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Info from the Cathedral site:
Gaia at Chester Cathedral
Gaia is a touring artwork by UK artist Luke Jerram.
Measuring six metres in diameter, Gaia features 120dpi detailed NASA imagery of the Earth’s surface*. The artwork provides the opportunity to see our planet on this scale, floating in three-dimensions.
The installation creates a sense of the Overview Effect, which was first described by author Frank White in 1987. Common features of the experience for astronauts are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment. Watch this great film about the phenomenon.
The artwork also acts as a mirror to major events in society. In light of the current COVID-19 pandemic, the artwork may provide the viewer with a new perspective of our place on the planet; a sense that societies of the Earth are all interconnected and that we have a responsibility toward one another. After the lockdown, there has been a renewed respect for nature.
A specially made surround sound composition by BAFTA award winning Composer Dan Jones is played alongside the sculpture. In Greek Mythology Gaia is the personification of the Earth.
Gaia has been created in partnership with the Natural Environment Research Council (NERC), Bluedot and the UK Association for Science and Discovery Centres.
Gaia at Chester Cathedral opens on Tuesday 7 February to Sunday 5 March 2023.
Entry to view Gaia is free of charge, however, donations are welcome. Your donation to Chester Cathedral helps us to maintain our magnificent building and its estate for future generations, but also enables us to host events such as Gaia.
For more information see:
Luke Jerram’s multidisciplinary practice involves the creation of sculptures, installations and live arts projects. Living in the UK but working internationally since 1997, Jerram has created a number of extraordinary art projects which have excited and inspired people around the globe. Jerram has a set of different narratives that make up his practice which are developing in parallel with one another. He is known worldwide for his large scale public artworks.
Learn more about Luke here:
chestercathedral.com/gaia-luke-jerram/
#ChesterCulture
"Our humanity rests upon a series of learned behaviors, woven together into patterns that are infinitely fragile and never directly inherited."
Margaret Mead
The really amazing thing about being shut away and separated is that we are not so much shut away with all the communication possibilities we have, which makes our lives so much easier. I remember when I had children in Brazil and my family were in Britain, and Gerry, my husband's family were here in the USA it was almost impossible to talk to one another, even telegrams did not necessarily make it, we had to rely on the good old letter, that took its sweet time! But today through the internet etc I am able to keep in touch with my family and friends in Europe, Canada, South America and any state here in the USA. A miracle indeed! Always look on the bright side my friends.
My original photo was taken on the iPhone and then I added another work and new dimensions through PicMonkey and Photoshop and Lightroom.
This work is done for Continuing with my Positive Flags of the Nations with a tribute to Finding the Beauty That Surrounds Us. Also for Finding the Beauty in the World Today Despite the Hardships Given Us by the Coronavirus. And for the Monitor Madness group.
Thank you for your kind visit. Have a wonderful and beautiful day! ❤️❤️❤️
Star of Laufenburg Switzerland.
"In 1958, the German, French and Swiss power networks are interconnected and synchronised at the 220-kilovolt level in Laufenburg for the first time. With this act, the Central European states move closer together. The EGL substation known as the "Star of Laufenburg" marks the start of an integrated European power network. With this step, a cross-border power market is created. In 1967, the 380-kv country networks are interconnected for the first time at this substation in Laufenburg."
www.axpo.com/pl/en/magazine.detail.html/magazine/energy-m...
This installation had a pioneer role in establishing international connection and was one of the forerunner organization for integrated Pan European Electricity Industry. It was the first connection in continental Europe joining three countries.
ethw.org/Milestones:Star_of_Laufenburg_Interconnection,_1958
The Southern Railway of British Columbia, branded as SRY Rail Link (reporting mark SRY) is a Canadian short line railway operating in the southwestern British Columbia. The main facility is the port at Annacis Island with major import of cars, export of forestry products, and other shipments. The railway has interconnections with three Class I railroads, including Canadian Pacific (CP), Canadian National (CN) and Burlington Northern Santa Fe (BNSF). It operates a fleet of 29 locomotives, mostly consisting of EMD GP-9 & SW900 locomotives. It also rosters 5 unique Ex. Canadian National Railway GMD-1 locomotives, and also runs 3 SD38-2 locomotives, and 1 SD38AC. The railroad also operates a fleet 2,000 rail cars, hauling approximately 70,000 carloads per year. It operates around 123 miles (198 km) of track, 62 miles (100 km) of which is mainline track.
