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Ushuaia is the southernmost city in the world and capital of the Province of Tierra del Fuego, Antarctica and the South Atlantic Islands.
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
Anthony Stephen 'Tony' Burke the 42 year old Australian politician and the current Minister for Sustainability and Environment announced that Australia is to create an enormous network of marine park reserves to protect waters from oil and gas exploration and limiting commercial fishing. In an article on Aljazeera, Burke states "The Coral Sea marine national park ... combined with the Great Barrier Reef area, becomes the largest marine protected area in the world". The article states Australia's marine reserves will increase from 27 to 60 under the new scheme, covering more than 3 million sq km, or one third of the island nation's waters. The announcement of the network was made a week before more than 130 heads of state and government will gather in Rio de Janeiro for the United Nations' sustainable development conference as part of global efforts to curb climate change, one of the biggest conferences in UN history. … The protection plan will ban oil and gas exploration in all marine national parks, including across the Coral Sea and off Margaret River, a popular tourist and wine-growing area in the southwest. Burke acknowledged the plan would also have an impact on the fishing industry. The plan attracted immediate criticism from some environmental groups, as well as independent and opposition politicians and lobby groups.” Inspired by Aljazeera ow.ly/bWcnW image source Adam Carr ow.ly/bWcnb
D975_006b
08/08/2021 : Avignon, rue Violette : extension de la Collection Lambert (Berger & Berger, 2015)
A Glitch "Aphrodite (Ἀφροδίτη) ~ Ètude IV”
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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
Alright, alright, gather around folks, it’s time for a little stroll through the history of color—wine red, to be precise. It’s a color that's steeped in emotion, wrapped in symbolism, and carries the weight of centuries. Now, don’t let the name fool you, this ain’t just some fancy shade of crimson, this color’s got a story, a real wild one at that. So pour yourself a glass of something rich, something bold, and let’s take a little trip through the past, the present, and the symbolic world of wine red.
Wine red, folks, it’s that deep, mysterious hue, a color you’d find in the heart of a vineyard just before sunset, the kind that tells you there’s a secret you ain’t yet heard.
Artists, let’s talk about them, loved it.
The ancient Egyptians, they painted with it. It symbolized both life and death. Kind of like how a glass of wine can lift you up one moment and leave you thinking deep thoughts the next, or provoke you a migraine after half a glass (ha, that one goes for me) Wine red’s got that duality. It’s passion and pain, pleasure and sorrow. You pour a little into the canvas, and what do you get? A whole lot of tension, a whole lot of feeling.
In the Renaissance, that same wine red started to show up in the works of folks like Raphael and Titian. They used it to represent the divine, the sacred, the precious. A little bit of that old-world aristocracy too, rich in meaning and heavy in its portrayal of power. The color showed wealth, man, and nobility, it was indeed the color of kings and queens, and, of course, the blood of the earth itself.
Michelangelo Merisi da Caravaggio wasn’t just painting saints and martyrs, he was painting truth. Dirty fingernails, bloodied knees, and that flickering candlelight of human drama. He didn’t just use color; he wielded it like a dagger, sharp and direct.
Now when it comes to wine red in Caravaggio’s world, we’re talking about something special. It wasn’t decoration it was intention. You’d see that deep red in a cloak, a wound, a pool of shadow that looked just like the dregs of a Chianti left out too long. It wasn’t just about beauty, it was about impact. Caravaggio understood the psychology of color before there was a psychology of color.
He’d drench a fabric in wine red to signal divine sacrifice—Christ, the martyrs, even Bacchus himself, the god of wine and ecstasy. Caravaggio’s "Bacchus" that young, flushed boy holding a goblet of wine isn’t some classical ideal. He’s a little drunk, a little sick, lips red as sin, eyes halfway to trouble. That wine red? It's temptation. It’s mortality. It’s your better judgment leaving the room, and your animal side pouring another glass.
And in his religious scenes such as The Entombment of Christ, Judith Beheading Holofernes, The Flagellation wine red becomes the color of blood, sure, but not just physical blood. It’s the weight of spiritual violence. The kind of red that doesn’t dry easy. It sits in the folds of a robe or pools at a victim’s feet. It’s heavy, symbolic, and dead real.
