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In un'ora soltanto, ogni suono d'incanto cessò
quando venne il momento senza un avvertimento
cambiò per sempre.
(...)
Dimmi solo cose piccole, parole stupide
perché la cenere su quelle forse non si poserà
se dopo veramente
niente resterà come prima
Niente e nessuno rimarrà,
neanche la luna.
youtu.be/_FWvc0HfLjI
Matters of Decay | Paintings by Constance Mallinson
Jun 09, 2012 - Jul 28, 2012
Closing Reception, Jul 28, 2012, 6:00 PM - 9:00 PM
Constance Mallinson uses the traditional genre of landscape painting to suggest a new way of looking at the world. For the last 25 years her large scale oil paintings have consisted of a unique painted "collage" technique in which she constructs panoramic landscapes from thousands of photo derived images via an Old Masters technique. In addition to expanding the traditional single view landscape to incorporate multiple views, perspectives, time frames, and narratives simultaneously, her paintings have dealt with the complex global environmental issues we are now facing. In the past few years, she has used her collage process and technical virtuosity to make large-scale paintings that merge the man-made world and nature literally by constructing figures from images of leaves, twigs, and decaying organic material. They are grotesque meditations on both the mortality of humans and the world in which they live. Her full-figured "nature people" reference both the works of Giuseppe Arcimboldo, the 16th-century Italian known for paintings in which still life objects are used to form surreal portraits, and famous paintings, such as Edouard Manet’s 1863 seminal painting "Olympia."
In examining her recent paintings created from decaying matter, L.A. Times critic Christopher Knight wrote that "after painting savvy landscapes for more than twenty five years"… the current "imagery suggests the way in which we project ourselves on conceptions of nature, creating the natural world even as we go about assuring its destruction."
Mallinson has had numerous group and solo exhibitions in galleries and institutions ranging from Ace Gallery, Santa Monica Museum, Los Angeles Municipal Art Gallery, Angles Gallery, and Pomona College Art Museum. She has been the recipient of a National Endowment of the Arts Fellowship, City of Los Angeles Artist Grant, and has attended residencies from the Djerassi Foundation to the Santa Fe Art Institute. Her work is represented in the collections of Los Angeles County Museum of Art, Orange County Museum of Art, San Jose Art Museum, Pomona College Art Museum and many private corporations and collections. She has also taught painting and theory at many major universities in California that include UCLA and Claremont Graduate University. In addition, Mallinson's criticism and writing has appeared in many art publications from Art in America to the current internet journal The Times Quotidian. More information on her work can be found at constancemallinson.net/.
For more information visit www.culvercenter.ucr.edu
I walk past this most days with my dog, so today I popped in on my own to get a closer look; I had an idea that it might work for a photo competition on a forum where this month’s theme is “Decay”. It’s not as decrepit as I expected, and not really that interesting, but I did like these five shots.
The old Snuff Mill at Crosskirk, decay moves on, it's position vulnerable to the sea from the north.
A very photogenic site, but difficult, I only have a few images that I am pleased with.
Crosskirk, Caithness, Scotland.
Factory Vroum in medium format and B&W film : Kodak Plus-X 125 Pro expired in 2001.
Shot with Yashica MAT 124G, Kodak Portra Plus-X 125 Pro (expired 2001), lightmetered with Viceroy exposure meter (very good and cheap light meter). Developed by Photon photo lab (Toulouse). Scanned with Epson Perfection 2450.
No graphic content in comments please! Thanks
Quick mess around in college it's for my theme in Photography 'Vehicular Decay' Happy with the outcome. :)
Virtual Decay by Maddison Mokeev.
Second Life Region: slurl.com/secondlife/Virtual%20Decay/128/128/26