The Provincial government sold the railway to the Itel Rail Group in 1988. The railway was renamed the Southern Railway of British Columbia. The line was originally built in 1910 as the British Columbia Electric Railway (BCER), an interurban trolley service for passengers (until 1950) as well as for freight such as farm produce. The railway was taken over by Crown corporation BC Hydro in 1961, and was known as the BC Hydro Railway. In 1988 Freight rights, rolling stock and Rails were sold to Itel of Chicago with protected passenger rights at no cost. In 1994, it was bought by Washington Group International but kept the SRY name. The Washington Group has since merged with URS. To this day the Province and BC Hydro retain the right to reintroduce passenger service. Wikipedia
Thank-you so much for your overwhelming support. Always enjoy your visits and comments
Happy Clicks,
~Christie by the River
>>>Best experienced in full screen<<<
*** No part of this image may be copied, reproduced, or distributed outside Flickr, without my express written permission.
Design: Subject and style, write-ups, descriptions, words are my own ideas. Please do not copy. Thank-you
Star of Laufenburg // Stern von Laufenburg. Switzerland.
The start of an integrated European power net.
For more informations:
www.flickr.com/photos/nowovyr/50104525197/in/dateposted/
Kraftwerk "Metal on Metal"
Excerpt from www.oakville.ca/culturerec/public-art-and-exhibitions.html:
Still Life & Blind, 1988 by John McEwen
Aluminium and Steel
John McEwen is well known within Canada for his large-scale sculptures of animals, namely dogs, deer and wolves, which are often flame-cut from slabs of steel. The artist is interested in how these specific animals often spark a sense of mystery and magic in the human imagination, and can reveal the interconnections between what we often perceive separately as ‘nature’ or ‘culture’. In Still Life & Blind, the sparse outline of a deer is barely visible from a distance, seeming to stand at the lake’s edge. In its original installation, the piece also included a “blind” - a camouflaged place for humans to watch animals without being seen. Here, it acts as a prompt to consider the relationship between viewer and viewed.
It was only after I got home and examined this image that I realized there was no interconnection among any of the photographed people. A reflection of today's society.
“I think we will steadily become more receptive
to what love really means. There will be a
collective understanding of where we came from,
where we are, and where we are going.
I feel that we will increasingly sense a greater
interconnection and unity with the whole of existence,
and so we will become more gentle, more intuitive,
more caring, more giving, more loving as a result."
--Robert Lax to Steve Georgiou (p. 242, The Way of the Dreamcatcher)
When you are aware that you are thinking about an image, do you feel that there is a special location where this awareness is situated? For example, I have a feeling that my thinking is happening somewhere behind my eyes and that it is always in the “upright” position whether I am vertical or flat on the ground. The eyes (different from, say, the tongue) are hard-wired into the brain. The production of the image, however, is done far away in the Primary Visual Area - at the brain’s opposite end at the back of the head. There is just an enormous space within this hundred billion neurones organ (their interconnections not even included), and I am not aware that my consciousness does any travelling. This travel will involve language, in order to categorise and understand the image, and that would happen in Broca’s Area at the side of the brain’s frontal half (light years away from the visual centre - if we apply cosmic dimensions). When it comes to analysis and thinking proper, this whole convolute of information is being sent to the Prefrontal Cortex. Now you are in charge, and you are certain that the image above is upside down. But is it?
Fuji X-E2 plus Helios 44M-7 wide-open.
As the sun sets, the last rays of light filter through the winter sky, creating a soft, cold glow. The shadows of the emaciated branches are projected on the ground in a complex network of interconnections, similar to a natural puzzle. These stretched and distorted shadows add a mysterious dimension to the whole, giving life to a spectral dance in which the contours of the tree seem to move gracefully.
À mesure que le soleil se couche, les derniers rayons de lumière filtrent à travers le ciel hivernal, créant une lueur douce et froide. Les ombres des branches décharnées se projettent sur le sol en un réseau complexe d'interconnexions, semblable à un puzzle naturel. Ces ombres étirées et déformées ajoutent une dimension mystérieuse à l'ensemble, donnant vie à une danse spectrale dans laquelle les contours de l'arbre semblent se mouvoir avec grâce.
Wendelinskapelle, Kaisten, Switzerland.
The origins of the chapel, decicated to Saint Wendelin, root in the 16th century. The small chapel is overbuild by transportation grids that belong to the "Star of Laufenburg".
www.aargauerkapellen.ch/kapellen/WendelinskapelleKaisten/...
(Informations available only in german language, sorry).
Star of Laufenburg Switzerland.
