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In the realm where dreams blend with reality, "Whispers of the Dreaming Soul" emerges as a profound exploration of the ethereal dance between the conscious and the subconscious. Through vibrant hues, daring shapes, and emotive textures, this collection invites you on a journey deep into the heart of human emotion, where the lines between the seen and unseen are beautifully blurred. Each piece serves as a gateway to understanding the unspoken dialogues within us, offering a unique perspective on the continuum of existence. As you immerse yourself in this exquisite display, allow the whispers of the dreaming soul to guide you through a landscape of inner discovery and transcendental beauty.
Poem:
Upon the Canvas of the Night
In strokes of shadow, bursts of light,
A dreamer paints the soul's flight,
Where fears and hopes in colors bright,
Entwine in dance, dispel the plight.
In depths where silent whispers dwell,
Beneath the conscious, surface swell,
Emotions in rebellion yell,
Yet in the chaos, beauty's spell,
Weaves tales that only art can tell.
A journey through the heart's domain,
Where joy meets sorrow, pleasure, pain,
And through the tempest, calm again,
The canvas holds, in every stain,
The essence of the dreamer's reign.
Within this realm, no boundaries known,
Where seeds of unseen worlds are sown,
Expression's purest form is shown,
And through such art, we're gently thrown
Into realms to us, previously unknown.
Haiku:
Dreams weave through the void,
Colours blend, emotions swirl,
Souls speak without words.
Metal tray
This is a photograph of a metal tray with some natural corrosion (animal pee). I have enhanced the color.
My dribble into photographic expressionism.
At first I didn't like the "Southern Comfort" cup (with water in it) in the picture--but then I decided it added an amusing 'stereotypical artistic lifestyle' effect to the photo.
Based on oil pastel painting, recomposed and layered in Photoshop. Printing on Canson Baryta (100/100 cm).
AbEx3D: Abstract Expressionism in Sculpture
Sat, Apr 21, 10 am
5th Ave at 89th St, New York, NY
Taught by artist and conservator Corey D'Augustine, this daylong workshop included an introductory slide presentation and a gallery tour of John Chamberlain: Choices. In the afternoon, participants experimented with three-dimensional materials and used assemblage, collage, and sculptural techniques of the 1950s and '60s during studio exercises.
Photo: Tanya Ahmed
Learn more about public programs at www.guggenheim.org/publicprograms
SKELETONS FIGHTING OVER A PICKLED HERRING
1891
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.