Visual Candies
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Artwork made for "Visual Poems" Exhibition at THE EDGE Art Gallery
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ANCIENT CATHEDRALS
How many lives passed
within these cold stormy walls
Saints, heroes, murderers, poor people
Everybody looking for something
Now the clamor of the centuries is over
I will await here silently
among this gathering of rustling shadows
that someone tells me about your broken lives
In the middle of that thick scrub
between erased names
faded photographs
where all ambitions end
behind corroded stone writings
© Eli Medier
Taken at Netherwood
The fascinating thing of chameleons are their eyes. They could be moved in every different direction. So they could watch back and forward at the same time!
Please respect my copyright. No use of the photo without my expressly permission.
And: I don't like Comment-Codes, "awards", or such groups. They will be deleted. Explanation at my profile. Also please don't post pictures in the commenting-area. You could post them much better in your own photo stream. Your own words will mean much more to me than a universal-text. ;-D
Second Life Black & White Photo Competition
www.flickr.com/photos/michielbechir/45206175455/in/datepo...
- Nandini, de 8 años, estudiante de tercer curso de primaria, delante de la lección del día en la pizarra de su escuela.
......................................
¡rosas del anhelo,
voces del consuelo,
amores del cielo!
.......................... vitrales (Fragmento)/ Ramón María del Valle Inclán.
*Esta exposición fotográfica reúne un torrente de imágenes representativas de las comunidades rurales de la India y cautiva por la calidad compositiva y la viveza de sus imágenes. De la mano de la fotógrafa CRISTINA GARCÍA RODERO descubrimos la mirada de sus gentes y nos adentramos en un paisaje que parece suspendido en el tiempo.
La muestra ahonda en lo más sensible y mágico del mundo femenino y en la fuerza y capacidad de superación de las mujeres de Ananpur (Andhra Pradesh). La fotógrafa se acerca a ellas con un respeto reverencial.
La autora transita por un entorno de veredas encharcadas y claroscuros, buscando siempre en las profundidades de sus personajes para adentrarse en historias de la vida que enaltecen la condición humana.
A través de su obra, nos propone una particular forma de ver la India, un mundo complejo y fragmentado. Cada fotografía construye un código visual coherente y, sobre todo, trascendente.
*Presentación local/ Diputación de Guadalajara
*Comentario:
El arte de CRISTINA, entrañable, traduce de las imágenes, lo que ella sabe ver en lo que mira, para hacerlo ver a su vez. En un terreno duro, donde la vida transita sin versos, la dignidad no pierde altura, aliviando el peso al que confronta, invitando a la proximidad, desconociendo el rechazo
"If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it." Joseph Beuys, 1969. Ignore the Exif data, this shot was done with the Helios 44M-7 wide-open.
I must admit this hasn’t been the first time to have experienced this unique bonding, when the bird accepted my presence and wouldn’t fly away. Call it “interspecies communication" if you wish, or telepathy - I don’t know (smile).
After taking a few good shots with my 400mm f5.6, I have decided to take the chance and switch lenses, for a shallower DOF. The cute owl didn't move a bit. I must admit having experienced a feeling of acceptance and trust. I gave the owl its space by not getting too close.
Shot taken at f2.8 with Canon 5dIII coupled with canon 70-200 f/2.8 II.
Clark's Woods - Iowa
Didn't have to venture out very far to capture the early morning delights. Buds, blossoms and leaves are finally "popping" announcing that spring is here in the heartland!
The variety of colors, shapes and size makes a walk in the woods worth the effort!
Photo Art - Copyright 2018
Isis Scissorhands never ceases to amaze me with her exquisite creations. Deeply grateful for this set that I used for our Community Virtual Library activity, Holidays Around the World. Album here: www.flickr.com/photos/pi_illios/albums/72157718842036986
Between visuals and music of the nutcracker and sharing our traditions in each of our countries we had a fantastic afternoon!
Compositionally Challenged Week 10
Visual tension
March Bonus Challenge - Abstract with a twist
Shot with a "Mystery fast lens" on a Canon EOS R5.
