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Tromsø, Norway
The latest artwork by the celebrated visual artist Marit Kristine Bockelie installed in the new district of Vervet. Don’t know a lot about the artist or her work but here’s a few notes from Wikipedia.
Marit Kristine Bockelie (born 1933) is a Norwegian visual artist and musician (flute), raised in Tromsø but living in Oslo. She was educated at the Norwegian School of Crafts and Art (1953–1956), the Accademia di Belle Arti ("Mosaikkacademy") in Ravenna (1956–1959) and the Norwegian Academy of Fine Arts (1960–1964). Her works include mosaics, drawings, watercolours, painting and graphics. She has also illustrated several books, with an emphasis on publications with themes from Northern Norway. She is represented in several exhibitions, including the National Gallery.
She later studied performing music at the Instituto Verdi (four years) and at the Norwegian Academy of Music, graduating in 1977. She has played solo in several orchestras and NRK.
In 1994 she opened Skulpturlandskap Nordland. She wrote and illustrated her own music book Marits egne drückviser (Emilia forlag, 2001).
She has decorated the facade of several buildings in the centre of Tromsø with colourful mosaic art, including "The Rooster" on the south wall of Gyllenborg School, "Solkrysset" on Torgcenteret (Sjøgata / Havnegata), two mosaics with summer and winter motifs on Nordre Tollbugate 6C and Skolegata 42. The new district of Vervet has been decorated with an artwork entitled "The Gate to the Arctic Ocean".
In 2020, Bockelie was appointed Knight of the 1st Class of the Order of St. Olav for his work as an artist.
Gyorgy Nemeth (Hungarian, b. 1959) – Digital Painting No. 2, Szingy Digital Art, Szingy Gallery Budapest
Puschkinalle Formal
These portraits of plants, have been made for many different reasons but always for the JOY of it. All of my photographs are daytime, made in city parks and gardens and virtually straight out of the camera with the absolute minimum of post processing.
This on going photographic odyssey, that I call TERRA INCOGNITA, has helped me notice what is always present in my life if I can make the time to look.
May & The Nowness of Everything
These portraits of plants, have been made for many different reasons but always for the JOY of it. All of my photographs are daytime, made in city parks and gardens and virtually straight out of the camera with the absolute minimum of post processing.
This on going photographic odyssey that I call TERRA INCOGNITA has helped me notice what is always present in my life
Pierre Magnol's Flowering Trees
I come from a family of gardeners. Every inch of available land was cultivated, discussed, worked over, loved and cared for. For the most part these are the front and back gardens of family homes. In return these micro green spaces provided us with vegetables, herbs, colour, aroma and much more importantly in my opinion, a place to play. Of course I helped out as a child. My efforts were short lived often was a perfect storm of unhelpfulness.
It was my uncle Les who opened my eyes to the needs of our shared environment. Through him I was introduced to the concept of Ecology and if I wanted to make any difference at all to the well being of our planet then I needed to start by looking after my own garden first. Thank you Uncle Les for helping me to open my eyes and think about what I am doing. Thank you for your support.
These flora portraits are my delight. TERRA INCOGNITA is an ongoing urban botanical exploration of my city home, Berlin, with occasional trips out of town. My pictures are all daylight, made in city green spaces, with virtually no post processing. I like to think of our parks and gardens as "Gardens for the gardenless"
Alles liebe aus dem Baumhaus
20250710-4190
Gerard ten Broek, visual Artist.
Gerard was vandaag weer druk bezig op de zandmotor. Maar ik kwam voor het resultaat waar hij gisteren op de Zandmotor waar hij gisteren druk mee bezig was. Misschien moet ik morgen weer even gaan kijken.
Ik heb hem hier al vaker bezig gezien. Ik vind het mooi hoe iemand zijn vergankelijke sporen achterlaat op dit mooie stuk strand. Hij is niet de enige.
Als alle lijnen zijn getrokken gaat hij met een drone van bovenaf fotograferen en filmen.
Resultaten van zijn werk zijn op zijn eigen website te zien.
All images are copyrighted by Pieter Musterd. If you want to use any of my photographs, contact me. It is not allowed to download them or use them on any website, blog etc. without my explicit permission.
If you want a translation of the text in your own language, please try "Google Translate".
Merci pour votre commentaire
Dank voor je commentaar
Danke für deinen Kommentar
Thank you for your comment
Gracias por tu comentario
Obrigado pelo seu comentário
2015, charcoal and soft pastel on Stonehenge paper, 38 x 50 inches (96.5 x 127 cm)
website: pamelaspeight.com/
Precarious is a series of drawings about the delicate balance between life and death in landscapes once familiar but now utterly altered by human activity and carelessness. We have created a culture in which there is a constant flux between ugliness and beauty. We enter a state of grace through our art, writing, music, architecture, dance, yet we also leave behind islands of plastic garbage at sea and the hideous carcasses of industrialization that cannot be biologically reabsorbed into the earth.
The images in this group of drawings have a human presence evident in vestigial structures, yet there is absence too. The emotional impact of changes we have wrought on the planet cannot be denied. Brutal deforestation, fires, flooding, drought, accelerating rates of species extinction are disturbing, yet there is a fascination for them imposed on our consciousness.
There are events occurring that are dark, painful and contradictory, yet essential to contemplate and articulate. We have the capacity to reflect, to resist looking away. Precarious acknowledges the paradox of our ability to both create and destroy that exists within all of us. It is also part of my ongoing exploration of a deep connection with nature held by many of us. In a sense these drawings are both an expression of grief and a catharsis. The subject is a painful one that speaks to our vulnerability. There is beauty in decay, which is associated with nourishing new life. Yet will the immense changes taking place now lead to this outcome? What forms of life might survive? What others may unintentionally be generated?
