View allAll Photos Tagged draping
Drape me, take me, hide me away.
What most attracted me to click this picture was the way clouds draped the setting sun. For the first time I felt that the Sun wanted to say something unusual. It seemed that the sun is crying for help, support, wants someone to listen to his yearns. But all of us are busy. So busy in our life that even if we notice we don't really care to help! This reminds me of a song Phil Collins - "Another Day In Paradise".
He walks on, doesn't look back
He pretends he can't hear her
Starts to whistle as he crosses the street
Seems embarrassed to be there
This picture has been taken on a highway from a moving car.
Dancer: Lara www.larabellydance.com
Photo by Michael Baxter, 2011.
Costume by Bella.
Visit Lara online at www.larabellydance.com
Arthur Dupagne, Saison sèche (Dry season)
and
Jean Pierre Müller, Drapé (Draped), 2019
When conceptualising the renovation, consideration was given, among other things, to removing the colonial statues in the large rotunda from their niches. The competent heritage services pointed out to the museum that the works of art were an integral part of the protected building.
The AfricaMuseum then decided to add elements instead of removing them. In 2015, the museum organized a competition, targeting African artists or artists of African origin to create a work of art that would counterbalance the colonial statues.
However, in the months following the museum's reopening, many visitors expressed their incomprehension about the preservation of the colonial statues in the large rotunda. The museum's desire to convey a decolonial message was not always received by visitors, despite the explanatory texts.
Aimé Mpane, a Congolese artist who had already created his work ‘Nouveau souffle ou le Congo bourgeonnant’ and ‘Skull of Lusinga’ for the big hall, then asked the Belgian artist Jean-Pierre Müller to join him in confronting the colonial imagery of the same big hall and the heavy history it embodies. The result of their collaboration is the RE/STORE project which, with the approval of the Flemish Agency for Immovable Heritage, completes the redevelopment of the large hall.
Sixteen semi-transparent canvases on which contemporary images are printed were hung at a short distance from the existing images. The overlapping of the images creates a visual and semantic shock. A new reading of a heavy heritage becomes possible and its historical and ideological content is questioned. RE/STORE is revelation and restoration.
Source: Text translated from Dutch
and
www.africamuseum.be/en/about_us/history_renovation
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Bij het conceptualiseren van de renovatie werd onder andere overwogen om de koloniale beelden in de grote rotonde uit hun nissen te halen. De bevoegde diensten voor Onroerend Erfgoed wezen het museum erop dat de kunstwerken integraal deel uitmaakten van het beschermde gebouw.
Het AfricaMuseum heeft dan beslist elementen toe te voegen in plaats van weg te nemen. In 2015 organiseerde het museum een wedstrijd en richtte zich daarbij op Afrikaanse kunstenaars of kunstenaars van Afrikaanse oorsprong om een kunstwerk te creëren dat een tegenwicht zou bieden aan de koloniale beelden.
In de maanden na de heropening van het museum gaven veel bezoekers echter uiting aan hun onbegrip over het behoud van de koloniale beelden in de grote rotonde. De wil van het museum om een dekoloniale boodschap te brengen, werd door de bezoekers niet altijd opgevangen, ondanks de verklarende teksten.
Aimé Mpane, een Congolese kunstenaar die al zijn werk ‘Nouveau souffle ou le Congo bourgeonnant’, en ‘Schedel van Lusinga’ voor de rotonde gemaakt had, vroeg vervolgens aan de Belgische kunstenaar Jean-Pierre Müller om samen met hem de confrontatie aan te gaan met het koloniale beeldenpatrimonium van de rotonde, en met de zware geschiedenis die het belichaamt. Het resultaat van hun samenwerking is het RE/STORE-project dat, met de instemming van het Agentschap Onroerend Erfgoed, de herinrichting van de grote rotonde afmaakt.
Zestien semi-transparante doeken waarop hedendaagse beelden zijn afgedrukt, werden op een korte afstand van de bestaande beelden opgehangen. De overlapping van de beelden creëert een visuele en semantische schok. Een nieuwe lezing van een zware erfenis wordt mogelijk en de historische en ideologische inhoud wordt in vraag gesteld. RE/STORE is onthulling en herstel.
Bron: www.africamuseum.be/sites/default/files/media/press/doc/D...
Persdossier – AfricaMuseum; Een stap dichter naar de dekolonisatie | 27 februari 2020
View from the end of the gym. Black fabric drape with large white lanterns. We hung six strips of fabric with 3 rows of lanterns. Total 45 lanterns and almost 600 feet of fabric.
New tutorial -Upcycle two shirts into this embroidered drape cardigan. If you can cut and sew things in a straight line, you can do this tutorial. If you can't, you should really put that glass of wine down and come back to this later.
