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This mixed media collage is a less by Tamara LaPorte. The idea was to paint intuitively., The text reads, 'Be Your Own Best Friend".
Intuitive watercolor landscape ATCs for the Milwaukee ATC group's June 2015 theme "Dreams & Wonders"
Traded to 7) Sue Ferg; 8) Lynn Br; 9) Kathi P; 10) Darlene H; 11) Susan Fla; 12) Jose?(Oct 2015)
Keisher explained that she had been very sick the night before and attributed it to having been the target of so much hatred. She talked a bit about the grievances of her protestors and what a blow it had been to her ego to have been told that the person who made her a shaman was not considered legitimate. Her statement on that story is posted to her website. She has had to incorporated this attack into her work on herself (since Shamans are suppsed to die in the ego sense and be reborn). She repeatedly said that she was just an ordinary person like us, although she referred to being able to see things, spirits and what have you so would have more in common with mediums and other intuitive people who get a lot of heat for seeing what others don't see.
She spoke to the hatred of her protestors and said that she could only respond by loving them back and hope that they would join her in the work she was doing as had other Native Americans. She said she could do nothing about being white, that she did have native american blood. And that her parents did live on a reservation which also seemed to annoy her protestors. She also spoke quite a bit about hate directed towards people just for whom they loved, which made me wonder if she was a dyke, because she certainly had a lesbian following. I asked one of her fans, but she smiled and said no, that Keisha speaks about a husband and child, but suggested that she may be quite conscious of projecting dyke energy. I did note her Doc Martens.
She said she would not dissolve the tribe of many colors or stop delivering her message of love for our mother earth and the dire need to stop our destruction of her. She also assured us that we would not be allowed to destroy our mother earth. We would be stripped away from her before that happened.
Stripped of her native american garb and the prophecy story, she still offered her message of love and of shifting from the head to the heart.
As I listened, I realized that she was speaking in large part to the self-hatred harbored by her followers, urging them to love themselves first, because only then could they become a part of the Great I Am.
Being in something of a frail state, she garnered a great deal of audience sympathy and we all wanted to give her her strength back so gave her a standing ovation. Many came up to hug her afterwards. From her website statement, I think it's pretty clear where she's coming from and what her intentions are and that she is doing the work of the shift to the new paradigm. Like the other speakers, she brings her followers to the party by offering a bridge they can relate to. And there are a lot of them judging from her popularity. Several attendees told me she was one of, if not the, reason they came. Her youtube links were sent to me a couple of months ago and was part of the reason I thought this conference would be interesting because I did find her presentation compelling.
intuitively knit chaos
DADA in action
the begin of a journey
multitechnique
muliversatile
trilingual tunic
for lovers of horizons
where a turquoise sky
meets a rich & loamy field
Sunshine Reiki Intuitive Heart Heal Your Life Workshop based on international bestseller Louise L. Hay.
FULL STORY: duaneburnett.blogspot.com/2011/01/finding-my-intuitive-he...
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Sensitive & colorful knitting
for the SariSilkProject
on the Silk Road to heaven....
incorporated buttons
not only for fastening issues
mixed with stashed materials of all sorts & processed blindfolded
to create a result
much different from anything
you have ever seen so far....
infinite wearing options
like most of my creations
will soon be available on etsy
The long term project
was initiated & inspired
by a totally unexpected donation
of a gorgeous assortment
of precious sarisilk ready to knit
by my dear friend
Kerstin & her Wollmobil
- VIELEN DANK nach Detmold ;-))
intuitively knitted
asymmetric freeform tunica
with 1 kimono sleeve
mixed materials
& multi-technique fusion
as evolving in progress,
endless wearing options
in addition to the 2 ways
which really make sense
Intuitive art inspired by Divine Emergence
Visit my Facebook page: www.facebook.com/pages/Linda-Marcille-Crow-House-Studio/3...