The visual impression of Illinois’ agricultural landscapes is one of expansive openness, where the sky meets the earth in an unbroken line, punctuated only by the occasional farmhouse, silo, or grove of trees along waterways.
It is a landscape dominated by monoculture crops, primarily corn and soybeans, which stretch across the horizon in neat, orderly rows. The area is predominantly flat with gently rolling hills, and the soil is exceptionally rich, thanks to thousands of years of organic matter accumulation from deep-rooted prairie plants. This has made Illinois one of the most productive agricultural states in the United States.
An ominous view over Clear Lake yesterday morning as the weather forecast was predicting freezing rain, sleet mixed with snow for our area starting late last night!
Well guess what? The weather man must know what he is doing because that is just what we are experiencing here this morning!
Sigh . . . not good!
Copyright 2024
Credits:
[CX] Crux Septum
.::Nanika::. Bumblebee Jewelry:
Necklace-Bracelet-Earrings-Crown RARE@ The Gacha Guardians
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Eliavah ~ Ephermeral Bandeau @ Mainstore
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LeLutka Bento Head - CATE
This image of my eye was shot by Gabrielle Mensah
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I wanted to post it here as I felt she would get more feedback from my lovely followers here on flickr!
Laguna Miscanti / Reserva Nacional Los Flamencos / Deserto do Atacama / Chile.
4.300 metros de altitude.
2
M+ Art Museum; West Kowloon cultural district
A museum "dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries"
Ilulissat Icefjord Greenland My 500 link 500px.com/yiannispavlis my facebook www.facebook.com/YiannisPavlis4/ my instagram
An image taken when I was in New Mexico photographing an Indian Day School in Sanostee, near Ship Rock. It was a pretty breezy evening with red dust blowing. I turned around to get the wind out of my face, and this is the view I saw. That's Mitten Rock on the right and the road is Indian Service Rte 13 heading towards Arizona.
Rarely am I so confused about the situation when I was taking a picture.
One day I ran into the Łódź Photo Festival. There was a looped film projection in one of the side rooms. Two young people watched it. The scene looked compositionally ok (although it was very dark) so I photographed it. My frustration in the subject of the description comes from the transmission of the material, for me it reminded me of an endoscope inserted into a tube. Maybe I don't know much about art or maybe I'm just not in the target group of recipients of this film material (even for sure).
The Brighton Eye
Brighton used to have a Brighton Eye the same as this one but it had to go when Brighton and Hove City Council agreed a deal with British Airways to build the i360 on the site of the old West Pier. The attraction cost £46 million, with £36 million being funded by a Public Works Loan Board (PWLB) loan through B&H City Council.
Formerly known as the "Brighton i360", the project aimed to attract up to 800,000 paying customers every year. The owner of the site, the West Pier Trust, hoped in 2014 that a successful i360 would lead to the rebuilding of the historic West Pier.
In June 2018, disappointing visitor numbers forced the owners to ask B&H City Council and the LEP for better loan repayment terms. The local paper reported that "in the first full year, from August 2016, the i360 had just over 500,000 visitors, significantly fewer than the 800,000 predicted." The shortfall in visitors was blamed on “poor weather and the unreliable train service to and from London”.
The i360 made a loss of more than £5 million last year, the latest financial reports have revealed. B&H City Council are now owed almost £48 million as the attraction suffered another successive year in the red.
Photo Description (Gemini AI)
The Spiritual Realism of Gib Singleton: Materiality and Supplication in "Opening the Heart"
Visual Analysis of the Monumental Courtyard Installation
The photograph showcases a monumental, life-sized bronze sculpture titled Opening the Heart by the renowned American sculptor Gilbert "Gib" Singleton. The sculpture is installed in an outdoor courtyard along Canyon Road in Santa Fe, New Mexico, positioned directly in front of the Legacy Gallery. The composition is framed against a classic Pueblo Revival adobe building with soft, rounded, terracotta-tinted plaster walls, exposed dark wooden vigas (roof beams) projecting above a recessed entryway, and a partially visible bronze plaque reading "LEGACY GALLERY" in the background.
