Strobist: YN560II 1/16 power, 105mm, on multi-mode, bare with CTB, hand held at about 45˚ camera right and angled up. Triggered by RF603s.
The Norfolk Whaler on the slips of the Ballina Slipway and Engineering Company in early 1957. Under the supervision of Jim Hammond she was fitted out as a whaling vessel by Ballina Slipway and Engineering, the business name of S. G. White Pty Ltd.
Other images of the Norfolk Whaler are in the Album NORFOLK WHALER / SANTA CRUZ
NORFOLK WHALER (or Santa Cruz) - later ARCTURUS
This information has been updated – October 2022 based on further information
The twin screw Norfolk Whaler (known in Tuncurry at Santa Cruz) was built at the shipyards of Ernest Wright and Sons in Tuncurry, NSW. Construction was commenced in 1946, the same year that shipyard manager Ernest Wright died.
After Ernest’s death, work was supervised by Arthur Wedlock (Manager) and Frank Avery (Foreman); John Wright jnr. took over the business after his return from WWII. A very impressive vessel, Frank Avery described her keel as follows: She has a piece of 12x12 iron bark, 75ft. long, in the keel. Like the kelson, stem and apron it was squared with axe and adze”. Newcastle Morning Herald 17 May 1947
Launch – 16th September 1954
Progress was in stages over an eight-year period and it was not until 16th September 1954 that she was launched. Elizabeth Wedlock, daughter of Arthur Wedlock and great grand-daughter of the late John Wright who had, in 1877 [1875?], established the shipbuilding industry in Tuncurry, launched her. She announced I LAUNCH THIS SHIP. MAY GOD BE WITH HER AND ALL WHO SAIL IN HER. As she spoke these words, she, "grasped the bottle of champagne swinging from the bow by the tartan ribbon of 'Bonnie Prince Charlie' and with all the assurance and grace of youth, broke the bottle against the gleaming wooden vessel poised on the slips". [Dungog Chronicle- Saturday 2 October 1954]
Although known locally as the Santa Cruz, there was not one mention in any of the many reports of the newly launched vessel’s name. Frank Avery in 1947, had indicated that she was owned by a Queenslander while the owner was later reported as F.E. Crouch [SMH - Saturday 18 September 1954]]. In addition, there are no press reports of a vessel of the name Santa Cruz and there is no record in the Register of British Shipping of that name.
Towed to Ballina
On the 17th September The Santa Cruz - Norfolk Whaler was towed out of the channel by the launch IRENE III and then taken by the steamer Bonalbo to Ballina on instructions from her owner S. G. White Pty Ltd. but it took four years until 14th November 1958 before she was registered to North Coast Whaling Pty Ltd., 20 Grosvenor St., Sydney, with the name Norfolk Whaler.
Details
Name: Norfolk Whaler (local name Santa Cruz, later ARCTURUS
Builder: Ernest Wright & Sons
O/N: Official Number: 199178
Registered 15/1958 Sydney (14th November 1958)
Length: 119.95 ft
Breadth: 22.6 ft
Depth: 10.15 ft
Tonnage: n.b. 1 shipping ton = 100 cubic feet)
-Gross: 217.47 tons (615.44 cubic metres)
Net (Register): 91.43 tons (258.75 cubic metres)
The supervising naval architect was Arthur N. Swinfield A.M.I.N.A.
Owners
The early ownership of the vessel known locally as the Santa Cruz is not well understood. It appears that she was initially commissioned to be built as a luxury tourist craft for a Mr. F.E. Crouch. Over the long term of construction (1946 – 1954) it would appear that the hull was purchased by S. G. White Pty Ltd (Sydney based firm that had a facility undertaking shipbuilding and ship repairs at Ballina) as a potential tuna vessel and was taken to Ballina after launch in 1954. “Lying at Tuncurry uncompleted is a 128 ft. ship (Figure 1, lower) which could make a fine sea-going tuna clipper. She has a beam of 22 ft. 6 ins., moulded depth of 10ft. 9 ins. and 2½ inch planking. This ship was begun for a former owner, by E. Wright & Co., of Tuncurry, as a luxury tourist craft for the Barrier Reef, but is now owned by S. G. White Pty. Ltd., Sydney shipbuilders and repairers. Plans prepared by Mr. Arthur Swinfield, Sydney naval architect, provide for five refrigerated wells on each side of the vessel, with a total capacity of 100 tons, and three bait tanks aft with a combined capacity of 30 tons. Accommodation provides for a crew of fourteen.”
