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“Mankind had not been very good at learning that swords are dangerous if left lying around, although it had done its limited best to make sure that the chances of one this size being wielded accidentally were high. A cheering thought, that. It was nice to think that mankind made a distinction between blowing their planet to bits by accident and doing it by design.”
― Neil Gaiman and Terry Pratchett
Hasselblad 500 CM + Planar 80mm + Kodak Tri-X 400
© Luis Campillo 2015
Model Ane Sehnsucht. www.anesehnsucht.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
FB: michelle.robinson/pg/michelle.robinson.images.and.art
IG: @simply.mich.robinson / @mich/robinson
Last night I dreamed of August Strindberg
He was speaking to me in mexican Spanish
I had to make a collage of it
And as we all know, very soon a painting
Strindberg here I come
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!
instagram loanaibarra
facebook www.facebook.com/LIM.LoanaIbarraMazari
contact ibarraloana@gmail.com
Model: 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
"Anne M. Carson's poetry: 'Writing on the Wall' was inspired by her trip to Delphi in Greece whereby a tour guide introduced her to the Slave Wall made of limestone that was engraved with the names of l,000 former slaves who had been released from slavery 2,000 years earlier in Ancient Greece." ~Tomitheos
Copyright © 2010 Tomitheos Photography - All Rights Reserved
fun fact: the popular term 'writing on the wall' widely used as a phrase in songs, literature and in language actually originates from the Bible where a supernatural omen appeared as writing on the wall foretelling the destruction of the Babylonian Empire.
Follow me on Twitter www.twitter.com/flo_bela
Photography & Post Processing by me Florbela of FFX © Florbela's Fotographix
Model : Miss Teen Canada & Model Jelena Savic during Vancouver Fashion Week www.vanfashionweek.com/
JEWELRY by FIREFLY Jewelry Design www.fireflyjewelrydesign.com/
Each time an inspiratior of mine celebrates birthday or dies I make them a portrait.
Yukio Mishima 14 January 1925 - 25 November 1970
Watercolor, embroidery on paper 29cm x 49cm
intagram loanaibarra
facebook www.facebook.com/LIM.LoanaIbarraMazari/
contact ibarraloana@gmail.com
Moments before heading for the summit at the Glacier Martial in Ushuaia David seemed quite confident... dawn was breaking and we had a couple hundred meters to climb and a secret weapon under our sleeves... a bottle of Baileys irish cream.
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.
D973_117
30/07/2021 : Arles, rue du Grand-Prieuré, musée Réattu : Atmosphère chromoplastique n°5 (bois peint ; Luis Tomasello, 1971)
Mercedes Pardo didn't knock on the door of modernity; she stained it, let the color seep into the grain until the wood itself forgot what it had been before. Somewhere between the Caribbean light and the geometry of silence, she discovered that color could stop behaving like decoration and start acting like memory.
Funny thing about color: people think it smiles. They think red is passion, blue is peace, yellow is joy. That's the language of advertising, not painting. The Venezuelan painter Pardo knew better. She understood that a color can weigh more than a stone, whisper louder than a speech, or leave a room emptier than when you entered it. Her canvases don't illustrate emotions; they manufacture climates. You don't look at them—you adjust your breathing to survive inside them.
The art world has always loved a good story, preferably one that fits inside a museum brochure or a collector's dinner conversation. It likes movements, labels, schools, generations. It wants artists to wear uniforms stitched with neat historical categories. But painting has never cared much for bureaucracy. A canvas doesn't wake up wondering whether it belongs to geometric abstraction or lyrical abstraction. It either vibrates or it doesn't. Mercedes Pardo understood that the real frontier wasn't between figuration and abstraction; it was between living color and dead color. Perhaps that's why her work keeps slipping through the fingers of those who insist on measuring art the way accountants measure inventory. They can count exhibitions, auction prices, square meters of canvas, institutional acquisitions. None of those numbers explain why a quiet field of layered pigments can hold your attention longer than a wall full of spectacle. Markets are excellent at assigning prices and notoriously clumsy at recognizing resonance.
There's a peculiar honesty in refusing to entertain. Pardo trusted that a slow gaze was still possible, that someone might stand before a painting long enough for their certainty to dissolve. That's an unfashionable expectation. We live in an era where images compete to be consumed before they're understood, where visibility is confused with significance and novelty is marketed as depth. Her paintings remain stubborn. Maybe that's why they continue to breathe. Not because they predict the future, but because they refuse to expire with the decade that produced them. Their surfaces carry the rhythm of someone listening closely—to architecture, to tropical light, to intervals, to the invisible distance between one shade and the next. Every layer suggests another beneath it, like songs remembered imperfectly or cities rebuilt over forgotten foundations.
In the end, Mercedes Pardo leaves behind something more difficult than a style. She leaves a way of seeing. A reminder that color is not what covers the world but what reveals its pulse. And if you happen to find yourself standing in front of one of her paintings, don't rush to understand it. The painting has already understood something about you.
ink, watercolor on paper
contact ibarraloana@gmail.com
#freestyle #abstractart #digitalart #modernart #design #contemporaryart #COLOR #accessories #unicità #creatività #raffreefly_vendita_opere #design #interiodesign #visualart #visualdesign #visualeffects #visualartist #wallpaper #cartadaparatiartistica #cartedaparati #arteinformado #thotaclub #eartesia #ecletticamente_arte #style #styleart #legadegliartisti #fantasyart
D973_115
30/07/2021 : Arles, rue du Grand-Prieuré, musée Réattu : Atmosphère chromoplastique n°5 (bois peint ; Luis Tomasello, 1971)
Model Danielle S during Vancouver Fashion Week against the Sponsors Media Wall. www.vanfashionweek.com/
Photo & Post Procssing by me Florbela Exposed FFX ©
Follow me on Twitter : www.twitter.com/flo_bela
Close-up of woman holding multicolored paint can with painted fingers
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2020 Contact me at jscorwin@mac.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
My website is jimcorwin.photoshelter.com
My E-Mail Address is jscorwin@mac.com
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: