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i really like these bears
i tried to keep them simple and the texture on the leaves helps the bears stand out
i love animals and nature and cant wait to share some new illustrations with everyone on flickr
CUEVA 2022 @ AES (MetzeSchmelz) - Chiara Dahlem
The Cueva collective has as line of conduct, to artistically occupy places, intended to demolition or rehabilitation.
The invited artists have total freedom in their expression.
This year, 32 artists have invested the main alley of "Metzeschmelz" and will revive this former steel plant, closed since the end of 2012.
Chiara Dahlem: www.chiaradahlem.com/
Metze Schmelz: lb.wikipedia.org/wiki/Metze_Schmelz
ARBED-Esch-Schifflange (AES): www.industrie.lu/UsineEschSchifflange.html
ARBED: en.wikipedia.org/wiki/ARBED
Peter Hudson, a featured visual artist at Phases of the Moon Music and Art Festival, created Charon. Charon is a life-sized three dimensional stroboscopic zoetrope focusing on the last rite of human passage, death. It features a gigantic spinning wheel with posed human skeletons mounted on its inner edge.
In the end, when all the despair, anger, grief, tears, anxiety has been released, finally, I find the energy to remind myself:
“Nothing external to you has any power over you.”
― Ralph Waldo Emerson
Neither does my past and all the abuses.
www.facebook.com/michelle.robinson.images.and.art/
IG @ @simply.mich.robinson / @mich.robinson
Este proyecto parte como solución a la cuarentena que estamos sufriendo, al tener Asma me veo totalmente forzado a trabajar dentro de casa. Siendo hiperactivo es una especie de condena. Siempre me gustó la idea de mezclar la fotografía con las diferentes artes. Lo que buscaba era lograr algo tridimensional en una bi-dimension y sugerir esa mirada microscópica o totalmente contraría, un escape al encierro, una cura a la cuarentena, al virus y a mí. Un escape abstracto al encierro mental…
Para ver más:
This proyect born as an answer to the quarantine, as an Asthmatic I'm really worried and forced to be inside home. I'm hiperactive too so been in this situation is a kind of confinement.
I always liked the idea of mix photography with diferents kind of visual arts. What I wanted was to get something tridimesional in a 2d image and sugest something microscopic or totally opossed like an abstract scape to the mental closure.
If you want to see more:
art rotterdam 2016, art fair, van nelle factory, detroit house, artist: ryan mendoza
A home from Detroit is being demolished and shipped in containers to Europe. The home will be reconstructed at the main entrance of Art Rotterdam so visitors can experience the impressive installation by visualartist Ryan Mendoza, a world première.
Congratulations goddess Billie Holiday
Thank you for your words your love your fragility your summer your blues your tunes your moons your walks your singular voice, just like porcelain.
For making me dance move swing forget remember cry and smile.
Tack mamá for having introduced this beautiful singer to me and my brothers the day we were born
Watercolor, embroidery on paper 29cm x 49cm
intagram loanaibarra
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The Moose (Älg) is known as the King of the Swedish forest and the Mexican Xoloitzcuintle is the national hairless dog, native to Mexico. Archaeological evidence shows that the breed has existed in Mexico for more than 3,000 years!
//illustration on paper
contact ibarraloana@gmail.com
"Yaguareté"
painting on canvas. Acrylic, embroidery, oilcloth, gold and silver details.
100x100cm
The Jaguar, also called Felis Onca, was one of the most important animals in the Hispanic worldview. In the Mayan culture, the Jaguar was named Balaam, or Chac Chac Mool and was a symbol of power. People who used Jaguar clothing was a person of authority in society. The mottled skin of this beautiful feline represents the stars.
All details (usually made of gold, silver and gold embroidery) on the paintings shines according to where the viewer stands. Suddenly you discover new paths.
contact ibarraloana@gmail.com
Model: BMG Vancouver - Brittney A
Assistant: Janaye K
Hair & Make Up by Me
Styling & Creative Concept by Me
Photography & Post Processing by Me
FFX 2008 © florbela's fotographix
He walked in almost unknown.