Fisheries news-letter Vol. 13 No. 2 (February 1954)
Fitted out at Ballina
Over the period 1954 – 1958 she was fitted out at Ballina and at some time sold to North Coast Whaling Pty Ltd. In 1956 Diesel engines (6cyl. General Motors Corp) driving twin screws were fitted. During the first half of 1957, she was fitted out as a whaler under the supervision of Jim Hammond (Alan Wright, Great Lakes Historical Society, personal communication) and undertook her first sea trials in June 1957 [smh 19 June 1957]
Whaling at Ballina/Byron Bay
The story of whaling at Ballina/Byron Bay is quite complex; the whaling station was located at Byron Bay while the whaling vessels used from 1957 on were apparently leased from North Coast Whaling Pty Ltd, Ballina.
The Byron Whaling Company had its origins in 1951 when a group of Inverell businessmen tried to float a public company - Byron Whaling Company Ltd. The float, however, was under-subscribed and investors’ monies were repaid. 1953 a private company Byron Whaling Co. Pty. Ltd. was formed and the company started construction of whaling facilities at Byron Bay in May 1954 and secured a licence to harvest an annual quota of 120 humpback whales. In July 1954, Anderson Meat Industries Ltd. acquired Byron Whaling Co. Pty. Ltd.; the first whale was captured in the same month. Byron Whaling Co. Pty. Ltd. operated two Fairmile cruisers as chasers, Byrond I and Byrond II. The whaling quota was increased to 150 whales per year after the first year of operation.
In 1955, a whaling station was also constructed on Norfolk Island at Cascade Bay by the Norfolk Island Whaling Co., a trading name of Byron Whaling Co. Pty Ltd. The Cascade Bay whaling station commenced operation in 1956. In the same year, Anderson Meat Industries Ltd. sold the two entities, Byron Whaling Co. Pty Ltd and Norfolk Island Whaling Co. to the newly listed public company Norfolk Island and Byron Bay Whaling Co. Ltd.
Around the same time North Coast Whaling Pty Ltd acquired the Santa Cruz, and registered her as Norfolk Whaler (1958), she was reported to have been involved in whaling at Norfolk Island from mid-1957 on, presumably under lease to the Norfolk Island and Byron Bay Whaling Co. Ltd. She was assisted by two 30ft whale spotters, Kingston Whaler and Cascade Whaler; both vessel were built at Ballina by the S. G. White Pty Ltd Ballina Slipway and Engineering (Alan Wright, Great Lakes Museum, personal communication).
End of Whaling at Byron Bay
Her career as a whaler ceased in 1962 when only two whales were caught. The company that had apparently leased her, the Norfolk Island and Byron Bay Whaling Co. Limited, went into liquidation and was de-listed on 7th Jan 1963. North Coast Whaling Pty Ltd. sold Norfolk Whaler back to S.G. White Pty Ltd on 3rd February 1964
In 1965 the Minister for Territories announced that the Australian Government had purchased the Norfolk Whaler and renamed her Arcturus. She was refitted at Ballina as she was intended to be used to train Papua New Guinean merchant seamen. A Certificate of Survey dated October 1965 indicated that the modifications increased the tonnage and the registration details were amended as follows.
Gross tons: 234.72 tons (664.26 cubic metres)
Net tons: 103.91 tons (294.07 cubic metres)
Norfolk Whaler employed as Survey Ship - 1964
Before the purchase to the Minister for Territories was finalised, S. G. White had leased the Norfolk Whaler for survey work. Her initial deployment was at Port Headland, Western Australia - departing Ballina on the 19th January 1964. Her role was to survey a channel for the 4000-ton ore ships which intend to work that area. After operating in Port Headland she was dispatched to Groote Eylandt and finally returned to Ballina in August 1964.
The Australian Register was closed on 13th December 1965.
Sold to the Administration - Territory of Papua New Guinea - renamed Arcturus
The arrangement for the purchase involved some refurbishment to better suit the vessel's new role a training ship. She was sold to the Administration of the Territory of Papua and New Guinea for £90,000 arriving at Port Moresby in January 1966. She was then assigned to the Papua New Guinea Register and assigned the number 5256018. Arcturus 1966
Arcturus - Rabaul
The Arcturus was initially based in Rabaul where she was registered but it appears that she was not initially used for the purpose intended and received minimal maintenance.
Chief Officer of Arcturus claims wreck of Dai Maru for TPNG Administration
In September 1969 the following note was placed in the wheelhouse of the wrecked fishing boat Dai Maru.