You gotta remember: Caravaggio lived hard. He was a man who knew what blood looked like in a back alley, not just in a chapel. So when he painted wine red, he wasn’t guessing. That wasn’t just color theory it was autobiography. Every drop had seen something. And that, my friends, is the power of red in the hands of a sinner who painted saints.
Now, flash forward to the 19th century. Things are changing, right? The world’s turning on its axis and artists like Van Gogh start bringing wine red into the more personal realm. It’s in the swirling colors of his portraits, his landscapes. And that’s the thing about this color: it’s not just about what’s seen, it’s about what’s felt. It’s a color that can make you feel like you’ve been hit by a freight train of emotion. You see it, and it triggers something in your gut.
But, oh, don’t forget about the Abstract Expressionists in the 20th century. They brought wine red into the world of splatter, of chaos, of freedom. I’m talking about the likes of Mark Rothko and Barnett Newman. To them, it wasn’t just a color, it was a mood, a conversation with the soul. They used that red to express the deepest emotions that no words could capture. It was there, in the depths of the canvas, speaking without saying a thing.
In popular culture, this color—wine red—can symbolize romance, but it also packs the weight of seduction, rebellion, and desire. It's the kind of color that oozes sophistication, but also a touch of danger. It’s the red of velvet curtains in a smoky jazz bar, the red of lipstick on a lover’s lips, the red of a rose held just a little too long in the hand of someone who knows exactly what they want.
And let’s not forget, it’s also the red of wine itself—the stuff that makes us think about the finer things in life, the stuff that calms us, and sometimes, if we’re being honest, it makes us confront the darkness we try to ignore.
So what can we take from all this?
What’s the takeaway from this deep, rich color that’s got a thousand meanings wrapped in its folds?
Well, wine red teaches us that art is never just a picture, a stroke, or a shade. It’s a feeling. It’s about the layers, the texture, the depth. Wine red isn’t just seen, it’s felt—it’s the red of blood, the red of the heart, the red of the soul.
So, next time you see a painting with a touch of wine red, or maybe you're staring into a glass of it yourself, or even wearing it remember: you’re not just looking/drinking/wearing a color. You’re looking at history. You’re looking at a journey. You’re looking at the essence of life itself; passionate, turbulent, and a little bit mysterious.
Keep those eyes open for the colors that speak to you. Don’t let 'em pass you by.
// your always truthful Loana Ibarra
contact ibarraloana@gmail.com
Me estás oyendo inútil?
It’s 🎂Paquita La Del Barrio 🎂 tajm
Paquita la del Barrio, meaning Paquita from the Block, is a ranchera mexican singer born in the beautiful Coast of Veracruz, Mexico. Paquita’s songs usually take a stance against Mexico's sexist male culture. She is known for her often confrontational presence and her signature phrase; “Me estás oyendo, inútil?" -"Are you listening to me, you good-for-nothing?"- (with which she often teases male spectators in her shows).
Paquita once and repeatedly times said -“I will never be on men’s side. I am defending women. It is very important. I am a woman. I speak of my experiences."
Her best-known song is "Rata de dos patas" "Two-legged rat", in which she compares an ex-lover to a variety of vermin and other untrustworthy animals.
Paquita La Del Barrio has gained the love of the mexican women, from the poorest to the richest, she has created a place to gather women and together sing out anger, frustration, disappointment, sadness, I call that a silence that burns.
Watercolor ink 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.
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.”
Today we celebrate something that smells like brass and sweat, like a summer night that never quite cools down. We’re talking about a man who didn’t just play rhythm, he chased it down the street, caught it by the collar, and made it dance. Today we celebrate Tito Puente.
Tito Puente was born where the city hums even when it sleeps, where fire escapes double as front porches and music leaks through the walls whether you asked for it or not. And from early on, he found himself tangled up in sound real sound, the kind that rattles your bones before it reaches your ears.
