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This particular shot took me quite some time to plan and execute. Turns out it was one of the most epic sunrise I have ever seen.
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!
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.
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.
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.
"How does a part of the world leave the world?
How can wetness leave water?" - Rumi
Procamera, Snapseed, Stackables App, Mextures
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
Artist website: Diane Marie DeMarco Photographs and Paintings
Photographs on Instagram, Facebook, Pinterest, and LinkedIn (Diane Marie DeMarco)
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.
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"I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself.”
― Charlotte Brontë
facebook.com/michelle.anne.robinson
Procamera, Snapseed, Stackables App, Superimpose, Mextures
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.
Website: Diane Marie DeMarco
Photographs and Paintings
Photographs on Instagram, Facebook, Pinterest, LinkedIn, and Flickr
(Diane Marie DeMarco)
Email: dianedemarco78@yahoo.com
Camera: Nikon
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.