NOTICE OF CLAIM 15th Sept. 1969
I, F. H. THOMPSON, CHIEF OFFICER OF T S ARCTURUS DO HEREBY CLAIM LEGAL RIGHT TO THIS VESSEL THE DAI MARU NO.7 (KOL-SI) AND ALL EQUIPMENT AND STORES HELD WITHIN HER, ON BEHALF
OF THE ADMINISTRATION OF PAPUA NEW GUINEA.
THIS NOTICE IS SUBSEQUENT TO THAT PLACED ON BOARD ON THE 7th DAY OF SEPT ‘69
Training ship for Nautical College
Sometime in 1969 the Arcturus was moved to Napa Napa (near Port Moresby) ready for the first students at the Nautical College to commence training in early 1970. During this period the Arcturus was refurbished and she had her engines replaced with Gardner 6L3 diesel engines.
Nautical training moved to Madang
After drawn out negotiations between the Education Department the Department of Transport, the Arcturus was relocated to Madang to provide the training ship for the new Nautical College at Madang in 1972.
Arcturus involved in WW2 bomb disposal.
"A naval clearance team is removing hundreds of wartime bombs from the seabed off the Lae Yacht Club.
The bombs are obstructing the main approach to the club's anchorages. They were dumped into the sea after the war ended. The bombs were only discovered late last year when an R.A.N. patrol boat ran aground on the pile.
The RA.N.'s Naval Clearance Diving Team 1, operating from the MV Arcturus began clearing the bombs last week. They completed the task on Monday." Papua New Guinea Post-Courier Wed 14 Jun 1972
Arcturus based at Nautical Training Institute
For a long period in the 1970s she was tied up at the PNG Maritime Department wharf in Madang harbour. She was offered for sale in the late 1970s
Final Days in Madang
The Arcturus remained an important component in the Training Institute but, in late 1970’s, she was deemed to be no longer of use and was advertised for sale at Madang as follows:
“Offers are invited on an "as is where is" basis for the following:
Motor vessel M.V. Arcturus wood training vessel formerly Norfolk Whaler built 1954.
Length 36M, Breadth 6M, Gross tonnage 236 tons. Engine 6L3 Gardner.
The successful tenderer must remove vessel from mooring within one month from
date of advice.
Hull to be destroyed after removal of machinery and fittings.
The vessel may be inspected, at the Nautical Training Institute”
Papua New Guinea Post-Courier Fri 13 Jul 1979 Page 53
It has been reported that the engines, which were reconditioned and installed as auxiliary engines in one of the Lutheran Shipping's company’s vessels, are still running today. [David Faithful – Madang, Nov 2013]
With the recent information available courtesy of Trove and the Fisheries Newsletter the secret of her early career is now revealed and the ultimate fate of the last ship built by the Wright shipyard at Tuncurry has at last be solved.
Image Source - Black Diamond Images - this image has been made available through the Ballina Naval and Maritime Museum. Enhanced by Philip Pope.
Acknowledgements. The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated. Ron Madden assisted in the extensive research undertaken. Alan Wright from the Great Lakes Museum also contributed substantially to the research.
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
it all slips by so fast but i don’t know if i should be trying to take photos or not. i forgot to take photos of ten million beautiful moments recently. a lot of really cool graffiti that i forgot to take pictures of too. when i die one day i hope that i get to see a lot of the stuff that i saw when i was alive again. but i don’t know if pictures can really capture what’s so beautiful about real life. so, what’s the point anyway? a lot of my favorite photos to see are just personal documents. i guess pain is not usually the intention of a photo but sometimes it’s like that’s all i got. the can be so painful it’s almost like they’re dangerous or sharp and you get scared of them and maybe even avoid looking at them. maybe you want them to go away forever so they cant hurt you. but then you realize it’s ok because you can look at the past and cherish or laugh or cry but never hold on too hard or judge unfairly or run away. i think im gonna start taking pictures again. i got a roll of film to develop (but i lost three precious undeveloped rolls and two cameras. so maybe that’s why i’ve been so discouraged about the whole idea of this shit) and i’d be lying if i said i wasn’t a little scared to see what’s on there. i won’t make all those private photos public but some of them might have graffiti on them and they might make you or me laugh. a photo of graffiti has yet to make me cry but i could see that happening soon. ok sorry now i’m don’t with this egotistical rant, i’m sorry if you’re reading this and ur like damn i just wasted my precious time reading this nonsense on flickr. but you should be questioning why you’re even looking at my shit really or anything so good on ya. but anywho, i need to go to bed so i can go to my new job making sandwiches tomorrow, and it’s gonna be -9 Fahrenheit. ima try to take a selfie in the kitchen tomorrow. my last photo uploaded on flickr will be a screenshot of a pdf of an essay on my real feelings about all of you , human history, and my predictions for all of our lives.