My Blog: brattleboro-muse.blogspot.com/
intuitively knitted
asymmetric freeform tunica
with 1 kimono sleeve
material, color & technique combination
as evolving in progress,
wearable in a couple of different ways,
but only 2 of them make sense
asymmetric
pseudo poncho
tunica dress top
hard to top
radical kamikaze knitting
sensitive Dada knitting
intuitive guerilla knitting
whimsical nonsense knitting
a supermodel´s nightmare
due to
infinite wearing options
a tribute to divas
who are not afraid
to self- express
this is Mac and Cheese...they live on my friend David's farm. they don't really do much more than eat and poop. lazy days spent out on the pasture ensure that they live a stress free life. once a year around christmas they put on their harnesses and pull a sled down main street for the annual holiday parade. from time to time they can be caught playing cards with the goats next door.
en.wikipedia.org/wiki/Clydesdale_horse
The Clydesdale is a breed of draught horse derived from the farm horses of Clydesdale, Scotland, and named after that region. Although originally one of the smaller breeds of draught horses, it is now a tall breed. Often bay in colour, they show significant white markings due to the presence of sabino genetics. The breed was originally used for agriculture and haulage, and is still used for draught purposes today. The Budweiser Clydesdales are some of the most famous Clydesdales, and other members of the breed are used as drum horses by the British Household Cavalry. They have also been used to create and improve other draught breeds.
Red Abstract Painting done in oil pastels, created in the intuitive process using on the inner self as a guide to complete this expression of self.
Sensitive & colorful knitting
for the SariSilkProject
on the Silk Road to heaven....
incorporated buttons
not only for fastening issues
mixed with stashed materials of all sorts & processed blindfolded
to create a result
much different from anything
you have ever seen so far....
infinite wearing options
like most of my creations
will soon be available on etsy
The long term project
was initiated & inspired
by a totally unexpected donation
of a gorgeous assortment
of precious sarisilk ready to knit
by my dear friend
Kerstin & her Wollmobil
- VIELEN DANK nach Detmold ;-))
Intuitive advisor, psychic, tarot reader, reiki master, and energy healer @ atellpsychictarot.com. Services delivered worldwide via phone, email, skype, and whatsapp. Starting @ $25
intuitive DADA knitting
kamikaze crochet fusion
fabric joints & accents
asymmetric freeform tunic
with 1 sleeve
intuitive DADA knitting
kamikaze crochet fusion
fabric joints & accents
asymmetric freeform tunic
with 1 sleeve
2 wearing options
intuitively knitted
asymmetric freeform tunica
with 1 kimono sleeve
material, color & technique combination
as evolving in progress,
wearable in a couple of different ways,
but only 2 of them make sense
intuitive freeform fusion
DADA chaos knitting
highspeed crochet
poncho
tunic
wrap
lagenlook style
for bold individuals
& colorful birds
who are not afraid to spread their wings
asymmetric sleeve
also suitable as turtleneck
offering
multiple wearing options
Intuitive advisor, psychic, tarot reader, reiki master, and energy healer @ atellpsychictarot.com. Services delivered worldwide via phone, email, skype, and whatsapp. Starting @ $25
This is Intuitive Machines' IM-2 lander that once again toppled over after trying to land on Mons Mutons near the lunar south pole.
The picture had lots of detail hidden in the shadows which I brought out in processing.
The picture was reprojected to a partial 360 panorama with a precise, photogrammetry derived camera model.
Better viewer: www.360cities.net/image/im-2-sideways-on-the-moon/vr
Alt: Fisheye picture from the lunar surface taken by a camera attached to the top of the IM2 lander. The lander has fallen over on it's side and the legs point towards the small half lit earth in the far distance.
The lander partially lies in the shade, which covers most of the foreground. A small hill is visible on the horizon.
Original: flic.kr/p/2qQywoe
Credit: Intuitive Machines
Additional Processing: Simeon Schmauß
intuitively knitted
multi-material - multi-technique
asymmetric desaster tunic
with infinite wearing options
for ladies with attitude
& passion for great drama
intuitive freeform fusion
DADA chaos knitting
highspeed crochet
poncho
tunic
wrap
lagenlook style
for bold individuals
& colorful birds
who are not afraid to spread their wings
asymmetric sleeve
also suitable as turtleneck
offering
multiple wearing options
intuitively knitted
asymmetric freeform tunica
with 1 kimono sleeve
material, color & technique combination
as it evolves in progress
wearable in at least 5 different ways
as shown in the stream
additional cape to complete the ensemble
intuitively knitted
asymmetric freeform tunica
with 1 kimono sleeve
mixed materials
& multi-technique fusion
as evolving in progress,
endless wearing options
in addition to the 2 ways
which really make sense
intuitively knitted
multi-material - multi-technique
asymmetric desaster tunic
with infinite wearing options
for ladies with attitude
& passion for great drama
intuitive freeform fusion
DADA chaos knitting
highspeed crochet
poncho
tunic
wrap
lagenlook style
for bold individuals
& colorful birds
who are not afraid to spread their wings
asymmetric sleeve
also suitable as turtleneck
offering
multiple wearing options
intuitive freeform fusion
DADA chaos knitting
highspeed crochet
poncho
tunic
wrap
lagenlook style
for bold individuals
& colorful birds
who are not afraid to spread their wings
asymmetric sleeve
also suitable as turtleneck
offering
multiple wearing options
We were in Dulwich to see this exhibition, and amazing thing, and an artist that has fascinated me since I was 13 when I borrowed a book on his work from the school library for 18 months. Seeing his work close up, rather than in a book shows how wonderful his work really is.