"In 1958, the German, French and Swiss power networks are interconnected and synchronised at the 220-kilovolt level in Laufenburg for the first time. With this act, the Central European states move closer together. The EGL substation known as the "Star of Laufenburg" marks the start of an integrated European power network. With this step, a cross-border power market is created. In 1967, the 380-kv country networks are interconnected for the first time at this substation in Laufenburg."
www.axpo.com/pl/en/magazine.detail.html/magazine/energy-m...
This installation had a pioneer role in establishing international connection and was one of the forerunner organization for integrated Pan European Electricity Industry. It was the first connection in continental Europe joining three countries.
ethw.org/Milestones:Star_of_Laufenburg_Interconnection,_1958
"Viaje a ninguna parte, el Banco Mundial truncó las esperanzas de un ferrocarril transversal..."
Ferrocarril inconcluso de Baeza a Saint Girons.
🚩 Alcorisa station never inaugurated...
"In 1962, on the recommendation of the World Bank; The Spanish State decided to stop the construction of new railway lines and concentrate on improving those already operational. This meant that the government paralyzed the Baeza-Saint Girons railway.
In the south, the section between Baeza and Utiel, whose construction was very advanced, was paralyzed, and in the north the interconnection with France was ruled out.
Consequently, the line that should have crossed the heart of the Pyrenees would end in Pobla de Segur, despite having already prepared the ground to extend it to Sort".
Unfinished railway from Baeza to Saint Girons.
Excerpt from the plaque:
Monarch Dance by John Highley: Monarch Dance elevates and honours the intrinsic beauty and relationship between the butterfly and its host plant. Two generations of Monarchs dance around their flower, their energy, their life-force. This visual cue is one of many that our culture is contemplating to help notice and appreciate the value of native plants, animals and the interconnection of life.
Das Erdtuch von El Anatsui
Marien-Himmelfahrt von Peter Paul Rubens
www.instagram.com/kunstpalast/reel/C1Rhm7KIhG2/?ref=rt&am...
sammlung.kunstpalast.de/objects/148491/earth-cloth?ctx=cd...
sammlung.kunstpalast.de/en/objects/details/148491
Aluminium bottle caps, copper wire
(H x W)510 × 530 cm
About the workInterwoven world history: these works by the Ghanaian sculptor El Anatsui, made out of aluminium caps from bottles of alcohol, draw attention to the interconnections between Africa, Europe and America. Beginning in the sixteenth century, those in power on each continent engaged in the slave trade. African traders were often paid in alcohol. By reusing thousands of bottle caps, Anatsui links this historical retrospection with issues of modern society: the piece raises questions about consumption, trade and the environment.
AccessionAcquisition 2006
sammlung.kunstpalast.de/people/13054/peter-paul-rubens?ct...
Sorry my friends, I've been facing internet connections problem at home so I wasn't able to visit your stream yesterday.... I suspect that I may still face some issue on the internet so my response will be slow....
Happy Gorgeous Green Thursday to all my friends anyway :)
The garden at Sissinghurst Castle in the Weald of Kent, in England at Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England and is grade I listed.
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient; "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. It was long thought that in 1490 Thomas Baker, a man from Cranbrook, purchased Sissinghurst, although there is no evidence for it. What is certain is that the house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In August 1573 Queen Elizabeth I spent three nights at Sissinghurst.
After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers.
Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today. The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country"; and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.
The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967. The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008).
For further information please visit en.wikipedia.org/wiki/Sissinghurst_Castle_Garden and www.nationaltrust.org.uk/sissinghurst-castle-garden
We all know that the religions have a tendency to become doctrinaire, dogmatic. Moralistic and ritualistic. Forgotten what the ritual is all about but they do it. How can we rescue that with our heart, our whole human person? Heart stands for the whole human person. It’s like life-giving water that gushes forth there in the beginning, in the peak experience, and then in this cold climate of our world, it freezes. And when it’s frozen, the only way to thaw it out again is the warmth of your own heart. And the heart of every religion is the religiousness of the heart that has warmth enough to thaw out the great frozen dogmatism, moralism, ritualism, and turn it back into that living marker of interconnection with mystery.
IGNOSY 2021 ESPECIALLY MADE FOR CODA MUSEUM
Ignosi (ηγνώση)
Long ago there was a demigodess called Ignosi, whose knowledge was pure and immeasurable. She knew everything of all creation, gods, heroes, and man. She was associated with science, speech, literature, the arts and inspiration. She was also the gatekeeper for the process of gaining knowledge.
However, she was not allowed to to communicate this awareness to humanity.
...So powerful and beautiful were her skills, that not only did she become the most enlightened creature on earth, but she also felt compelled to share her learning with humans, even though that had been strictly forbidden by the Gods. Ignosi defied the gods and became pregnant in order to sow the seeds of 'cognition' on earth. This caught the attention of the gods who believed that humans with this insight and strength could soon become a threat to them.