100% hand dyed and spun wool yarn I crochet into hippie slippers adding beads bells and crochet flowers too sweet just what all little girls want for fall and winter.
File name: 08_06_014759
Title: Horse pulling wagon slips in snow
Creator/Contributor: Jones, Leslie, 1886-1967 (photographer)
Date created: 1917 - 1934 (approximate)
Physical description: 1 negative : glass, black & white ; 4 x 5 in.
Genre: Glass negatives
Subjects: Winter; Arcades (Shopping facilities); Carts & wagons; Accidents
Notes: Title from information provided by Leslie Jones or the Boston Public Library on the negative or negative sleeve.; Date supplied by cataloger.
Collection: Leslie Jones Collection
Location: Boston Public Library, Print Department
Rights: Copyright © Leslie Jones.
Preferred credit: Courtesy of the Boston Public Library, Leslie Jones Collection.
Well, hello there
My, it's been a long, long time
How am I doing?
Oh, I guess that I'm doing fine
It's been so long now,
But it seems now, that it was only yesterday
Gee, ain't it funny, how time slips away.
How's your new love?
I hope that he's doin fine
I heard you told him,
That you'd love him till the end of time
Now, that's the same thing that you told me
Seems like just the other day
Gee, ain't it funny, how time slips away.
I gotta go now
I guess I'll see you around
Don't know when though
Never know, when I'll be back in town
But remember, what I tell you
In time you're gonna pay
And it's surprising, how time slips away
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
In the corporate archives of the Hamilton Mfg Co (now known as Thermo Fisher Scientific). Two Rivers, Wisconsin
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Yet another mother f***ing Egg Timer
Taken as part of the excellent FREE
No coloured background and tighter cropped as suggested by grnach
A small stream slips over a waterfall before entering the Patapsco River as hikers and cyclists visit a trail at Patapsco Valley State Park in Baltimore County, Md., on April 25, 2011. (Photo by Matt Rath/Chesapeake Bay Program)
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Southern Condor undergoing repairs to fix an oil leak somewhere near the prop shaft.
LOA: 40m | DWT: ?,??? | GRT: ?,??? | YEAR: ???? | BM: 9m | CARGO: Nil (Slipping) | TYPE: Ro-Ro | AGENT: Southern Shipping | FLAG: Australian | REGO: Bridport | SPEED: 10kn | PHOTO TAKEN: Devonport Slips @ 1630
(c) Cody Williams
25/02/10
This is the finished puzzle. Because the challenge states that only squares could be used, I did not tie the puzzle pieces together with slips like I do in most my models. The elbows make the model steady in the upright possition like in the picture but they can fall out if the face is tilted.
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
File name: 08_06_014780
Title: Horse slips on Tremont St.
Creator/Contributor: Jones, Leslie, 1886-1967 (photographer)
Date created: 1925
Physical description: 1 negative : glass, black & white ; 4 x 5 in.
Genre: Glass negatives
Subjects: Snow; Winter; Carts & wagons; Accidents
Notes: Title and date from information provided by Leslie Jones or the Boston Public Library on the negative or negative sleeve.
Collection: Leslie Jones Collection
Location: Boston Public Library, Print Department
Rights: Copyright © Leslie Jones.
Preferred credit: Courtesy of the Boston Public Library, Leslie Jones Collection.
March and April is my favourite time of the year *** sarcasm big time here ***.
It's tax time. It's not so much I need to pay more tax, I make enough charity donation that that I normally get a refund** when I file my income tax, it's just that filing tax is such a headache getting all the papers ready.
** I either have to pay more tax, or I make donations to reduce my tax, I opt for the latter.
Playground slips into darkness and nothingness - some of the last lights flash faintly on the screen - the quality was not top notch but the creativity lit up
Another part of the Dark Ballet photoshoot, I'm thinking of doing a 365 this summer (well then it would probably be shorter)
I think it would give me a lot more experience and help me refine & think of a new idea everyday.
All I need is photoshop now! (Might replace this one soon...)
And you should indeed Press "L" (and view in a really dark room!)
20250131 - Playground slips into darkness and nothingness - some of the last lights flash faintly on the screen
I'm hoping to start with white/ivory on the bodice and work down the skirt into nude, then brown and finally black at the bottom of the skirt that will end in a long frilly train. We'll see how far I get.
I'm having issues with brown bras and slips though. Might have to dye some although the lace never goes well.
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