There is material irony in this series about life on the edge. Charcoal is carbon, or burned and compressed organic material. Soft pastel pigments are mined. As such, there are elements of destruction within the creative process.
Convento buildings adobe brick walls with lime plaster
Website: Diane Marie DeMarco
Photographs and Paintings
Photographs on Instagram, Facebook, Pinterest, and LinkedIn
(Diane Marie DeMarco)
email: dianedemarco78@yahoo.com
Camera: Nikon
2015, charcoal and soft pastel on Stonehenge paper, 38 x 50 inches (96.5 x 127 cm)
website: pamelaspeight.com/
Precarious is a series of drawings about the delicate balance between life and death in landscapes once familiar but now utterly altered by human activity and carelessness. We have created a culture in which there is a constant flux between ugliness and beauty. We enter a state of grace through our art, writing, music, architecture, dance, yet we also leave behind islands of plastic garbage at sea and the hideous carcasses of industrialization that cannot be biologically reabsorbed into the earth.
The images in this group of drawings have a human presence evident in vestigial structures, yet there is absence too. The emotional impact of changes we have wrought on the planet cannot be denied. Brutal deforestation, fires, flooding, drought, accelerating rates of species extinction are disturbing, yet there is a fascination for them imposed on our consciousness.
There are events occurring that are dark, painful and contradictory, yet essential to contemplate and articulate. We have the capacity to reflect, to resist looking away. Precarious acknowledges the paradox of our ability to both create and destroy that exists within all of us. It is also part of my ongoing exploration of a deep connection with nature held by many of us. In a sense these drawings are both an expression of grief and a catharsis. The subject is a painful one that speaks to our vulnerability. There is beauty in decay, which is associated with nourishing new life. Yet will the immense changes taking place now lead to this outcome? What forms of life might survive? What others may unintentionally be generated?
There is material irony in this series about life on the edge. Charcoal is carbon, or burned and compressed organic material. Soft pastel pigments are mined. As such, there are elements of destruction within the creative process.
Ceramic art made by visual artist
Juul Kraijer www.juulkraijer.com/, seen at the exibition "Kiss my soul" in Dordrechts Museum www.dordrechtsmuseum.nl/english/
Thank you for taken your time to visit me, comments or faves are always much appreciated!
20250710-4195
Detail van het grote Beachlandart project van Gerard ten Broek
Zandmotor
Als alle lijnen zijn getrokken gaat hij met een drone van bovenaf fotograferen en filmen.
Resultaten van zijn werk zijn op zijn eigen website te zien.
All images are copyrighted by Pieter Musterd. If you want to use any of my photographs, contact me. It is not allowed to download them or use them on any website, blog etc. without my explicit permission.
If you want a translation of the text in your own language, please try "Google Translate".
Merci pour votre commentaire
Dank voor je commentaar
Danke für deinen Kommentar
Thank you for your comment
Gracias por tu comentario
Obrigado pelo seu comentário
The Nightingales of Berlin
This year I have heard more nightingales than any other time or place. They suddenly seem to be everywhere. As the sun went behind these rainclouds a nightingale started singing. Late in their season here but I hope it will not be the last of these little but mighty lunged beat boxers.
These portraits of plants, have been made for many different reasons but always for the JOY of it. All of my photographs are daytime, made in city parks and gardens and virtually straight out of the camera with the absolute minimum of post processing.
This on going photographic odyssey that I call TERRA INCOGNITA has helped me notice what is always present in my life if I can make the time to look.
Oil stick and graphite powder on Stonehenge paper, 16 x 16 inches (40.6 x 40.6 cm)
website: pamelaspeight.com/
This series consists of twelve oil stick and graphite powder drawings on primed Stonehenge paper. Each image depicts an animal considered "invasive" in the bio-region in which I live. While working on them I felt that the bright oil stick colors were too "pretty" and made the animals look overly cute. I wanted them to have a more shadowy presence to reflect our ambiguous relationship with them, which the layer of graphite powder added. There are numerous introduced species that flourish uncontrollably, to the detriment of indigenous animals and plants, because natural predators or other constraints are few or non-existent. We make every attempt to reduce their numbers, but they have learned to adapt and thrive in the environments we have constructed. Often referring to them as nuisance species or carriers of disease, they seem to exist in the darker, murkier places that inhabit our subconscious. However, the idea that they are entirely "bad" may be misplaced, especially when we overlook our own role in their transport, either intentionally or unintentionally, on our various migrations across the planet. Like us, they are driven to survive.
Oil stick and graphite powder on Stonehenge paper, 16 x 16 inches (40.6 x 40.6 cm)
website: pamelaspeight.com/
This series consists of twelve oil stick and graphite powder drawings on primed Stonehenge paper. Each image depicts an animal considered "invasive" in the bio-region in which I live. While working on them I felt that the bright oil stick colors were too "pretty" and made the animals look overly cute. I wanted them to have a more shadowy presence to reflect our ambiguous relationship with them, which the layer of graphite powder added. There are numerous introduced species that flourish uncontrollably, to the detriment of indigenous animals and plants, because natural predators or other constraints are few or non-existent. We make every attempt to reduce their numbers, but they have learned to adapt and thrive in the environments we have constructed. Often referring to them as nuisance species or carriers of disease, they seem to exist in the darker, murkier places that inhabit our subconscious. However, the idea that they are entirely "bad" may be misplaced, especially when we overlook our own role in their transport, either intentionally or unintentionally, on our various migrations across the planet. Like us, they are driven to survive.