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"Amazing Thailand : A Photographic Tour 2010"
Northern Thailand Day 2
Undoubtedly the biggest and most colorful festival of the year in Thailand is Loy Krathong or Yi Peng, as it is known in Chiang Mai and the north. It is held on the night of the full moon of the twelfth lunar month and usually falls in November.
The Loy Kratong ritual is simple one. One needs only to light the candles and the joss sticks, make one's wishes and let it float away with the current of a river or release the lantern to the air. Its flame is said to signify longevity, fulfillment of wishes and release from sins. Yi Peng is also considered a romantic night for couples and lovers, many of them would make a wish to bless their love affairs as they release their lantern to the air.
it's truly a joy of Loy Krathong Festival.
© Sayid Budi ~ All rights reserved 2010
Faceup can make a doll looks different, do you agree? They are all Charles! 😉
VINDOLL Charles is on sale!
doll-granado.com/vindoll_charles
#granado #vindoll #doll #bjd #granadodoll #charles
Quem leu os post anteriores de Make viu que eu estava com vontade de postar um pretão.
Esse é meu preferido pra sair a noite, é muito difícil me ver sem um olho bem marcado e bem preto.
Acho meus olhos extremamente pequenos, e maquiando tento ao máximo fazê-los crescerem.
Esse eu usei pra ir para a Boate no aniversário de duas amigas minhas.
Como fiz:
- Passei lápis preto em toda a pálpebra e esfumei pra servir como base.
- Em cima do lápis apliquei sombra preta opaca com aquela esponjinha, pois faço muita caca com o pincel com sombras escuras. Cobri a pálpebra e subi um pouco acima do côncavo.
- Apliquei um lápis branco na linha d'água pra aumentar os olhos.
- Abaixo da linha d'água esfumei mais um pouquinho da mesma sombra preta.
- Apliquei máscara
- Embaixo da sobrancelha dessa vez não passei sombra branca, mas sim iluminador.
Só pra constar,
a sombra que eu usei é da Jornada, que comprei na Cherry Culture.
Ela é suuuuuper pigmentada, até assusta um pouco.. hauhauhauhauahuahu
Mas vale a pena, e é bem baratinha.
Beijos.
I have: Dk bikes singlet AM, combat 4s rwb, black cb3 10 x2, 10.5 white 10, cael v2 10.5 all shoes are Lbn one pair of cb3 is bnwt.
Artist: Ai Weiwei
"Good Fences Make Good Neighbors" - over 200 pieces have been installed throughout New York City
From the Public Art Fund website: "a passionate response to the global migration crisis and a reflection on the profound social and political impulse to divide people from each other...Visitors to the exhibition will discover that Ai’s “good fences” are not impenetrable barriers but powerful, immersive, and resonant additions to the fabric of the city."
Workshop that makes Japanese tea :)
畑から摘まれてきた葉を、綺麗に選別。新芽でない古い葉や硬い茎などは除きます。
自家用のお茶なので、葉だけにはせず、茎付きです。
鉄鍋で炒ります。青いけど、少し香ばしい匂いがし始めました。
木杓子と手で混ぜながら、しんなりするまで焦げ付かないように炒ります。
炒りたては熱いので、粗熱を取って、次は両手で揉み込んでいきます。
思っていたより、コツが要りました。揉んでいるうちにどんどんお茶のいい香りが広がって、揉み終えた手のひらも、お茶のいい香りがしました。
揉み終えた茶葉を、乾燥させます。今日は、ここまで。干してしばらくして、やや乾燥した状態でもう一度揉み込む作業をするそうです。
そして、完全に乾燥したら、お茶の出来上がり。2週間後が楽しみです。
[157/365]
Dear summer, how could I ever live without you. Spend these days without your love, your sun kissing my energetic skin.
The bees even sing this song, and I can't help but sing along to this melody, speak out the words that I've kept in my heart for so long, waiting for you.