For this outrageous act of disobedience against the will of the Gods, Ignosi was condemned to death by decapitation. In her last defiant act before passing however, she cleverly managed to communicate fragments of her wisdom to her twin daughters in her womb. Through them, fragments of knowledge and awareness seeped through humanity.
Source: manuelagranziol.com/#/ignosy/
ABOUT MANUELA
Manuela Granziol is an artist and art historian.
Her practical and theoretical interests include photography, sculpture, mixed media, as well
as the interconnection between visual art and
the senses.
She was born in Switzerland. She studied economics at the University of Zurich. She completed her BA in Photography in 2002 and
MA in Art and Media Practice at the University
of Westminster in 2004.
In 2016 she was awarded the PhD on the representation of the fragmented body in contemporary art.
Two contemplative people and Tvrdalj Castle, the legacy of Renaissance poet and nobleman Petar Hektorovié (1487-1572). The inscription just below center, “Memorare Novissima” is literally “You must remember the newest”. That phrase has been interpreted as an idiom equivalent to the Stoic admonition “Momento Mori”, since death is the last new thing you will ever do. But is it?
Perhaps the poet encourages us to pay attention to the young, as the man in the shadow appears to be doing. Are they not our legacy? Likely the author was unaware of the Buddhist teachings of interconnection (non-duality) and consequences (karma), in which we are all part of a flow that continues forever …
Especially through our biological and intellectual descendants …
Unto the 7th generation, and beyond …
Though stone walls may crumble …
Love this more than I can say.
Feels like I’ll love it twice as much tomorrow …
youtu.be/dGKnSdikqjw?si=0evI8X__5IcJmRi7
Alternate titles:
“Generations”, “Memorare Novissima”, “Hide Your Love Away”.
Hope your King’s Day was royal, and 2024 will be a liberating year.
The castle and garden at Sissinghurst Castle in the Weald of Kent, in England at Sissinghurst village, is owned and maintained by the National Trust. It is among the most famous gardens in England and is grade I listed.
Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.
For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.
The site is ancient; "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. It was long thought that in 1490 Thomas Baker, a man from Cranbrook, purchased Sissinghurst, although there is no evidence for it. What is certain is that the house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre (2.8 km2) deer park. In August 1573 Queen Elizabeth I spent three nights at Sissinghurst.
After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers.
Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today. The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country"; and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.
The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967. The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008).
For further information please visit en.wikipedia.org/wiki/Sissinghurst_Castle_Garden and www.nationaltrust.org.uk/sissinghurst-castle-garden
Janet Echelman’s colorful fiber and lighting installation examines the complex interconnections between human beings and our physical world, and reveals the artist's fascination with the measurement of time. The volumetric form suspended from the ceiling of the Renwick Gallery's Rubenstein Grand Salon is inspired by the data recorded March 11, 2011, following the Tohoku earthquake and tsunami that rippled across the Pacific Ocean toward Japan. The geologic event was so powerful it shifted the earth on its axis and shortened the day by 1.8 millionths of a second, lending this work its title. Echelman's knotted meditation contrasts the forces we can understand and control with those we cannot, and the concerns of our daily existence with larger cycles of time. Dynamically-changing lighting casts projected shadow drawings in vivid colors that move from wall to wall, enticing viewers to lie down on the carpet and contemplate the work.
Excerpt from the plaque:
Interconnection by Nyle Miigizi Johnston
It is our responsibility to walk in balance on this earth. We are to show love and respect to all our co-tenants of creation. Our actions can influence all life that may dwell in the sky, land, water and underground realms. This mural represents the relationships we have to creation and how beautifully we are interwoven to this quilt that we call life on this planet.
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Brookfield Place celebrates Earth Day by releasing a unique flock of 50 luminous floral-patterned birds into the Allen Lambert Galleria. Their propulsion draws on the air we breathe, underscoring the interconnection between man, nature and the preciousness of our environment.
Breath is an iteration of Air Pressure, a successful exhibition of blue birds mounted at Brookfield Place New York. Building on the concept, the Earth Day installation utilizes a variety of floral patterned silks, a natural organic material, to create a cohesive cloud of colourful forms, representing the beautiful complexity of our planets diversity.
Studio F Minus is the collaborative of artist/architects Mitchell F Chan and Brad Hindson, working with a network of world-class engineers, fabricators, and technologists to create large-scale art projects for broad public audiences. Since its founding in 2008, Studio F Minus has been commissioned to produce major public works for cities across Canada and has exhibited installation works in galleries and museums internationally.