They called him the King of Latin Music, but titles like that don’t really stick to a guy like Tito. Kings sit on thrones. Tito was always moving with sticks in his hands, eyes on the band, somewhere between a storm and a celebration. You didn’t watch him so much as try to keep up.
Now the thing about rhythm is, it’s older than language. Before folks figured out how to say “love” or “trouble,” they already knew how to tap it out on a table. And Tito understood that. He wasn’t just playing notes he was speaking something ancient, something that didn’t need translating. You listen to those timbales, sharp as a midnight train, and they tell you stories. Not neat little stories with beginnings and endings, but the kind that circle back on themselves. Stories about crowded rooms, about laughter that comes easy and heartbreak that doesn’t ask permission. Stories about people who don’t sit still because the world never did.
And Tito, he stood right at the center of it all, like a man conducting lightning. He could take a room full of strangers and, in a matter of minutes, turn it into something like family or maybe something wilder than that. Something that only exists while the music’s playing.
There’s a certain kind of joy in his sound, but don’t mistake it for something simple. It’s the kind of joy that knows about sorrow, that’s walked through it and decided to dance anyway. That’s the rhythm he carried—one foot in celebration, the other in survival.
So if you find yourself today with the windows open and the air a little too still or too restless, put on some Tito Puente. Let those drums remind you that time doesn’t just pass—it swings, it stumbles, it comes back around. And somewhere out there, maybe in a club that never closed or a street that never emptied, that rhythm’s still going.
watercolor, ink on paper
contact ibarraloana@gmail.com
Today we celebrate a poet, not the kind that make you squint in a bookstore, but the kind that kick open the doors of your mind like a drunk at closing time.
And that brings us to a man from way down south Chile, to be exact. A fella by the name of Nicanor Parra. You spell it like “parra,” but you read it like a revolution.
Now Parra wasn’t your regular poet. He didn’t wear black turtlenecks, cut his arms or quote Shakespeare at parties. Nah, Nicanor was a physicist. That’s right, he could calculate the speed of light and still make you feel like you’d been hit by it. He called his poetry anti-poetry, which is kinda like calling a steak anti-vegetable. He wanted to take poetry off its pedestal and drag it down to street level, where the rest of us live.
He said:
"The poet is a man like any other,
a mason who builds his wall:
a builder of doors and windows."
And after his recitations, he would say: "Me retracto de todo lo dicho." meaning "I take back everything I've said."
That’s not just poetry—that's architecture for the soul.
Parra didn’t hang with the usual literary set. He’d rather be cracking jokes at the back of the bus than sipping brandy in the front row of the opera. He put poems on napkins, on the backs of receipts, on billboards. If it had a surface, he’d write on it. Sometimes he didn’t even write, he made objects called "artefactos", little visual poems that looked more like Dadaist bumper stickers than anything outta The Paris Review.
And if you’re wondering what kind of guy he was, well, when people called Pablo Neruda the greatest Chilean poet, Parra smiled and said, “Yeah, if you like your poetry with syrup on top.”
He wasn’t trying to be cute, he just knew the world was burning and you couldn’t put it out with metaphors alone. Sometimes you need a bucket of ice water and a slap in the face.
Nicanor Parra died at 103. That’s a lotta candles. But you get the feeling he’d laugh at the whole idea of a eulogy. He once said, “In poetry everything is permitted. With only one condition: improve on the blank page.”
So here’s to Nicanor Parra—the anti-poet, the clown prince of chaos, the biting and ironic, the guy who made words dangerous again.
And remember: If the poem doesn’t knock you down or lift you up, maybe it’s not a poem at all.
———————-
Tres poesías
1
Ya no me queda nada por decir
Todo lo que tenía que decir
Ha sido dicho no sé cuántas veces.
2
He preguntado no sé cuántas veces
pero nadie contesta mis preguntas.
Es absolutamente necesario
Que el abismo responda de una vez
Porque ya va quedando poco tiempo.
3
Sólo una cosa es clara:
Que la carne se llena de gusanos.
Three Poems
1
I have nothing left to say
Everything I had to say
Has been said I don't know how many times.