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Maurits Cornelis Escher (/ˈɛʃər/, Dutch: [ˈmʌurɪts kɔrˈneːlɪs ˈɛʃər] ( listen);[1] 17 June 1898 – 27 March 1972) was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations.
Maurits Cornelis[2] was born in Leeuwarden, Friesland, in a house that forms part of the Princessehof Ceramics Museum today. He was the youngest son of civil engineer George Arnold Escher and his second wife, Sara Gleichman. In 1903, the family moved to Arnhem, where he attended primary school and secondary school until 1918.
Known to his friends and family as "Mauk", he was a sickly child, and was placed in a special school at the age of seven and failed the second grade.[3] Although he excelled at drawing, his grades were generally poor. He also took carpentry and piano lessons until he was thirteen years old. In 1919, Escher attended the Haarlem School of Architecture and Decorative Arts in Haarlem. He briefly studied architecture, but he failed a number of subjects (partly due to a persistent skin infection) and switched to decorative arts.[3] He studied under Samuel Jessurun de Mesquita, with whom he remained friends for years. In 1922, Escher left the school after having gained experience in drawing and making woodcuts.
In 1922, an important year of his life, Escher traveled through Italy (Florence, San Gimignano, Volterra, Siena, Ravello) and Spain (Madrid, Toledo, Granada). He was impressed by the Italian countryside and by the Alhambra, a fourteenth-century Moorish castle in Granada. The intricate decorative designs at Alhambra, which were based on geometrical symmetries featuring interlocking repetitive patterns sculpted into the stone walls and ceilings, were a powerful influence on Escher's works.[4] He returned to Italy regularly in the following years.
In Italy, Escher met Jetta Umiker, whom he married in 1924. The couple settled in Rome where their first son, Giorgio (George) Arnaldo Escher, named after his grandfather, was born. Escher and Jetta later had two more sons: Arthur and Jan.[5]
In 1935, the political climate in Italy (under Mussolini) became unacceptable to Escher. He had no interest in politics, finding it impossible to involve himself with any ideals other than the expressions of his own concepts through his own particular medium, but he was averse to fanaticism and hypocrisy. When his eldest son, George, was forced at the age of nine to wear a Ballila uniform in school, the family left Italy and moved to Château-d'Œx, Switzerland, where they remained for two years.[6]
Escher, who had been very fond of and inspired by the landscapes in Italy, was decidedly unhappy in Switzerland. In 1937, the family moved again, to Uccle, a suburb of Brussels, Belgium. World War II forced them to move in January 1941, this time to Baarn, Netherlands, where Escher lived until 1970. Most of Escher's better-known works date from this period. The sometimes cloudy, cold and wet weather of the Netherlands allowed him to focus intently on his work. For a time after undergoing surgery, 1962 was the only period in which Escher did not work on new pieces.
Escher moved to the Rosa Spier Huis in Laren in 1970, an artists' retirement home in which he had his own studio. He died at the home on 27 March 1972, aged 73.
n his early years, Escher sketched landscapes and nature. He also sketched insects, which appeared frequently in his later work. His first artistic work, completed in 1922, featured eight human heads divided in different planes. Later around 1924, he lost interest in "regular division" of planes, and turned to sketching landscapes in Italy with irregular perspectives that are impossible in natural form.
Escher's first print of an impossible reality was Still Life and Street, 1937. His artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. Well known examples of his work include Drawing Hands, a work in which two hands are shown, each drawing the other; Sky and Water, in which light plays on shadow to morph the water background behind fish figures into bird figures on a sky background; and Ascending and Descending, in which lines of people ascend and descend stairs in an infinite loop, on a construction which is impossible to build and possible to draw only by taking advantage of quirks of perception and perspective.