Produced by Sandy Pearl and Clyde Wagner
Media & Art Consultants
www.brookfieldplacenewsandevents.com/events/240/breath-ar...
Excerpt from www.mississauga.ca/arts-and-culture/arts/public-art/tempo...:
Interconnection by Moonlight Murals Collective is one of over 35 public artworks on display across the City of Mississauga.
Moonlight Murals Collective, 2022
Exterior acrylic on asphalt
Living Arts Drive, between Burnhamthorpe Road West and Square One Drive
Interconnection is a new temporary public artwork by Moonlight Murals Collective, integrated with the protected, on-road bike lanes on Living Arts Drive. These ground murals are located in the buffer zones that run alongside the cycling and parking/road lanes, helping to build a safe, connected, convenient and comfortable cycling network in Mississauga.
“Our aim in these ground paintings was not only to create a visually pleasing piece of art, but also to tell the story of people in a growing town such as Mississauga and how interconnected we are, not only to each other but also to nature and the land we reside on. Each thematic panel seamlessly connects to the next and at times, appear as opposing forces that make a complete whole reminiscent of the concept of Yin and Yang. Our designs focus on the relationship between humans and the natural environment and inspire the viewers to discover their imagination, emotion, interaction and relationship with their surroundings.” – Moonlight Murals Collective
Excerpt from www.mississauga.ca/arts-and-culture/arts/public-art/tempo...:
Interconnection by Moonlight Murals Collective is one of over 35 public artworks on display across the City of Mississauga.
Moonlight Murals Collective, 2022
Exterior acrylic on asphalt
Living Arts Drive, between Burnhamthorpe Road West and Square One Drive
Interconnection is a new temporary public artwork by Moonlight Murals Collective, integrated with the protected, on-road bike lanes on Living Arts Drive. These ground murals are located in the buffer zones that run alongside the cycling and parking/road lanes, helping to build a safe, connected, convenient and comfortable cycling network in Mississauga.
“Our aim in these ground paintings was not only to create a visually pleasing piece of art, but also to tell the story of people in a growing town such as Mississauga and how interconnected we are, not only to each other but also to nature and the land we reside on. Each thematic panel seamlessly connects to the next and at times, appear as opposing forces that make a complete whole reminiscent of the concept of Yin and Yang. Our designs focus on the relationship between humans and the natural environment and inspire the viewers to discover their imagination, emotion, interaction and relationship with their surroundings.” – Moonlight Murals Collective
Excerpt from the plaque:
Mooshknemgog Bmaadziwin: Full Circle by Emily Kewageshig
Emily is an Anishnabe artist and visual storyteller from Saugeen First Nation No. 29. Her work captures the interconnection of life forms using both traditional and contemporary materials. Her work is centered around themes of birth, death, and rebirth as they are closely intertwined in both her cultural teachings and personal lived experiences. Emily celebrated her first solo exhibition titled “Mooshknemgog Bmaadziwin: Full Circle” (2020), which was shown at the Tom thomson Art Gallery in Own Sound, Ontario. She continues to create artwork for various organizations to highlight Indigenous knowledge and culture.
She graduated from Sheridan College’s Visual and Creative Arts Diploma program with Honours in 2017, receiving the “Best in show” award at the final exhibition. She attended OCAD University in the BFA Indigenous Visual Culture program (2017-2020).
Have you ever noticed how grandparents and small children are attracted to meet each other. This is a special connection of generations.
Excerpt from www.mississauga.ca/arts-and-culture/arts/public-art/tempo...:
Interconnection by Moonlight Murals Collective is one of over 35 public artworks on display across the City of Mississauga.
Moonlight Murals Collective, 2022
Exterior acrylic on asphalt
Living Arts Drive, between Burnhamthorpe Road West and Square One Drive
Interconnection is a new temporary public artwork by Moonlight Murals Collective, integrated with the protected, on-road bike lanes on Living Arts Drive. These ground murals are located in the buffer zones that run alongside the cycling and parking/road lanes, helping to build a safe, connected, convenient and comfortable cycling network in Mississauga.
“Our aim in these ground paintings was not only to create a visually pleasing piece of art, but also to tell the story of people in a growing town such as Mississauga and how interconnected we are, not only to each other but also to nature and the land we reside on. Each thematic panel seamlessly connects to the next and at times, appear as opposing forces that make a complete whole reminiscent of the concept of Yin and Yang. Our designs focus on the relationship between humans and the natural environment and inspire the viewers to discover their imagination, emotion, interaction and relationship with their surroundings.” – Moonlight Murals Collective