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"Aotearoa," Emirates Team New Zealand's AC72 catamaran performs a bear-away with it's gennaker or "code zero" sail up, beginning to foil above the bay of San Francisco.
On saturday 24th june we woke up, had breakfast and got ourselves ready. Then we marched to our target of the day: the OBA coal terminal of the Amsterdam harbour.
NO REPRO FEE / Press Use
DRESS CODE Event at Smock Alley Theatre last night, 15th October 2015
Dress Code is a charitable collaboration between Sigmar Recruitment and Dress for Success Dublin who help get women back to work in style with confidence. Inaugural event hosted by Sonya Lennon showcasing the finest Irish designers including Niall Tyrell, Lennon Courtney, Heidi Higgins, Caroline Kilkenny, Jennifer Rothwell and Style –Ikon
Pictured:
Photographer: 1IMAGE/Bryan James Brophy
1IMAGE PHOTOGRAPHY
Studio: +353 1 493 9947 / Mob: +353 87 246 9221
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Code in monolaccato lucido bianco artico, elementi a giorno laccato opaco blu prugna.
CODE in gloss arctic white monolacquer with open elements in plum blue matt lacquer
The tension held by Myre’s ceramic forms is present in a large body of work produced by the artist from 2018 onwards, titled Code-Switching. During an artist residency in London, the artist walked along the River Thames at low tide, climbing down steps to the water’s edge from St. Paul’s Cathedral. Protruding from the river mud, the ceramic beads she was able to search for and collect, on closer inspection, felt familiar to the shaped shells used to weave wampum. Bringing them back in a small box to her studio in Canada, the artist returned to these mudlarked finds a few years later. Following research, Myre discovered that the beads were not in fact beads, but shards of clay tobacco pipes, discarded primarily by sailors and those working on the docks of the Thames, when central London looked very different. Contact between Europe and the Indigenous peoples brought traders into contact with tobacco and, quickly thereafter, the production of clay pipes began across Britain – from London to Glasgow, Liverpool, Manchester and Bristol – with long stems pre-stuffed with tobacco meeting a decorative bowl. The pipes were considered disposable and, in the intervening centuries, these discarded remains evolved into what the artist calls "archaeological refuse."
Found when mudlarking along the Thames, these shards are easily mistaken for small bones. They appear fragile and skeletal, yet are also resilient, having been washed along the riverbed for hundreds of years. They are precious in the sense of historical value, yet exist in the river in some quantity. Seen as decorative despite their functional purpose, they are both plain and full of patina, with marks and scuffs reflecting their use and existence.
Myre has used shards directly by weaving them into sculptural forms, but has primarily cast from them, with basket, rope and net-like forms emerging as a result. The artist has also worked with these items through this photographic series. Myre’s photography of the pipe remnants is not what it seems at first sight: the prints were taken not with a camera, but with a high-resolution scanner, whose lamp and sensor move back and forth to capture the object’s data through reflections. It may seem a small differentiation, yet this reveals a different kind of looking: the object is surveyed rather than captured straight on, and the foreground is drawn into sharp focus whilst background precision is lost.
I'm a bit disturbed by how much Emily's enjoying colour coding the bookshelf.
Finding books will certainly be more exciting in the future.
You won't appreciate the full madness unless you turn your sound up!
Started making a programmable timer a few weeks back. The Arduino code at the moment is stupendously long and untidy.