He worked primarily in the media of lithographs and woodcuts, though the few mezzotints he made are considered to be masterpieces of the technique. In his graphic art, he portrayed mathematical relationships among shapes, figures and space. Additionally, he explored interlocking figures using black and white to enhance different dimensions. Integrated into his prints were mirror images of cones, spheres, cubes, rings and spirals. Escher was left-handed.
Although Escher did not have mathematical training—his understanding of mathematics was largely visual and intuitive—Escher's work had a strong mathematical component, and more than a few of the worlds which he drew were built around impossible objects such as the Penrose triangle and the Penrose stairs. Many of Escher's works employed repeated tilings called tessellations. Escher's artwork is especially well liked by mathematicians and scientists, who enjoy his use of polyhedra and geometric distortions. For example, in Gravity, multicolored turtles poke their heads out of a stellated dodecahedron.
The mathematical influence in his work emerged around 1936, when he journeyed to the Mediterranean with the Adria Shipping Company. He became interested in order and symmetry. Escher described his journey through the Mediterranean as "the richest source of inspiration I have ever tapped."
After his journey to the Alhambra, Escher tried to improve upon the art works of the Moors using geometric grids as the basis for his sketches, which he then overlaid with additional designs, mainly animals such as birds and lions.
His first study of mathematics, which later led to its incorporation into his art works, began with George Pólya's academic paper on plane symmetry groups sent to him by his brother Berend. This paper inspired him to learn the concept of the 17 wallpaper groups (plane symmetry groups). Using this mathematical concept, Escher created periodic tilings with 43 colored drawings of different types of symmetry. From this point on he developed a mathematical approach to expressions of symmetry in his art works. Starting in 1937, he created woodcuts using the concept of the 17 plane symmetry groups.
In 1941, Escher summarized his findings in a sketchbook, which he labeled Regelmatige vlakverdeling in asymmetrische congruente veelhoeken ("Regular division of the plane with asymmetric congruent polygons").[8] His intention in writing this was to aid himself in integrating mathematics into art. Escher is considered a research mathematician of his time because of his documentation with this paper, in which he studied color based division, and developed a system of categorizing combinations of shape, color and symmetrical properties.
Around 1956, Escher explored the concept of representing infinity on a two-dimensional plane. Discussions with Canadian mathematician H.S.M. Coxeter inspired Escher's interest in hyperbolic tessellations, which are regular tilings of the hyperbolic plane. Escher's wood engravings Circle Limit I–IV demonstrate this concept. In 1959, Coxeter published his finding that these works were extraordinarily accurate: "Escher got it absolutely right to the millimeter."
Escher was awarded the Knighthood of the Order of Orange Nassau in 1955. Subsequently he regularly designed art for dignitaries around the world.
In 1958, he published a book entitled Regular Division of the Plane, with reproductions of a series of woodcuts based on tessellations of the plane, in which he described the systematic buildup of mathematical designs in his artworks. He emphasized, "Mathematicians have opened the gate leading to an extensive domain."
Overall, his early love of Roman and Italian landscapes and of nature led to his interest in the concept of regular division of a plane, which he applied in over 150 colored works. Other mathematical principles evidenced in his works include the superposition of a hyperbolic plane on a fixed 2-dimensional plane, and the incorporation of three-dimensional objects such as spheres, columns and cubes into his works. For example, in the print Reptiles, he combined two and three-dimensional images. In one of his papers, Escher emphasized the importance of dimensionality and described himself as "irritated" by flat shapes: "I make them come out of the plane."
Escher also studied topology. He learned additional concepts in mathematics from the British mathematician Roger Penrose. From this knowledge he created Waterfall and Up and Down, featuring irregular perspectives similar to the concept of the Möbius strip.
Escher printed Metamorphosis I in 1937, which was a beginning part of a series of designs that told a story through the use of pictures. These works demonstrated a culmination of Escher's skills to incorporate mathematics into art. In Metamorphosis I, he transformed convex polygons into regular patterns in a plane to form a human motif. This effect symbolizes his change of interest from landscape and nature to regular division of a plane.
His piece Metamorphosis III is wide enough to cover all the walls in a room, and then loop back onto itself.
After 1953, Escher became a lecturer at many organizations. A planned series of lectures in North America in 1962 was cancelled due to an illness, but the illustrations and text for the lectures, written out in full by Escher, were later published as part of the book Escher on Escher. In July 1969 he finished his last work, a woodcut called Snakes, in which snakes wind through a pattern of linked rings which fade to infinity toward both the center and the edge of a circle.