View allAll Photos Tagged VisualArtist
Anna Maria Janiszewska is a photographer, visual and installation artist best known for her analogue photographic work. Having grown up Poland and moving to Ireland in her early twenties she studied at the Institute of Art, Design & Technology in Dun Laoghaire and Ireland’s National College of Art and Design. Janiszewska is interested in using photographic tools and processes to rupture the reality of the everyday, skewing documentary and fiction in order to highlight alternative ways of seeing and experiencing. Over the years her photographic works have been exhibited in many places in Ireland and Poland.
Title: #140. Acrylic Painting... 24x24 inches, Acrylic on Canvas. Painting by Terry David Silvercloud (Butch).
Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
Le projet « Accident » s’inscrit dans une démarche visant à s’interroger sur le Moment Présent.
Notre vie se réalise dans le temps présent. Mais cette réalisation, n’est-elle pas plus souvent le fruit d’un « accident » ?
« Accident » est vu comme une mise en situation par le prisme d’un œil dysfonctionnant aléatoirement.
Songs that walk right up to your heart, knock on the door, and don’t leave until you answer. That brings us to celebrate a man who knew a thing or two about doors. Juan Gabriel.
Juan Gabriel was born Alberto Aguilera Valadez and he for sure didn’t come out of a velvet curtain. He came out of the dust. Orphaned young, raised in places where hope was rationed out like sugar, he learned early that if you wanted something to sing back to you, you had to sing first. And sing he did. Loud enough for the whole of Mexico to hear. Loud enough for the brokenhearted, the lovelorn, the ones leaning against vinyls at 2 a.m.
Juan Gabriel wrote songs the way some folks write letters they never send. Full of longing. Full of tears that don’t quite fall. Songs like “Amor Eterno.” That one doesn’t just play, it stays. It moves into the room, sits down next to you, puts a hand on your shoulder, and says, “Yeah, I know.” And that voice, well, that wasn’t trained to behave. It bent and cracked and soared when it felt like it. Sometimes it sounded like it was chasing the melody. Other times the melody was chasing him. That’s the good stuff. That’s when the truth slips out.
But Juan Gabriel also wrote for the ones leaving their country behind. “Canción 187”, “Song 187”, tells the story of a disillusioned Mexican man who migrates north in search of work. He faces rejection, immigration problems, and discrimination in cities such as San Francisco, Los Angeles, and Arizona, before returning to his hometown in Michoacán, where he comes to value his land and family. The song concludes with a critique of the mentality of “quarrelsome gringos” and of discrimination.
-Adios gringos peleoneros
Buenos pa' las guerras son
Ellos creen que Dios es blanco
Y es mas moreno que yo-
—-
-Goodbye, warmongering gringos,
Masters of war and strife.
They imagine God as white,
Yet He’s darker-skinned than me-
Now, that’s a brave way of closing a song.
Juan Gabriel dressed how he wanted, moved how he wanted, loved how he wanted, at a time when doing any of that could get you shoved into the shadows. But he didn’t step back. He stepped forward, sequins first, heart wide open. He showed people that vulnerability could be louder than machismo, that tenderness could fill a stadium.
You know, there are songwriters who tell you what they think. And then there are songwriters who tell you what you think, before you even know it yourself. Juan Gabriel was one of those. He wrote for mothers, for abandoned lovers, for people waving goodbye at bus stations, for ghosts that never quite left the house.
He once said, “Lo que se ve no se pregunta.” What you can see doesn’t need to be asked. That’s a songwriter talking. That’s someone who knows the song already told the truth.
So today, if you’re listening alone, or driving with stereo low, or missing someone whose name you don’t say out loud anymore, remember that Juan Gabriel’s got a song for you. He already wrote it. A long time ago. Just for this moment.
ink, watercolor on paper
contact ibarraloana@gmail.com
Today we celebrate the winding frequency where the past hums like an old amp left buzzing after the show. I’m talking about bass player. Not just any bassist, but the kind that doesn’t shout: it anchors, it waits, it knows.
Today we celebrate D'arcy Elizabeth Wretzky. Came drifting out of the Midwest like a quiet storm rolling over flat land, the kind you don’t notice until the sky’s already changed color. She didn’t chase the spotlight. No, she stood just off to the side, where the shadows live, and that’s where she built her sound.
Now bass players, they’re a different breed. They don’t deal in fireworks, they deal in gravity. And D’arcy, she had that gravity. Notes that felt less like they were played and more like they’d always been there, just waiting for someone to uncover them. She found herself in the company of a band that dealt in dream and distortion—The Smashing Pumpkins. A name like that sounds like a contradiction, like something sweet breaking apart. And maybe that’s what they were. Noise and melody, beauty and abrasion, all tied together in threads that could unravel if you pulled too hard. But they didn’t unravel. Not then. And part of the reason was that low-end heartbeat she carried.
