View allAll Photos Tagged VisualArtist
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.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:
The famous tube trains on the roof of Village Underground are now painted in Street Art. From this angle you can see the work of Visual Artist Derlon
Performance ritual "Sagrado Feminino" | Investigação | O corpo da mulher é sagrado, divino e deve ser respeitado #artista #artistavisual #orixas #costume #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #artetextil #textileart #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Model: Hayley W.
Hair & Make Up by Me
Styling & Creative Concept by Me
Photography & Post Processing by Me
FFX 2008 © florbela's fotographix
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
Automotive Rhythms latest project combined our passions for automobiles and the arts. AR's 2016 Kia Sorento SXL 2.0T AWD was also the canvas for artist Jamaal Newman’s creation during the ART-of-Motion (AOM) exhibit in Washington, D.C. aka As ABOVE, So BELOW.
Jamaal was one of the featured visual painters of AOM produced and executed by Automotive Rhythms during the 2016 Washington Auto Show. He painted the Sorento live during the Auto Show in just under 13 hours. Inspired by the South Korean origin of Kia Motors and his research on the Korean War, the artist wanted his creation to symbolically unify North and South Korea. As ABOVE, So BELOW features a lion from Zion on the passenger’s side representing the North while a shark on the South guards the driver’s side. Unification is represented on the hood, meshing the Korean flag with the Yin and Yang badge to signify balance in Korea. Stated Jamaal, “Through my creative vision I wanted to bring equality and unity to Korea.”
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.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:
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Model: Hayley W.
Hair & Make Up by Me
Styling & Creative Concept by Me
Photography & Post Processing by Me
FFX 2008 © florbela's fotographix
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
1946, Tokyo, Japan --- A Japanese tattoo artist works on the back of a woman. --- Image by © Horace Bristol/CORBIS
Sagrado Feminino | performance para Bienal do Pilarzinho 2017 | Investigação | #artista #artistavisual #orixas #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #pb #atelierdach #iansã #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art #artista
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
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.
Today we celebrate the beloved Federico García Lorca. One glance at him and you wished you could spend a couple of hours with his gentility.
Some people are born in cities. Some are born in countries. Lorca was born in a landscape. Southern Spain. Olive trees, white walls, horses standing around like they know something you don't.
You know, there are poets who write about the moon, and then there are poets who seem to have been personally visited by it. Lorca belonged to that second category. The moon in his poems isn't decoration. It's a traveler. A witness. Sometimes it's a warning sign nailed to the sky.
He came into the world in 1898, just as one century was folding up its maps and another was sharpening its knives. He played piano, loved folk songs, wandered through old melodies the way some people wander through old neighborhoods. He understood that a song can carry history farther than a speech.
Lorca once wrote about something called duende. Hard thing to translate. Not a technique. Not talent. Not inspiration. More like the mysterious force that shows up when art stops being polite and starts telling the truth. The thing that makes the hairs stand up on the back of your neck. The thing that can't be bought, borrowed, or taught in a classroom. When dancing flamenco you’ve got to think of “el duende” too.
He had friends who painted pictures that looked like dreams after too much coffee. Friends who made films where reality seemed to forget its own rules. The twentieth century was arriving, and Lorca was standing in the doorway holding it open.
Then he went to New York. Now that's a long trip—from Andalusian villages to steel canyons and electric signs. He saw the city at a moment when money seemed to be speaking louder than people. The poems he wrote there weren't postcards. They were weather reports from the soul.
History, of course, has a habit of interrupting poets. When civil war descended on Spain, it arrived with uniforms, rifles, and certainties. Poets tend to make people nervous when times get that way. Lorca was killed in 1936, not far from the landscape that had first taught him how to listen.
But here's the thing about poets. They keep missing their own funerals. A song gets sung. A poem gets opened. A young person reads a line and suddenly feels less alone. And there you are again. The olive trees are still standing. The moon still makes its rounds.
Somewhere today, somebody is reading Lorca for the first time and discovering that beauty and sorrow have always shared the same room.
And that's Federico García Lorca.
—
Fabula y Rueda de los Tres Amigos
Enrique,
Emilio,
Lorenzo.
Estaban los tres helados:
Enrique por el mundo de las camas;
Emilio por el mundo de los ojos y las heridas de las manos,
Lorenzo por el mundo de las universidades sin tejados.
Lorenzo,
Emilio,
Enrique.
Estaban los tres quemados:
Lorenzo por el mundo de las hojas y las bolas de billar;
Emilio por el mundo de la sangre y los alfileres blancos,
Enrique por el mundo de los muertos y los periódicos abandonados.
Lorenzo,
Emilio,
Enrique.
Estaban los tres enterrados:
Lorenzo en un seno de Flora;
Emilio en la yerta ginebra que se olvida en el vaso,
Enrique en la hormiga, en el mar y en los ojos vacíos de los pájaros.
