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A Glitch “Hecatérides(Ἑκατεριδες)~Ètude III”
by ™℗®© Louis M o n t i e l
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“Death Ed is a public health outreach project based at the Institute for Palliative Care in Lund, Sweden. Our goal is to get people talking more about death and dying and create a culture around end-of-life which is less stigmatising, isolating, and fear-provoking. We believe that once we start talking about death more, we can feel more informed and empowered to make decisions and ascertain good care at the end of life.”
The Institute for Palliative Care (PUC) has been developing better ways to educate healthcare professionals and create new tools for understanding and creating quality end-of-life care since 2013. Starting in 2018, PUC is expanding itself into the realm of public health through the Death Ed project.
“I paint mostly — I paint, and do sculptures, and I illustrate, and death is actually a big theme that is with me all the time while I’m working. I don’t think it’s conscious that I try to involve it, it just always comes up in some way in the end. I portrait myself a lot. I’m always there in my art, and then I involve death in it.”
“I was doing this research on open coffins around Latin America, and I realised that many countries have this tradition where you visit the person who has died. They are lying in the coffin, with glass on top so you can see them dead. But, they make them really beautiful, with fabrics around, and you can see the face really well. So, I did myself like that — a painting of my face, surrounded by flowers. And it’s quite dimensional, like an open coffin. I’ve done a lot like that — I’ve made these masks too. In Mexico, there is a big focus on skulls, so I always use those. I also use something that’s very ‘me’ inside it too. So you can see, ‘ah it’s Loana, but in skull form!’”
The interview laid foundation for an artist talk at the Institute for Palliative Care at Lund University for both medicine students, doctors, pathologists and people handling bodies after life
For complete interview “Handling fear of death: how art can be the best medicine”
deatheducationlund.com/2018/04/24/handling-fear-of-death-...
contact ibarraloana@gmail.com
Title: #132. Acrylic Painting... 24x24 inches, Acrylic on Canvas. Painting by Terry David Silvercloud (Butch).
Vintage 1958 bus which took guests on a tour of local historical sites related to the Rainhill Trials.
Today, we celebrate the man who played left-handed but wrote with his right... the guy whose melodies are smoother than a glass of cognac on a Liverpool night. That’s right — Sir Paul McCartney.
They used to call him the cute one. But don't let the mop top fool ya, behind those puppy dog eyes is a mind like a melody factory, crankin’ out hits like Henry Ford rolled off Model T’s.
Paul was born in 1942. That’s the same year Bing Crosby was singin’ about white Christmases and Glenn Miller was disappearin’ over the English Channel. McCartney came from good stock; his daddy played ragtime on the piano and gave Paul his first instrument: a trumpet. But the trumpet went out the window when Paul heard Elvis on the radio. That guitar slung low changed everything.
They say he met John Lennon at a church picnic. A hot day, some warm beer, and two songwriters crossin' paths like freight trains at a midnight switch. They started writin’ together, tighter than two strings on a steel guitar. The Beatles got goin’, and the world tilted just a little bit more toward the strange and the beautiful. Paul was the romantic one he gave us “Yesterday,” and “Here, There and Everywhere.” But don’t be fooled he could also turn on the gasoline and light it too. Just listen to “Helter Skelter”, that ain’t no lullaby. After the Beatles, Paul didn’t fade. He kept movin’, like a rolling stone on a mission. Wings took flight with “Band on the Run,” and he wrote songs for frogs, orchestras and to other youngsters out there. The guy can do it all — rock, pop, classical, even a little electronic now and then. He’s like a jukebox made outta stardust and stubbornness.
They gave him a knighthood, but Paul was already royalty, the kind you don't need a crown to recognize. He’s been on more stages than a Shakespeare company and written more melodies than a mockingbird on a sugar high.
So here’s to Paul, the oldie with a bass like a rifle and a heart full of harmony.
ink watercolor on paper
contact ibarraloana@gmail.com
Two different ways of approaching self-portraiture. The result of a reasoned meditation, which art requires.
“Loanification” 70cm x 100cm
Acrylic, embroidery on canvas.
“Untitled”
Watercolor, embroidery on paper.
contact ibarraloana@gmail.com
Kim Weller "CYMK Pillows" 2002
metal chain, glitter, pom poms, leatherette, batting, image transfer, resin
Well, gather around folks, there’s a tale to tell about a lady on an album cover who wears a spell. It’s Mellon Collie and the Infinite Sadness, 1995, The Smashing Pumpkins’ ride on a rollercoaster sky alive.
Now, that face you see, all longing and pale, came drifting down from a painting, a French tale. Jean Baptiste Greuze, 1797, called it The Souvenir, eyes like they’re carrying decades of fear. But the body, oh, the body it’s from another age, Raphael’s Saint Catherine, 1507 on the page. A Renaissance echo stitched into a collage, a Frankenstein dream, born from a visual mirage.
You see, Billy Corgan had plans, Victorian in kind, a band in oil paints, a moment in time. But John Craig, the illustrator, got the album in his ear, and whispered, “Let me wander, let me steer.” Faxes flew like pigeons in the wind, Corgan said, “Go ahead,” let the magic begin.
A color copier spun the colors just right, celestial backgrounds from old books, a child’s delight. Craig spread faces across his table, a dozen or more, picked the one that sang, let the Raphael dress soar. Rippling like rivers, primary colors ablaze, a cover born from chaos, yet calm as a gaze.
And so it stands, this icon in history, a lady of sadness, of beauty, of mystery. Not just a picture, but a song without sound, a floating vision where melancholy’s crowned.
So, that’s it, you’re welcome.
//your always nerdy Loana Ibarra
A Glitch ”Hunah K’uh (Χουνάκου) ~ Ètude II”
by ™℗®© Louis M o n t i e l
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Interpretes-criadores: Marcio Antunes, sabrina Viana, Renato de Sena, Gustavo Fonseca
Direcao de video e arte: Douglas Caleja
Orientacao: Joana Ribeiro
Cenografia: Rene Salazar
Op. de video: Felipe Collyer
Op. de luz: Ge Lisboa
Direcao: Gustavo Fonseca
A Glitch "Kinjiki (couleurs interdites) ~ Ètude VII”
by ™℗®© Louis M o n t i e l
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It is said that in ancient Greece, the pomegranate was known as the ‘fruit of the dead’.
Tulips, on the other hand, symbolize rebirth and new beginnings.
I don’t know about that.
... and I keep my ears open for those elusive sounds, soft and brittle like the rustling moments of conversations between those absolute curtains and an inquisitive sun ...
A Glitch "Ormeau Rouge (κόκκινο κολύμπι) ~ Ètude I”
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
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#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: La Soga.
Autor: Patrick Hamilton.
Dirección: Matías Gandolfo – Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Actors Studio Complex.
Temporada: 2003.
Fotos: Mariana Del Gener.