At the center of the image, the bronze figure of a Native American man stands on a flat, circular bronze base, which rests on a elevated, square masonry pedestal topped with a cracked, rustic stone slab. The figure is captured in a state of profound spiritual supplication, with his head tilted completely backward, facing the sky. His eyes are closed, his face is serene yet emotionally charged, and his mouth is slightly parted in prayer or song. His muscular arms are thrown wide and high in a dramatic "V" shape, with his hands open and palms facing upward to the heavens. He is adorned with traditional Native American elements: multiple strands of thick, textured beaded necklaces, bracelets on his wrists, a loincloth, and heavily textured, fringed leather leggings and moccasins.
To the right of the figure’s feet, resting on the masonry pedestal, is a highly detailed, hollow bronze sculpture of a bighorn sheep or ram skull, its prominent curled horns adding a stark, desert-themed iconographical element to the base of the monument. To the left of the sculpture, also resting on the stone-slab pedestal, sits a large, rounded ceramic planter. The planter features a rich, glossy glaze that transitions from a deep, earthy crimson red at the base to a dripping, cobalt blue and turquoise wash at the rim. This vessel is overflowing with vibrant, living flora, including tall, spiky green ornamental grasses, purple petunias, yellow pansies, and bright red tubular wildflowers.
The scene is bathed in the brilliant, high-altitude sunlight characteristic of northern New Mexico, which casts sharp shadows beneath the pedestal, the planter, and the sculptural folds of the bronze figure’s clothing. Behind the adobe building, a delicate deciduous tree with deep burgundy or reddish-purple leaves stands out against the warm plaster, while taller green trees frame the left side of the composition under a vibrant blue sky filled with soft, wispy white cirrus clouds.
The Artist and the Aesthetic of Spiritual Realism
To understand the stylistic and emotional weight of the sculpture in the photograph, one must examine the life and artistic philosophy of its creator, Gib Singleton (1935–2014). Represented heavily in the elite gallery spaces of Santa Fe, Singleton pioneered a genre he termed "spiritual realism" or "emotional realism". Trained at the Art Institute of Chicago and later at the prestigious Accademia di Belle Arti in Florence, Italy, Singleton developed a deep mastery of classical European bronze casting. While in Italy, his technical expertise was so highly regarded that he assisted in the restoration of Michelangelo’s damaged Pietà.
Despite his classical European training, Singleton returned to the American West, where he fused his deep spiritual beliefs and familiarity with Biblical narratives with the mysticism and iconography of Native American culture. His works are instantly recognizable by their highly expressive, tactile surfaces. Singleton chose not to polish his bronzes to a smooth finish; instead, the bronze retains the raw, gestural finger marks, tool textures, and clay-working scars from the original wax and clay maquettes.
When placed in the intense, direct sunlight of Santa Fe's high-altitude environment, these heavily textured surfaces perform a critical visual role. The rough, hand-worked bronze catches the light unevenly, generating deep shadows within the hollows of the muscles and brilliant highlights along the raised ridges of the figure's arms, necklaces, and fringed leggings. This interaction between light and rough metal gives the sculpture a flickering, lifelike quality, making the stationary figure appear to vibrate with spiritual energy as the sun moves across the sky.
Iconography and the Southwestern Landscape Dialogue
The composition of Opening the Heart utilizes a powerful triad of visual elements—the supplicant human figure, the hollow ram skull, and the thriving floral planter—to establish a symbolic dialogue on life, mortality, and transcendence.
The Supplicant Figure
The central figure's physical posture is a universal gesture of surrender and connection to a higher power. By throwing his arms wide and tilting his head completely back, the figure exposes his chest and throat, displaying vulnerability and absolute trust in the cosmos. The closed eyes and slightly parted mouth suggest an internal, meditative state that transcends the physical surroundings, converting the gallery courtyard into a sacred space.
The Bighorn Ram Skull
Positioned at the figure’s feet, the bronze ram skull serves as a classic Southwestern memento mori. It represents the harsh, uncompromising reality of the desert, physical mortality, and the remnants of past life. The contrast between the upright, living posture of the man and the hollow, earthbound skull beneath him emphasizes the cyclical nature of existence.