Lorenzo,
Emilio,
Enrique.
Fueron los tres en mis manos
tres montañas chinas,
tres sombras de caballo,
tres paisajes de nieve y una cabaña de azucenas
por los palomares donde la luna se pone plana bajo el gallo.
Uno
y uno
y uno.
Estaban los tres momificados,
con las moscas del invierno,
con los tinteros que orina el perro y desprecia el vilano,
con la brisa que hiela el corazón de todas las madres,
por los blancos derribos de Júpiter donde meriendan muerte los borrachos.
Tres
y dos
y uno.
Los vi perderse llorando y cantando
por un huevo de gallina,
por la noche que enseñaba su esqueleto de tabaco,
por mi dolor lleno de rostros y punzantes esquirlas de luna,
por mi alegría de ruedas dentadas y látigos,
por mi pecho turbado por las palomas,
por mi muerte desierta con un solo paseante equivocado.
Yo había matado la quinta luna
y bebían agua por las fuentes los abanicos y los aplausos.
Tibia leche encerrada de las recién paridas
agitaba las rosas con un largo dolor blanco.
Enrique,
Emilio,
Lorenzo.
Diana es dura,
pero a veces tiene los pechos nublados.
Puede la piedra blanca latir en la sangre del ciervo
y el ciervo puede soñar por los ojos de un caballo.
Cuando se hundieron las formas puras
bajo el cri cri de las margaritas,
comprendí que me habían asesinado.
Recorrieron los cafés y los cementerios y las iglesias,
abrieron los toneles y los armarios,
destrozaron tres esqueletos para arrancar sus dientes de oro.
Ya no me encontraron.
¿No me encontraron?
No. No me encontraron.
Pero se supo que la sexta luna huyó torrente arriba,
y que el mar recordó ¡de pronto!,
los nombres de todos sus ahogados.
//1929, F. Garcia Lorca
—
Fable and Round of the Three Friends
Enrique,
Emilio,
Lorenzo,
the three of them frozen:
Enrique by the world of beds;
Emilio by the world of eyes and wounded hands;
Lorenzo by the world of roofless universities.
Lorenzo,
Emilio,
Enrique,
the three of them burned:
Lorenzo by the world of leaves and billiard balls;
Emilio by the world of blood and white pins;
Enrique by the world of the dead and abandoned newspapers.
Lorenzo,
Emilio,
Enrique,
the three of them buried:
Lorenzo in one of Flora's breasts;
Emilio in the dead gin forgotten in the glass;
Enrique in the ant, the sea, and the empty eyes of birds.
Lorenzo,
Emilio,
Enrique,
the three in my hands were
three Chinese mountains,
three shadows of a horse,
three landscapes of snow and a cabin of white lilies
by the pigeon coops where the moon lies flat under the rooster.
One
and one
and one,
the three of them mummified,
with the flies of winter,
with the inkwells the dog pisses and the thistle despises,
with the breeze that freezes the eart of all the mothers,
by the white ruins of Jupiter where drunks snack on death.
Three
and two
and one,
I saw them disappear, crying and singing
into a hen's egg,
into the night that showed its skeleton of tobacco,
into my sorrow full of faces and piercing bone splinters of moon,
into my happiness of whips and notched wheels,
into my breast troubled by pigeons,
into my deserted death with one mistaken wanderer.
I had killed the fifth moon
and the fans and the applause drank water from the fountains.
Hidden away, the warm milk of newborn girls,
shook the roses with a long white sorrow.
Enrique,
Emilio,
Lorenzo,
Diana is hard,
but somtimes she has breasts of clouds.
The white stone can beat in the blood of a deer
and the deer can dream through the eyes of a horse.
When the pure forms sank
under the cri cri of daisies
I understood they had murdered me.
They searched the cafés and the graveyards and churches,
they opened the wine casks and wardrobes,
they destroyed three skeletons to pull out their gold teeth.
Still they couldn't fine me.
They couldn't?
No. They couldn't.
But they learned the sixth moon fled against the torrent,
and the sea remembered, suddenly,
the names of all her drowned.
//1929, F. Garcia Lorca
ink, watercolor on paper
contact ibarraloana@gmail.com
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Serving plate
silver, worn down by years
of hands that passed it from table to table
carrying bread, carrying stories, carrying silence.
Holding a face
objects forget their purpose
and remember something else entirely.
Caught in that quiet in-between
like the moment before a song begins
or just after it ends.
Scratched up good
little marks
little ghosts
like raindrops that never quite dried
reflection comes through anyway
not perfect
not clean.
Wearing soft
peach-colored
like an afternoon that doesn’t want to turn into evening.
Got something to say
hasn’t decided if the world’s ready to hear
it
maybe already said
it
now just listening for the echo.
Silver serving tray.