2
I've asked I don't know how many times
but no one answers my questions.
It's absolutely necessary
That the abyss answer at once
Because time is running out.
3
Only one thing is clear:
The flesh will be filled with maggots.
// 1962, Nicanor Parra
Ink, watercolor on paper
contact ibarraloana@gmail.com
ca. 1973, West Palm Beach, Florida, USA --- Model Karen Graham, stands against a wall at the Hokin Gallery in West Palm Beach, Florida, with a sculpture by Ernest Trova at her side. She is wearing a low-cut white jersey dress with big stripes by Neil Bieff.
D798_014
04/07/2015 : Le Puy-Sainte-Réparade, Château La Coste : exposition Different Places (Sean Scully)
Boxes full of air (acier Corten ; 2015)
Sound installation;
Gaudeamus Music Week;
Vredenburg Leeuwenbergh, Utrecht,
September 4th, 2013;
© co broerse
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...
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
Ashoka Mody the Indian visiting Professor in International Economic Policy and former Deputy Director in the International Monetary Fund’s Research and European Departments, has published an article on the Project Syndicate titled ‘Misreading the Global Economy’ in which he states “…Consider India, where growth is now running at an annualized rate of 4.5%, down from 7.7% annual growth in 2011. To be sure, the IMF projects that India’s economy will rebound later in 2013, but the basis for this optimism is unclear, given that all indicators so far suggest another dismal year. The emerging economies’ supposed resilience, which has buoyed economic forecasts in recent years, needs to be reassessed. Like the advanced economies, emerging economies experienced a boom in 2000-2007. But, unlike the advanced economies, they maintained high GDP growth rates and relative stability even at the height of the crisis. This was viewed as powerful evidence of their new economic might. In fact, it was largely a result of massive fiscal stimulus and credit expansion. Indeed, as the effects of stimulus programs wear off, new weaknesses are emerging, such as persistent inflation in India and credit misallocation in China. Given this, the notion that emerging economies will recapture the growth levels of the bubble years seems farfetched. Economic forecasts rest on the assumption that economies ultimately heal themselves. But economies’ powerful self-healing capabilities work slowly. More problematic, a misdiagnosis can lead to treatments that impair the healing process. Overly optimistic economic projections based on mistaken assessments of the global economy’s ailments thus threaten recovery prospects – with potentially far-reaching consequences. In Europe, the banks’ wounds must be closed – weak banks must be shut down or merged with stronger banks – before recovery can begin. This will require an extensive swap of private debts for equity. For the global economy, the malaise reflected in anemic trade growth calls for coordinated fiscal stimulus by the world’s major economies. Otherwise, the risk of another global recession will continue to rise.” Inspired by Ashoka Mody, Project Syndicate ow.ly/lCCay Image source politicalworld ow.ly/lCC3V
Mark Weisbrot the American economist, columnist and co-director of the Center for Economic and Policy Research (CEPR) has published an article on Aljazeera titled ‘Learning the wrong lessons from Latvia’ referring to Europe’s use of the Baltic state's austerity programmes as an example. In the article Weisbrot states “Latvia, a Baltic country of 2.2 million that most people could not find on a map, has suddenly garnered attention from economists involved in the debate over the future of Europe and the global economy. …This is terrible, because if there's one simple lesson that most of the world - if not the European authorities - seems to be learning from the prolonged crisis in Europe, it is that fiscal tightening is not the proper response to a recession. …Latvia lost about a quarter of its national income. Unemployment rose from 5.3 per cent to more than 20 per cent of the labour force and, …under-employment peaked at more than 30 per cent. Official unemployment remains at more than 15 per cent today, even after the economy finally grew by 5.5 per cent last year, and about 10 per cent of the labour force has left the country. …the bottom line is that no country with three times the unemployment rate that it had before the world recession, and Latvia's huge income losses, should be considered even a qualified success story. It would be a shame if these unwarranted conclusions from Latvia's experience were to help prolong the unnecessary suffering in the eurozone.” Inspired by Aljazeera ow.ly/cf9jQ image source Twitter ow.ly/cf9h3
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