Never go, stay with me for eternity, I want to grow old with you, share my memories, my dearest moments with you and no one else.
PS. Is anybody willing to donate me one or two dollars? I only have 12 days left before I need to go pro in order to continue this project. Any help would be appreciated so, so much. I'm desperate.
ShoOting : Evry (Essonne)
Photographe : Audrey Xavier Brulu
Direction Artistique : Isabelle Flambeau
Makeup : Isabelle Flambeau
(Khanelle Prod' Medias /www.khanelleprod.com)
Credits Photos : Khanelle Prod' Medias
Photos HD : www.flickr.com/photos/khanelle/
DPW was demonstrating their snow readiness on Monument Circle this afternoon. I briefly imagined them as Soviet Tanks on parade...
This should be viewed large...
Alter Native
Photographer : Florent Joannès
Model : Carole Mitsuko
Make Up : Carole Mitsuko
Coiffe : Caroline Serra
2014
i'm trying to get back into my "good" habits.
i used to make the bed everyday.
i kinda dropped the ball.
i'm going to frame this and hang it near the bed so i have a gentle reminder every morning.
Day 248, Sunday, September 5th, 2021
Make a Wish
I love making Pam smile, her day to day reality isn’t easy. Pam has a terminal illness called Chronic Variable Immune Deficiency, CVID. It makes fighting off even a simple cold a fight for life… you can imagine how scary Covid is. She has to inject immunoglobulin for 2 days every 2 weeks and it makes her feel pretty crappy. (If you are able, please consider donating plasma, it could save my sister’s life!) Gregg deals with PTSD from his combat experience in the Gulf War. They both help suicidal veterans find immediate and urgent help when they are at their low points. Surprising her with a birthday cake made her smile and made us feel very grateful to be able celebrate with her.
Nikon D750 | 20mm | f/3.2 | 1/320 | ISO 1600 | handheld
Nikon D90 with AF-S DX VR Zoom-NIKKOR 18-200mm f/3.5-5.6G IF-ED
@34mm, ISO 100, f/8.0, 13 sec
Manual focus, manual mode
Mounted on tripod (Manfrotto 322RC2 Grip Action Ball Head and 055XPROB Legs)
Triggered using Nikon ML-L3 wireless remote
no HDR
Taken from Twin Peaks in San Francisco this evening. I took this shot after I had packed up my 4x5 film camera... It was the very first time I shot with my Shen Hao TZ45-IIB! I shot two plates, but I get the feeling that I screwed up on something... I'm not entirely clear how the Bulb setting on the shutter works on my lens, a Fujinon W 210mm lens. I think I'm gonna need more practice with the 4x5 before I head out next time. There are so many steps in my mental checklist that it's easy to miss something. However, it was way cool looking through the ground glass with a magnifying loupe... I just hope that amazing detail makes it onto the film! (With how busy I am, it might be a few months before I get this film developed!)
The thing you should know about us Hispanics, particularly the ones from Central America is that we love soccer as a Canadian loves hockey and so whenever we find an empty space that lends itself very well to a quick game, we take over over it.
In this case, it's underneath the Unisphere in Flushing Meadow Park surrounded by gushing water.
Makeing a great sight under the roof at York station is Class 40 40075 it had just arrived with the 08;54 Filey to Newcastle the loco will run round the stock. and i will be able to get another picture of this train as it leaves for Newcastle great days KC. 26/07/1980.
image Kevin Connolly - All rights reserved so please do no use this without my explicit permission
www.ravishlondon.com/londonstreetart
Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.
From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.
Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.
Street Art Beginnings
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.
The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.
Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.
By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.
At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.
Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."
What created the East London street art scene may also kill it
The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.
The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.
Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.
Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.
The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.
So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.
Banksy
Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.
Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.
Key works in London have included:
•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.
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•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.
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•‘A designated riot area’ at the bottom of Nelson’s Column.
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•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.
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His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.
Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’
Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).
Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.
Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.
Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’
Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?
Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.
Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.
Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?