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David Shrigley the 43 year old UK visual artist has provided an interview to MetroUK about his injection of humour into his work. Shrigley works with various media and is renowned for his humourous cartoons released as postcards and in softcover books. Shrigley’s work is said to have two major characteristics, an odd viewpoint and a limited technique. His use of free hand lines are crude and incorporated with the use of ruler, and the annotations to his drawings are frequently crossed out and suggestive of poor execution. In the interview Shrigley states “My work is really quite bleak a lot of the time and quite nasty as well, so maybe adding comedy into the mix makes it slightly less so… I’m not really interested in making people laugh that much; I just want to engage people and tell them something different.” Shrigley has produced a number of drawings published by the New Statesman. “I did it as an exercise to be a political cartoonist… I’m not really equipped to do that, in the sense that I can’t draw – I’m not an illustrator. I can’t draw caricatures of anybody…”
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26/06/2012 : Marseille 3e, bd National / rue de Strasbourg, îlot National : exposition Une collection de collections (Maryvonne Arnaud et Philippe Mouillon)
collection de boites de sardines (restaurant-poissonnerie "La Boite à sardines")
#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
For the record, this is the intended orientation of this painting. Sometimes I'm not sure until I've lived with a piece for a while.
Visual artist Cande Aguilar in his studio. Oct. 8, 2013
© Imanol Miranda. Do not use without permission.
VA, 1980 (selenium toned gelatin-silver print)
george-elsasser.blogspot.com/2010/01/intersections-20-yea...
Michael T. Klare the American Professor of Peace and World Security Studies has published an article on TomDispatch questioning if Barack Obama is morphing into Dick Cheney, highlighting four ways he is pursuing Cheney’s geopolitics of global energy. In the article Klare states “As details of his administration’s global war against terrorists, insurgents, and hostile warlords have become more widely known -- a war that involves a mélange of drone attacks, covert operations, and presidentially selected assassinations -- President Obama has been compared to President George W. Bush in his appetite for military action. …When it comes to international energy politics, however, it is not Bush but his vice president, Dick Cheney, who has been providing the role model for the president. …it is possible to reconstruct the geopolitical blueprint that Cheney followed …a blueprint that President Obama, eerily enough, now appears to be implementing, despite the many risks involved.1. Promote domestic oil and gas production at any cost to reduce America’s dependence on unfriendly foreign suppliers... 2. Keep control over the oil flow from the Persian Gulf … in order to retain an “economic stranglehold” over other major oil importers. 3. Dominate the sea lanes of Asia, so as to control the flow of oil and other raw materials to America’s potential economic rivals, China and Japan. 4. Promote energy “diversification” in Europe, especially through increased reliance on oil and natural gas supplies from the former Soviet republics of the Caspian Sea basin… This four-part geopolitical blueprint, relentlessly pursued by Cheney while vice president, is now being implemented in every respect by President Obama.” Inspired by Tom Dispatch ow.ly/cf7Nz image source Twitter ow.ly/cf7MZ
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
Vinyl spins slow, stories come out sideways and clothing matches the cover. Today we got a group outta Sweden, yeah, cold winds, warm hearts, and melodies that slip through your fingers like smoke from a midnight cigarette. They call themselves Doktor Kosmos.
Now that’s a name that sounds like it could fix your broken bones or maybe just diagnose your soul and send you back out into the rain. Doktor Kosmos sounds like a man in a white coat with ink stains on the pocket, but it’s a band, oh yes, a band that doesn’t just play songs, they kinda confess them. Not in a church way, more like leaning over a sticky bar table at 2 a.m., telling you things you didn’t ask to hear but end up needing anyway.
They’ve been around since the ‘90s, when the world was busy trying to decide if it wanted to dance or disappear. And Doktor Kosmos, they chose to do a little bit of both.
Their music, it’s got that rough edge, like a postcard that never made it through the mail. Guitars that don’t try to impress you, drums that keep time like an old wristwatch, and vocals that feel less like singing and more like… well, talking truth through a half-smile. You listen close, you might hear stories about everyday folks; people who ain’t heroes, ain’t villains, just stuck somewhere in between, trying to make sense of things that don’t line up. There’s humor in there too, but it’s the kind that laughs with one eye open, just in case something goes wrong.
See, Doktor Kosmos, they come from a tradition where saying the wrong thing might just mean you’re saying the realthing. Not always pretty, not always agreeable but honest in a way that makes people shift in their seats. And over the years, they’ve said plenty that would raise eyebrows in today’s Sweden, a place where the lines of what’s acceptable can feel a little tighter than they used to.
Ok don’t get it twisted, they’re not shock artists for the sake of it. They’re more like that friend who says something awkward at dinner and suddenly everyone’s staring at their plate, wondering why it hit so close to home. Their lyrics sometimes wander into territory that’s uncomfortable—relationships that aren’t clean, social norms that don’t hold up under a little pressure, ideas about class, identity, and everyday hypocrisy that don’t come wrapped in neat conclusions. There’s a kind of bluntness there. A refusal to dress things up in language that passes inspection. And yeah, some of those lines—dropped today, in the glow of social media and public scrutiny—might get flagged, clipped, or quietly pushed aside. Not always because they’re hateful, but because they don’t follow the expected script. They poke at contradictions instead of resolving them.
Back when they started out, you could get away with a little more ambiguity, a little more mischief in how you told the truth. These days, the same words might be pulled out of their song, held up under a harsh light, and judged without the music around them; the rhythm, the irony, the context that gives them shape.
But that’s part of their DNA. Doktor Kosmos never sounded like they were asking for permission. They weren’t trying to be role models or villains either. Just observers writing down what they saw, even when it came out sideways or wrong-footed.
And that’s the thing about art that doesn’t behave: it ages in strange ways. What once felt like everyday honesty can start to feel like provocation. What once slipped by unnoticed can suddenly stand out like a crack in the wall.
And the language, Swedish, sure, but you don’t need a dictionary to feel it. Music like that, it travels without a passport. It’s got a kind of stubborn honesty, like it doesn’t care if you understand every word, long as you catch the feeling. And the feeling is, well, it’s human. Messy, contradictory, a little bit bruised.
Now some bands try to build castles out of sound, but Doktor Kosmos, they’re more like setting up a folding chair on the sidewalk and telling you what they saw that day. No filter, no grand illusion. Just life, as it comes.
So if you ever find yourself walking through a quiet street in the early hours, streetlights buzzing like tired thoughts, you might want to put on a little Doktor Kosmos. Let it keep you company. Not to lift you up or drag you down, but just to sit there with you, in that strange, honest space between.
Stay young folks, the needle’s got a long way to go.
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)
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-cam
A Glitch "Aphrodite (Ἀφροδίτη) ~ Ètude IV”
by ™℗®© Louis M o n t i e l
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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.
In Calcutta.
The unmistakable vegetable market of New Market.
HDR from 3 images.
See more images on my Facebook page.
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 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