Some musicians climb mountains. Others become weather. Carlos Santana arrived like heat rising off asphalt after a summer storm, carrying a guitar that didn't seem interested in showing off so much as translating invisible currents into sound. He didn't play notes as stepping stones toward a solo; he treated them like birds circling the same patch of sky until something ancient remembered its own name.
Back in 1969, hardly anyone outside San Francisco knew who he was. Woodstock wasn't supposed to belong to an unknown band playing Afro-Latin rhythms in front of a crowd waiting for rock stars. But history has a habit of ignoring the guest list. A few minutes on that stage were enough to turn anonymity into legend. Not because fame descended from the heavens, but because sometimes an audience hears a language it didn't know it had been waiting for.
The first record, “Santana”, didn't asked you to redraw the map. Blues, Latin percussion, jazz, rock—those labels fell apart the moment the congas and Hammond organ locked into the same heartbeat. It sounded less like a debut than like a city discovering its own pulse. There was sweat in it, but also ceremony; the street corner and the sanctuary sharing the same address.
Then came “Abraxas”, and instead of repeating the formula, the band widened the horizon. The album carried mystery without pretending to be mysterious. It could move from tenderness to ecstatic celebration without changing its accent. "Black Magic Woman" became so completely absorbed into Santana's universe that many listeners forgot it had another life before him. "Oye Como Va" transformed a classic into something that felt simultaneously ancestral and futuristic, as if rhythm itself had found a new passport. But my personal favorite is the last track “El Nicoya”, I have always had an audio-crush on Santana’s drummer Michael Shrieve, oh me oh my such a master.
People often mistake spirituality for decoration. Add incense, say "cosmic" a few times, and suddenly everything sounds profound. But music has no obligation to wear robes. Santana's best work isn't mystical because it talks about transcendence; it's mystical because it makes separation disappear. Guitar and percussion stop competing. Listen really well, close your eyes and open your ears. Melody stops standing above rhythm. The solo ceases to be an individual climbing toward applause and becomes another voice inside a larger conversation.
The machinery of popular culture prefers simple narratives. The guitar hero. The virtuoso. The survivor. The brand. Those stories are easy to package, easier still to monetize. But they flatten the thing that mattered most. Santana's enduring achievement wasn't speed, volume, or technical brilliance—though all were there when needed. It was generosity. The willingness to let traditions meet without asking either one to surrender its accent.
Listen closely and you'll notice something else. The guitar rarely sounds impatient. Even at its fiercest, it leaves room for air, for percussion to speak, for silence to complete the sentence. That's rarer than virtuosity. Anyone can fill space. Very few know how to illuminate it.
Maybe that's why those early records refuse to age. Not because they belong to nostalgia, but because they were never chasing fashion in the first place. Trends expire. A groove that feels like the earth turning beneath your feet does not. Long after genres have been reorganized and playlists have replaced record stores, those albums still arrive carrying the same message without saying a word: sometimes the shortest distance between people isn't language, ideology, or even melody. Sometimes it's rhythm. And somewhere inside that rhythm, a guitar still sounds as though it's remembering the first time fire met wood.
ink, watercolor on paper
contact ibarraloana@gmail.com
Hasselblad 500 CM + Planar 80mm + Kodak Tri-X 400
© Luis Campillo 2015
Model Ane Sehnsucht. www.anesehnsucht.com
The historically significant American Civil War era Remington .44 Army Percussion Cap & Ball Revolver (circa 1860's).
I had a toy version of this as a child and always had a fondness for this particular design, as a result.
From my sketchbook:
HB and 9B graphite pencils on paper.
Size 14cm x 14cm approx.
FB: michelle.robinson/pg/michelle.robinson.images.and.art
IG: @simply.mich.robinson / @mich/robinson
Finalmente I'm out.
Hallå Hello Hej!
Perfectly born on Friday -lagom till helgen- as we say here in Sweden.
My name is Tlacamayeh and I'm not gonna tell you what it means. It's a secret.
Its meaning I can whisper by your ear while you sleep, or let's wait until the day we meet.
I wish you all a very much alive weekend!
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contact ibarraloana@gmail.com