You listen to those records—Gish, Siamese Dream, Mellon Collie and the Infinite Sadness—and you might first hear the swirl, the fuzz, the soaring voices. But underneath, there’s a steady hand guiding the whole thing through the fog. That’s D’arcy. Holding the line while the guitars reach for the sky.
She had a presence that didn’t beg for attention, but once you noticed it, you couldn’t un-hear it. Like a shadow that turns out to be the shape of the whole room.
The Pumpkins weren’t just a band; they were a kind of weather system. And D’arcy, she was part of the pressure that made it all move. Without that, the storm doesn’t come. But like all things built on tension and time, it didn’t last forever. Nothing ever does. Still, those moments, captured in tape hiss and feedback, they stick around. They echo.
So if you find yourself wandering through those records, maybe with the lights low and the world quiet, listen close. Past the noise, past the shimmer. There’s a bass line there, steady as a pulse, telling you where you are. And sometimes, that’s all the direction you need
watercolor, ink on paper
contact ibarraloana@gmail.com
Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
A Glitch "Somnophilie (Σονοφιλία) ~ Ètude II”
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
~ FOLLOW ME & SUBSCRIBE ~
Instagram ~ louismontielt
Facebook ~ Louis Montiel
YouTube ~ Louis M o n t i e l
Vimeo ~ Louis M o n t i e l
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
A Glitch "Pigofilia(φιλία) ~ Ètude XIX”
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
~ FOLLOW ME & SUBSCRIBE ~
Instagram ~ louismontielt
Facebook ~ Louis Montiel
YouTube ~ Louis M o n t i e l
Vimeo ~ Louis M o n t i e l
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
Ocular Solution - What would you do if you had a time machine? 🍺 🍄 🌲 🍔 #ozwyz #artwork #funky #hypnotic #visualartist #mushroom #hallucinogenic #pnwartist #dream #dailyart #hotart #glitch #intense #sparkling #queer #mindexpanding #multimedia #versicolored #psychedelic #visuals #newyork #myoriginalart #artpiece #artistic #artist #graphicartist #tacomawa #weirdart instagr.am/p/CP1LpxbHR2S/
Superwoman. Award-winning artist, printmaker, PAP president, visual artist, architect, teacher. Ma. Victoria Abano.
We’re drifting way up—way up—into the thermosphere, that part of the sky where the mercury runs wild and the particles get so lonesome they start glowing like neon signs on an empty highway. They say in the thermosphere the temperature can climb above three thousand degrees, but it won’t burn you, kind like the applause after a bad play. All heat, no heat. Reminds me of some clubs I used to visit.
Now, if you ask an art historian about the thermosphere, they’d probably squint, light a cigarette, and say something like: “Well, it’s all about liminality.” That’s an art-historian word meaning the threshold, the in-between.
Victor Turner talked about it in anthropology, but the art folks grabbed it like a painter grabbing a new brush. The thermosphere is a liminal zone, not quite earth, not quite space… just hanging there like an unfinished fresco by some apprentice who wandered off. You look at it through the lens of formalism, you see a big blue-black canvas, all shape and color and emptiness. Through iconography, maybe those glowing auroras are symbols, messages from the sun written in green fire. And if you’re a Marxist art historian, well… you’d probably blame the whole thing on capitalism anyway.
Now theater folks, they know all about altitude.
The Greeks carved amphitheaters into the sides of mountains, hoping the gods would catch the matinee. Imagine a stage set in the thermosphere: no scenery, no backdrop, just stars and the shimmering curtain of the Northern Lights. That’s what we call site-specific performance, honeybees. You don’t need props when the universe is doing the lighting design. Stanislavski would’ve told his actors to “live truthfully in imaginary circumstances,” but up in the thermosphere the circumstances are so imaginary, you got to hold onto your truth like a lucky coin. And Brecht? He’d love the whole thing, nothing says “alienation effect” like performing in a place where sound doesn’t travel and the audience can’t breathe.
So that’s the thermosphere for you, a place where science dances with art history, where temperature’s a rumor, where theater gets cosmic, and where humanity sends up little metal satellites hoping someone or something might tune in. Up there, the atoms glow. Down here… we just keep trying.
Whether you’re drifting in the thermosphere with a broken heart on a Monday morning keep your feet on the ground and your imagination in orbit.
See you next time.
contact ibarraloana@gmail.com
A Glitch “Hecatérides(Ἑκατεριδες)~Ètude III”
by ™℗®© Louis M o n t i e l
~ FOLLOW ME & SUBSCRIBE ~
Instagram ~ louismontielt
Facebook ~ Louis Montiel
YouTube ~ Louis M o n t i e l
Vimeo ~ Louis M o n t i e l
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
Gyorgy Nemeth (Hungarian, b.1959) – Digital Abstract No. 6, Szingy Digital Art, Szingy Gallery Budapest