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- El arte de extender -
Extension is what happens when something refuses to stop right where it’s told. A road that keeps going past the city limits. A hand that stays out a second longer, hoping someone else will take it. You ask for a little more time, and time, if it’s in a good mood, slides you an extension cord and says, Don’t trip over it.
People are always asking for extensions. On rent. On love. On promises they made when they thought they knew who they were. You can extend a deadline, but you can’t extend yesterday. Yesterday packed up and left without leaving a forwarding address.
An extension can be a kindness or a warning. The teacher gives you an extension, and suddenly you learn how long a week really is. The doctor gives you an extension, and you start noticing the way the light hits the kitchen table in the morning. Same word, different weight.
There are things we extend without thinking. Our voices across a room. Our shadows at sunset. Our lives into the lives of other people, whether we mean to or not. Every story you tell is an extension of the one before it, reaching back like a line of boxcars disappearing into the dark.
And a painting, that’s an extension too. A brushstroke held just long enough to say what the words can’t. You don’t want it to end, but it has to. Even extensions run out eventually. That’s how you know they mattered.
Sometimes the universe says -I’ll give you a little more. Don’t waste it.
//painting process on canvas,detail
contact ibarraloana@gmail.com
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04/07/2015 : Le Puy-Sainte-Réparade, Château La Coste : exposition Different Places (Sean Scully)
Cock Park Restaurant Branding Design By #Akib_Sarder
This Project On:
#Behance: www.behance.net/gallery/57864131/Cock-Part-Restaurant-Bra...?
#Facebook: www.facebook.com/media/set/?set=a.298861310585256.1073741...
#Google+ : plus.google.com/u/0/104110449329655898745/posts/EaAjEtDMN5V
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.
Martin Castein - Visual Artist / Photographer
and
Katie F - Photographer
To contact Martin please email at martin@martincastein.com
Follow Martin on twitter www.twitter.com/MartinCastein
Today’s topic? Drummers.
Backbone of the band.
Timekeepers of the soul.
Now there’s a lotta great ones. Buddy Rich could make a snare drum sound like a stick of dynamite. Charlie Watts could make it look easy peasy. Max Roach could make it sing like a bird caught in a thunderstorm. But today we celebrate a man from Liverpool who hit the skins with the swagger of a sailor and the grin of a man who knows he's in on the joke; Ringo Starr.
Born Richard Starkey. July 7th, 1940.
He was sick as a child, missed a lotta school but maybe that gave him time to dream. 'Cause pretty soon, he was playin’ in the clubs on the River Mersey, wearin’ flashy rings and beatin’ drums like they owed him money.
He joined a band called Rory Storm and the Hurricanes. That was before the hurricanes got downgraded and the Beatles got upgraded. He replaced Pete Best, and the girls cried foul, until they heard him play. Ringo wasn’t the flashiest. He didn’t have that Keith Moon madness, or Ginger Baker’s hurricane fury. But hey! Ringo had feel. He swung. He shuffled. He played for the song. And sometimes that’s harder than playing fast.
John said he was the heart of the band.
Paul said no one else could do what he did.
George? Well, George just smiled and let his guitar talk.
Now, Ringo wasn’t just a drummer. He sang, too. “Octopus’s Garden”, a kid’s song on the surface, but really, let’s be honest, it’s about finding peace in a world gone mad. Kind of like Ringo himself, a peaceful man in a band that changed the world.
After the Beatles, he kept on rollin’. Made movies. Released solo records. Had a hit with “Photograph,” a song that sounded like it missed somebody real bad.
And he’s still out there, 85 years today, traveling with the All-Starr Band, spreading that good-time gospel. Peace and love. Peace and love. He says it so much, it starts sounding like a prayer.
So here’s to Ringo Starr. The drummer who didn’t need to prove anything. The beat beneath the Beatlemania.
ink, watercolor on paper
contact ibarraloana@gmail.com
Many artists put almost as much into their booths as they do their art.
Permission granted from artist for photos. Release from artist available, if needed.
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
Galleri Slätten presents
(OBETITLAD) a solo exhibition by your always truly and faithful Loana Ibarra
Opening Friday 23 September at 18.00-22.00
Ahlmansgatan 20, Möllevången
Bienvälkommen må ni alla vara!
Facebook event more info
instagram loanaibarra
Goddag folks! if you've been tuning in, you know we like to wander down some pretty twisted paths, digging into stories, art, and people who well, who make you think, y’know? Today, we’re celebrating a man who made movies like dreams or nightmares. His name? Ingmar Bergman.