Photography by Cajsa Lilliehook
Store info at Blogging Second Life
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dust bunny . christmas tree RARE 2014 Arcade
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Sway's [Snow Friend] Building kit RARE (c) @ The Arcade
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Just a quick and easy change! I just got these fall leaf barkcloth drapes. I thought it would be fun to switch out for the month of November!
I love the way the cedar trees drape over the river. Decades of wind and sun have formed such graceful branches.
All Saints, Eyke, Suffolk
This village straggles the busy road between Woodbridge and Snape; since the closure of the nearby American airbase, it is much quieter than it used to be, though when I came this way on a sub-zero day in January 2017 I was pleased to see that the village shop was still doing good business. Across the road, and set back from it, All Saints sits quietly, with no tower to lead you to it from afar.
At first sight, this is a simple, if uneven, little church, somewhat barn-like in its ancient graveyard. Tall elm trees around it are home to jackdaws and rooks; their cries fill the air as they wheel above you. A great yew caresses the south of the nave. The modern little porch gives no indication that you are about to enter one of the more interesting churches in this part of Suffolk.
As you step down into the square south aisle and nave (in fact, they appear wider than they are long!) the first thing you notice is a pair of gorgeous Norman arches, one about 10 feet to the east of the other, at the base of what was once the central tower, although almost no indication remains of it from the outside now. Beyond them, the chancel opens up, its height accentuating the lowness of the arches which lead into it.
Sam Mortlock argues that All Saints was probably a cruciform church as at Pakenham in west Suffolk, with the south chapel leading off from the south-east corner of the nave taking up part of what was a south transept. Cautley considered a tripartite arrangement more likely, as at Newton-by-Castle-Acre in Norfolk, largely on the strength of the arches only having mouldings on the western side. One of the lower tower windows can still be seen on the eastern face from within the chancel, and looks most curious. A bell rope disappears up into the ceilure. Although the western arch only has one band of chevrons, the eastern arch has two. If you look closely at the nave roof immediately in front of the western arch, you can see traces of paint, evidence of a one-time canopy of honour to the now-vanished rood. There is a small collection of medieval and continental glass in the chancel north window, including a high quality scene of St Bridget feeding the beggars, two jolly mermaids and what appear to be the arms of the Borough of Great Yarmouth.
Edward Hakewill carried out the restoration here in the 1860s. He is responsible for the angels on the wall plate of the nave. The south aisle isn't really an aisle at all, more a completion of the square between original nave and south transept. The south transept (if such it was) had been a chantry chapel, often referred to as the Bavents Chantry. Lavers, Barraud & Westlake supplied the glass for Hakewill's west window, as well as a smaller lancet on the east side of the south transept, but the woodwork in the church is rather more recent, and an interesting story pertains to it.
Like several other Suffolk churches, including Waldringfield across the estuary, a family dynasty of vicars was responsible for the Anglican revival in this parish. These were the Darlings, James pere et fils. They held this living for 80 years, between 1859 and 1939. The father oversaw Hakewill's restoration of what had become a near-derelict church. The son, who took over in 1893, had a passion for woodcarving. He taught his parishioners the skill at night classes in the village school. Between them, the villagers produced the benches, font cover, organ case, chapel screen and reredos. If you look at the bench ends, you will find James Darling's pet dog, and some other unlikely animals including a beaver, a snake, a squirrel and a penguin. A crowned figure with a rosary on the poppyhead of one bench probably represents the Blessed Virgin, and a seated cleric with a smile on his face is probably James Darling himself. The pulpit is Darling's memorial. The workshop's bench ends can be found in half a dozen other east Suffolk churches.
The east window is a rather sombre affair, also by Lavers, Barraud & Westlake, showing the children coming to Christ while angels try and demonstrate what Charity looks like. The parish's most famous treasure, the 15th century Eyke key, is now in the British Museum. Its wards are shaped to make the word IKE, an alternative form of the village name. I was disappointed to discover that the doorlock has been changed since, but I suppose retention of the original would have made this the easiest of all churches to break into. A fibre-glass copy hangs on the wall.
It pleases me to come back here. It is now seventeen years since my first visit, on New Year's Day 2000, I was the first person of the century* to sign the visitors book, and it was pleasing to turn back to it on my return in 2006 and 2010. But I have left it too long, and on my most recent visit in 2017 I found that a new visitor's book had taken the place of the old one. Ah well. Back in 2000, the nice lady practising the organ had told me that one of the Reverend Darling's daughters was still alive, and occasionally visited to see again her father's and grandfather's handiwork. In 2010 I wondered if she still did, but now some seventeen years have passed, and I suppose she does not any more.
*Yes, I know that pedants will tell you that the 21st Century began on New Years Day 2001. Don't listen to them.