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Opium Evolution
Part Two of the HUNGER GAMES Fashion Show. Shows again Sunday 10th at 10am
Xandrah Sciavo
Williie Wagtail
As Mum works on a new nest, the recently fledged young one thinks its hunger is more important.
a shot from the Irish Hunger Memorial at Battery City Park in NYC.
It was my first time there and it was an unexpected treat...nice parks and cool views of the statue of liberty.
Hunger Games characters:
Finnick(75th Hunger games), Haymitch(District 13), Katniss(74th Hunger Games), Primrose with Buttercup, Peeta(Capital/Hijacked), and Peacekeeper.
I am also on holiday break so hopefully I can create some new stuff with the time I have.
For Mystic Realms Faire!
HUNGER GAMES
Seemingly stepping into the days of past
A hunger crawls over my frail bones
I hunt the birds of prey
And thank the life of the sea
For they feed my soul and
My maw with lesser moans
By night I’m abundant
And celebrate by dance
But then there’s tomorrow
To ushers a new unknown
By Bambi Chicque
♒♈♒
Delight yourself here: bampulegacies.com/2014/10/12/hunger-games/
Hunger strike memorial adjacent to the A1 Newry Bypass outside Newry, County Down, Northern Ireland.
Outside the pagode we are confronted with a other side of Myanmar
“The day hunger is eradicated from the earth, there will be the greatest spiritual explosion the world has ever known. Humanity cannot imagine the joy that will burst into the world on the day of that great revolution.”
- Federico Garcia Lorca, Spanish poet and dramatist (1889-1938)
broccoli leaf from the garden
Alameda, Calif.
setup: black table top, YN 460 strobe 1/4 power bounced off wall on camera left - taken with some ambient window light at back
Now I'm not much of a reader, but I'll admit that The Hunger Games is a great book! Having only just read it, I'm now waiting to read the next two. Plus there's a movie being released...
Anyway, I'm thinking that my next build could be themed around The Hunger Games, maybe? This minifig' I just threw together for Katniss...obviously I'm going to paint the bow silver and probably change the torso and maybe the head/and hair. In fact, when I have more time I'll redo her :P
Don't expect anything soon though, college starts tomorrow so my months of doing basically nothing are over :'(
bed fellows. Winter hunger can be a strange thing in nature. What you would think happens does not. Here we have a Gray Fox and a Skunk, eating sunflower seeds at the same time. I watched them for a few minutes and the both left the fox up the hill and the skunk back to her den under the shed.
Our backyard around 3am or so.
Southeastern, Connecticut
The Darkness is deep the hunger is like a beast... Its time to feed, the past is dead, love is a fairy tail, the heart has died beaten to hell, but now you feel nothing so its hard to tell. All there is left is what you have become left by an uncaring one.
Untitled (Hunger 4), 1996, 7" x 7" x 4", tempera on ceramic bowl. Private collection.
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had at Art Space Seoul in Korea in 1997. A couple years ago, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
Click the following link for an essay on this and other work included in an exhibition at Art Space Seoul in Seoul, South Korea in 1997.