You see, Bergman wasn’t just your average director. No, no... he was a master of the mind. One of those felinos who could make you feel like you were standing in the middle of a storm, and the wind was just blowin' your thoughts all over the place. He made you face the hard stuff. The kind of stuff we all avoid, like death, despair and loneliness, all those places we try to ignore, but you can’t escape.
Born in Sweden, in the town of Uppsala, this guy, he had a wild vision. If you’ve ever seen The Magician (my personal favorite Bergman movie) or Cries and Whispers (which my mother saw a cold winter day in Switzerland as a youngster, one existential experience she can describe from tip to toe) or even the beloved Persona (the historical film tape burning, yeeeh!), you know what I’m talkin' about. He wasn’t afraid of silence, in fact, one of the most powerful moments in his films are when there ain't a word spoken. Just the heavy, lingering feeling of something big, y’know? He’d make you feel uncomfortable, but you couldn’t look away. Trapped in an elevator. Up and down we go with no exit sign.
Now, take The Seventh Seal, for instance. You got that knight, playing chess with Death, trying to figure out why we’re here, what it all means. It’s a lot like that old saying, ‘You can’t cheat Death,’ but Bergman put it all out there. He’s asking the big questions and sometimes, just sometimes, you gotta face them. You don’t get the easy answers in Bergman’s world.
Bergman didn’t just stop with the big stuff. He dove into relationships, too. Scenes from a Marriage — whew! That film’s like crackin’ open the door to someone’s private world. Ever tried to look at a relationship from the inside? The rawness of it all? Bergman was the man who wasn’t afraid to shine a light on all that... dark, complicated, beautiful stuff we keep tucked away. Tack Bergman, we owe you one, or two.
But let’s try to get the whole spectrum, he didn’t just stick to drama. This director, he got himself a reputation, sure, but it wasn’t all just storm clouds. In fact, he once said ‘I am not a religious man, but I am very religious.’ So there you go.
Ingmar Bergman’s films are like a mirror to your soul, reflecting all those pieces we try to hide. But then again, maybe we’re all looking for the same thing; peace, meaning, understanding. Whether you’re swinging from a dream or living through a nightmare, you just wanna know why the hell we’re here.
ink, watercolor on paper
contact ibarraloana@gmail.com
Doctor, diva, freedom fighter and pianist who could make a single note feel like a courtroom verdict.
Funny thing… she was awarded an Honorary Doctor of Music and Humanities from the Curtis Institute of Music, the same school that had rejected her application years prior.
Vida. That’s Nina Simone.
On Monday, December 19th, we partnered with Lenovo computers to build out the ultimate art-themed smackdown. Hosted at Villain in Williamsburg, guests stepped into a fully imagined warehouse art party. That night it was all about participation. We created a series of art activities to get guests making art and meeting each other. Guests captured the revelry of the night in Ventikoland’s projection photo booth. After some savory Espolón cocktails and tacos the art battle was ready to begin. 2 amazing artists competed head-to-head in a series of timed challenges and a head-to-head battle of creative awesomeness. Interludes were provided by a pop & lock round girl, battling breakdancers, and a duo of beatboxers.
Event Design by Adam Aleksander Presents
Photography by Lukas Maverick Greyson
#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
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.
A Glitch "Niqab (κερί) ~ Ètude IX”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
NFT Crypto Digital Art
Marketplace on qurable.co : Buy, Shell & Explore Digital Assets
app.qurable.co/c-louis-montiel
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#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #nfts #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #nftart #glitchartscollective #glitcharts #nftartist #glitchartwork #glitchartisdead #glitchartists #nftcommunity #nft #glitchartist #pixelsortingart #nftartists #creativecodeart #glitchportrait
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
Some say you don’t know where you’re going until you get there, and others say you ain’t anywhere at all unless somebody’s waiting for you.
But me?
I found myself on a Monday morning that looked suspiciously like a Sunday, sitting down out in the middle of a winter that didn’t bother to introduce itself.
Snow falling like forgotten postcards, wind blowing like it didn’t had someplace better to be. Cannot hear a car, a bluffer bus stop sign, just me and the sound of my shoes complaining as they sank a little deeper into the white.
You ever get that feeling? That peculiar, particular, peculiar feeling that you’ve wandered off the map your life drew for you and now you’re somewhere between “here” and “wherever”? It’s the kind of place they don’t put on travel brochures.
And as I’m sitting, waiting, trying to keep my fingers from turning into a set of ten little ice sculptures, I start thinking about how strange it is: you can be surrounded by miles of cold quiet, and still feel like someone is running towards you with a secret just out of range.
Getting lost doesn’t care about your plans, your promises, your doubts. It just shows up, drops its bags on the rug, and tells you it’s staying a while.
So here I am, no clue where, no roadmap, no compass, no jukebox humming a tune to guide me. Just breath like smoke signals, rising up to a sky too busy snowing to read them. And somehow in that cold, lonesome nowhere, I felt a little more like myself than I had in all the warm places I’d been.
Lost.
This shot was taken close to the location of the previous shot. Again, this is a 3-exposure HDR, handheld.
More images: Facebook page.
Ingmar Bergman understood something that most people spend a lifetime trying to avoid: silence isn't empty. It talks. Sometimes louder than dialogue ever could. Watch one of his films long enough and you begin to notice that people aren't merely speaking to each other. They're negotiating with memory, bargaining with guilt, wrestling with God, inventing excuses for loneliness. The camera waits. It doesn't rush in to rescue anyone. It has too much respect for discomfort. That's a rare thing.
We often celebrate artists by polishing them into monuments. Once someone enters the cultural pantheon, the rough edges become academic footnotes and the contradictions are filed under "complexity." It's a tidy arrangement. Easier to admire the statue than to meet the person who cast it.
Bergman wasn't interested in tidy arrangements. His films are crowded with people who fail one another spectacularly while convincing themselves they're searching for truth. Priests who doubt. Lovers who wound. Families who inherit emotional weather systems that no one remembers creating. It's remarkable how often his characters stand inches apart while inhabiting entirely different universes. Maybe that's why the films still breathe. They refuse to flatter us.
There is something almost archaeological about watching them now. Every scene digs beneath another layer of certainty. Peel away respectability and anxiety appears. Peel away certainty and fear is waiting. Peel away fear and, occasionally, there's tenderness—fragile enough that you almost miss it.
It's curious how often audiences remember the anguish and forget the humor. Bergman could be very funny, though not in the way that announces itself. His comedy lives in human absurdity: the impossible conversations, the oversized egos, the elaborate rituals people invent to avoid saying the one sentence that matters. Life has a talent for writing tragic scenes with comic timing. Perhaps that's why these films resist becoming museum pieces. They ask questions that refuse retirement. What do we owe each other? Can love survive honesty? Is faith possible without certainty? Is identity something we possess or merely perform until someone looks too closely? Those aren't period questions. They're Tuesday afternoon questions.
The temptation is to treat Bergman as a sacred figure whose work belongs behind velvet ropes, admired from a respectful distance. But art isn't preserved by reverence alone. It survives through argument, disagreement, rediscovery, and the occasional realization that the masterpiece everyone praised for one reason may endure for entirely another. The longer you live, the less these films seem to be about Sweden, religion, or cinema. They become studies of ordinary human weather. Clouds passing over a face. A hesitation before speaking. A silence that says more than a page of dialogue.
Maybe that's the real trick. Great artists don't answer the big questions. They simply make it impossible to pretend the questions were never there.
ink, watercolor on paper
contact ibarraloana@gmail.com
He built a house right in the hiss. Today we celebrate David Lynch. Born under a sky that always looked like it had a secret it wasn’t telling. You don’t watch a David Lynch picture so much as you wander into it, like you took a wrong turn outside of town and the road decided not to forgive you.
Lynch made movies the way some folks make coffee at three in the morning: strong, black, and liable to show you things you weren’t planning on seeing. He understood that his country isn’t just a place, it’s a feeling. A jukebox glowing in the corner. A smile that lasts half a second too long. A lawn so green it starts to look suspicious.
David Lynch knows the dark doesn’t live way out there. It lives right behind the wallpaper. Sometimes it wears a leather jacket, sometimes it’s got lipstick on its teeth. Sometimes it talks backwards, just to make sure you’re paying attention. Lynch listens hard. To the hum of electricity. To the way silence leans in when nobody’s talking. He hears music where other folks just hear noise. That’s why his work feels like a song you don’t remember learning, but somehow know all the words to even the ugly ones.
They say dreams don’t mean anything. Lynch never bought that. He treats dreams like postcards from a town you used to live in, signed by someone you might’ve been. He doesn’t explain them, doesn’t clean them up, doesn’t apologize. He just lets them sit there on the table, smoking. And that’s important, because art isn’t here to tuck you in. It’s here to wake you up at 2 a.m. and ask you who you really are. Lynch gets that. Always did. He’s telling you that the mystery isn’t a problem, it’s the point.
So today, if you find yourself staring at the ceiling, hearing a low rumble like a distant engine, don’t worry. That’s just the frequency David Lynch broadcasts on. You don’t have to understand it. You just have to listen.
ink, watercolor on paper
contact ibarraloana@gmail.com
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.