The Glazed Planter and Living Flora
The inclusion of the glazed ceramic pot, bursting with green grasses and brightly colored wildflowers, acts as a vital counterpoint to the static bronze and dry adobe walls. While the bronze skull represents death and the bronze figure represents spiritual aspiration, the living plants represent the physical renewal of the earth. The dripping blue and red glaze of the pot mimics the colors of water and earth, anchoring the installation to the immediate, tangible ecosystem of the high desert.
Cultural and Architectural Integration on Canyon Road
The placement of Opening the Heart in front of the Legacy Gallery highlights the deliberate spatial curation that defines the Canyon Road art district. By positioning a highly vertical, expressive sculpture against the low, heavy, horizontal planes of a Pueblo Revival adobe building, the curators create a powerful visual tension.
Adobe architecture, rooted in the ancient building traditions of the Pueblo and Spanish cultures, represents a grounded, earthbound aesthetic. The soft mud-plastered walls seem to emerge directly from the soil, emphasizing mass, shelter, and horizontal lines. When Singleton's figure is placed in this context, his upward-reaching arms and skyward gaze break through this horizontal plane, acting as a visual lightning rod that directs the viewer's attention away from the terrestrial architecture and up toward the vast New Mexico sky. This architectural dialogue reinforces the core theme of the sculpture: the human attempt to rise above physical boundaries and establish a direct connection with the infinite.
The most famous street in Santa Fe, New Mexico, is Canyon Road. Located near downtown, this historic half-mile stretch is world-renowned for its high concentration of art galleries, studios, restaurants, and adobe architecture.
www.tripadvisor.com/Attraction_Review-g60958-d117221-Revi...
Over 80 art galleries line this charming Santa Fe street. Make sure you set aside a few hours of your stay to walk down Canyon Road and see the world-class art on display here, which ranges in style from historic Native American art to contemporary painting. In addition to art galleries, you'll also find boutiques and restaurants along Canyon Road. Be sure to take note of the adobe architecture in this atmospheric arts district. Canyon Road has a very long history, and many of today's galleries and shops are located historic buildings that were once homes, schools, or grocery stores. You can wander Canyon Road on your own, or for more insight on the history of the area and the artwork on view, guided tours are available.
New Mexico 2026
In dreams, I see shapes and colors like these and I hear music as the shapes and colors change. It seems perfect to imagine those feelings and sensations with fractals.
AB FAV for today…
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I had been 'playing' with this concept for a while in my head. I called it (instead of the Silence of the Lambs) the Silence of the Bird. When I had the final result, it came to me immediately: VISUAL SILENCE.
I don't often 'dive' into the digital 'magical' darkroom that photoshop can be, but for certain projects it is a great creative tool!
Here, in the case of visual silence, what is being absorbed is not sound but gaze.
If silence is the absence of noise, then this visual silence is defined as the gradual absence, the vanishing, of what surrounds it, where we burrow from the visible surface to the invisible core. Our focus on the image involves a diminution of the optic field:
in this sense, visual silence is like a poem, its power arising from its sheer vulnerability. The image cannot be penetrated even by the most powerful of gazes because it is already open, in full view... and yet the transparency of the image, one that does not attempt to hide anything, is still capable of mystery.
Visual silence arrests us because it is the interface between two realms of partial knowledge: between he who does not know he is being watched and those who do not know what they are watching.
Some images leave us speechless, we watch them in silent awe.
Ultimately the camera is merely an extension of the human eye, it only sees and cannot wholly know what it is seeing.
May PEACE be with you and thanx for everything, M, (*_*)
For more of my other work visit here: www.indigo2photography.com
Please do not use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
Ma nature takes a swing at Hollywood's visual effects wizards, covering 10 million local residents with a single cloud. Your move, LA.
Here is my first attempt at architecture. I admire people who can just take those photos that are perfectly aligned or even know how to edit them so they are straight.
Well I dont know either but I do know that to see all these shapes in one place at a time aligned with the light and shadow is utter magic.
Here is a special thank you to my friend who brought me there. And saw me freaking out at this sight (: