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Story: I started talking to the owner of this company after he friended me on twitter. When I checked out their site I asked him if he would mind sending me a bottle because I wanted to shoot it. He said yes and asked for my address. It seemed odd how quick and nonchalant he was about sending a nice bottle of tequila to someone he didn't know off of twitter. Then yesterday when I got the package it all made more sense. He took me literally at my word and sent an empty bottle! That's fine with me though as that's all I needed.
As a photographer there is always something new and unexpected to problem solve and this was no different. I filled it with water and as soon as I backlit the bottle tons of little bubbles showed up. I wasn’t sure what I was going to do as it was definitely going to be an issue. As it turns out this is about a second grade level science fact and a bit of googling turned up that I needed to use distilled water. With that out of the way the rest of the shot was fairly straight forward. The flat sides and frosted glass made lighting it easier than most bottles. The only other problem I encountered was a lot of imperfection in the glass. This isn’t actually all that unusual but the nature of the imperfections combined with the frosted glass made for a challenge. Nothing I couldn’t handle but it did require a good amount of time. Aside from fixing the glass the retouching was also fairly straight forward as this is all one shot. No crazy composites this time.
Lighting: This was fairly similar to what has started to become my normal bottle lighting. I started with a dynalite 4040 head with a beauty dish overhead. Then there is a bare 2040 head from the back on each side. Those heads are at about the same height as the bottle and while I would normally be bouncing them off of white boards in this case they are just pointed right at the bottle. The nature of the labeling, and the style of shot I wanted, meant I didn't need to light it from the front at all. I did use a couple of reflectors out front though. Camera left there is a piece of white board and camera right a piece of black board. I was using those for the reflections on the cap and I found they didn't do much if anything for the rest of the bottle. Everything is triggered with pocketwizards.
With the winter we have had here in Kent, not as wet as some I admit, it seems that today would be a good day to go on a tour of the Nailbourne.
The Nailbourne, is a winterbourne, a river or stream that only flows in winter or wet weather, mostly of chalk downlands, and sometimes can flow through the chalk rather than on it.
The Nailbourne rises in Lyminge, under St Mary, the parish church, and once a Saxon monastery and probably a Roman site before then.
The stream springs from the ground, in the lea of the wall besde the road, meanders across the plating field then goes through the village.
From Lyminge the Nailbour runs along the valley floor, through Elham and then up to Barham, where the winterbourne used to share the valley floor with the railway and road.
Into Barham, the Nailbourne runs beside a road into the village, even at times when the flow is less than now, the road is partly flooded. Today, it is a torrent, the road closed than people who live along there have sandbags at the end of their drives, their Porches stranded until the river level drops.
A woman tries to take her dog for a walk, along the narrow space between the flood barriers and the wall, but the dog isn't convince, and refuses to go on where the water gets deeper having seeped under the defences.
Just along the valley is Out Elmstead Lane, a place I was once many years ago on a ramble, where the long dried up river bed and warnings of a ford seemed pointless.
Now it is a significant problem for cars, a Mini only just managed to get through, and putted away on three cylinders.
Onto Bishopsbourne, and down the moss-covered road to the village, parking near the church.
Following the path through the churchyard and out through the style, I see the Nailbourne, now in full flow, meandering across the green meadows towards the village of Bridge.
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The Little Stour is one of the tributaries of the River Stour in the English county of Kent. The upper reaches of the river are better known as the Nailbourne, whilst the lower reaches were once known as the Seaton Navigation.
The intermittent source of the river is at Lyminge, and in its early reaches from Lyminge to Littlebourne it forms a chalk stream and winterbourne that is normally known as the Nailbourne. Below Littlebourne the river is better known as the Little Stour, and it joins with the Great Stour at Plucks Gutter near East Stourmouth.
The Nailbourne flows from Lyminge, through the Elham Valley until it becomes known as the Little Stour at Littlebourne.
The Nailbourne bubbles up beneath St Ethelburga's Well in Tayne Field in the centre of Lyminge. Whilst the stream often holds a plentiful supply of water from Lyminge to Elham throughout the year, it rarely holds any water from Elham to Bishopsbourne even in the winter months. However, in wet years the normally dry ditch can turn into a fast flowing torrent, flooding roads, fields and houses. An example of this was in 2001 when there was extensive flooding throughout the Elham Valley.
There are a number of minor tributaries that flow into the Nailbourne throughout the Elham Valley. Most are nameless although Ordnance Survey maps do mark a stream known as the East Brooke which runs from Etchinghill and joins the Nailbourne at Lyminge.
en.wikipedia.org/wiki/Little_Stour
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Æthelburh of Kent (born 601,[1] sometimes spelled Æthelburg, Ethelburga, Æthelburga; Old English: Æþelburh, Æðelburh, Æðilburh, also known as Tate or Tata),[2][3] was an early Anglo-Saxon queen consort of Northumbria, the second wife of King Edwin. As she was a Christian from Kent, their marriage triggered the initial phase of the conversion of the pagan north of England to Christianity.
Æthelburh would have been born in the late 6th century, as the daughter of King Æthelberht of Kent (sometimes spelled Aethelberht) and his queen Bertha, and sister of Eadbald. In 625, she married Edwin of Northumbria as his second wife. A condition of their marriage was Edwin's conversion to Christianity and the acceptance of Paulinus's mission to convert the Northumbrians.[4][5]
Æthelburh’s children with Edwin were: Eanflæd, Ethelhun, Wuscfrea and Edwen.
Her daughter Eanflæd grew up under the protection of her uncle, King Eadbald of Kent. Bede, Ecclesiastical History (2.20) states that Æthelburh did not trust her brother, or Edwin's sainted successor Oswald, with the lives of Edwin's male descendants whom she sent to the court of King Dagobert I (her mother's cousin).
King Edwin’s conversion was due to his marriage to Æthelburh, who brought her bishop Paulinus with her. Both Æthelburh and her mother, Bertha, received letters from popes Gregory and Boniface respectively, urging them to do their Christian duty by converting their pagan husbands.Their daughter Eanflaed was one of the first to be baptized in Northumbria.[6] After King Edwin was wounded, Æthelburh's alarm caused an early onset of childbirth. Both the mother, as well as the infant, appeared to be in danger. The prayers of Paulinus were offered for the queen and child. After they recovered, 12 of the royal households, as well as the baby, were baptized by Edwin’s permission and request.[7]
According to the Kentish Royal Legend, after Edwin's death at the Battle of Hatfield Chase in 633, she returned to Kent. She then established one of the first Benedictine nunneries in England, at Lyminge, near Folkestone, which she led until her death in 647, and where her remains were later venerated.[5]
Modern research has shown that the buildings at Lyminge were designed to contain a convent of monks as well as of nuns. The church is built from Roman masonry, and was possibly built out of the fragments of a villa, which was customary practice by Anglo-Saxons, or it may have been a Roman basilica
23-07-2015 - Knot a problem
Fuji Provia 100F (RDPIII) shot at EI 100
Color slide film in 120 format shot at 6x6
Cross-processed
Large version at: emulsive.org/photography/knot-a-problem-fuji-provia-100f-...
Filed under: #Medium_format, #Photography
One of them was supposed to arrive with the rest but got caught up with printing issues and they shipped out my order within 90 minutes of telling me there was a problem so I never even got the chance to ask about holding it or whatever.
Ah well, in the end they both turned out great so in addition to the prior designs I now also have two "standard" designs
Sprinter - Small, fast and armed with a Repeater Cannon
Kodiak - Medium size and armed with a Large Bore Cannon.
The Kodiak comes in a set of 3 and is on the bottom in the middle and the Sprinter comes in a set of 4 and is on the bottom to the right.
Exposición
"De la Semilla de Dios, al árbol y sus frutos"
Del 3 de diciembre de 2013 al 5 de enero de 2014
En honor al maestro Fernando Llort, Premio Nacional de Cultura 2013, Edición XXV, dedicado a la Gestión Cultura. El recorrido de la exposición inicia con una semblanza del maestro Llort a través de la cual el público puede conocer algunas interioridades de su vida personal, familia, amigos, gustos, creencias, y personalidad del artista visual, entre otros.Otras facetas de Llort que se muestran en la exposición son las del artista -su obra y evolución hacia otras formas y materiales-; su emprendedurismo al montar -primero en el garaje de su casa- su empresa El árbol de Dios en 1981, la cual se desarrolló, diversificó y está vigente.
La exposición se montó con el apoyo de los artistas visuales José Roberto Suárez y Salvador Llort; los textos han sido escritos por la investigadora cultural Astrid Bahamond; y el director de Publicaciones e Impresos, Eric Lemus; el diseño fue realizado por Salvador Vásquez de la Fundación Llort y el trabajo de museografía y montaje por Oscar Batres y Jesús Benítez.
BIOGRAFIA DE FERNANDO LLORT
Por Rodolfo F. Molina
Fernando Llort Choussy nació el 7 de abril de 1949 en San Salvador, El Salvador, uno de los seis hijos del hogar formado por Baltasar Llort y Victoria Choussy. Llort es de ascendencia española: su abuelo, Pablo Llort Angles, originario de España, se estableció en El Salvador en 1897.
Desde su niñez, Fernando mostró interés por el dibujo y las manualidades, y en su juventud, cuando todavía estudiaba en el Liceo Salvadoreño, en 1964, toma clases de cerámica con el maestro Cesar Sermeño. Al graduarse de bachiller, se inscribió en la Universidad Nacionalcon la intención de estudiar arquitectura, pero solo cursó las materias de áreas comunes pues luego decidió seguir otro camino y se retiró de la institución.
Fernando comenzó sus estudios religiosos en el Seminariola Ceja, Medellín, Colombia, en 1966. De allí, partió a estudiar Filosofía en la Universidadde Toulouse, Francia, donde permaneció por tres años. En este periodo, Llort comenzó a pintar, su primera exhibición tiene lugar en Francia y, según el artista, las obras de este periodo inicial, tienen una clara evocación a la cultura maya. Su interés por la idea de identidad está marcado desde muy temprano en su carrera, este interés se incrementó al alejarse de su tierra natal. Posteriormente, estudia teología en Lovaina, Bélgica, adonde permanece seis meses. Otro aspecto importante que se encuentra presente a lo largo del desarrollo del trabajo de Llort es el sentido religioso.
Después de estudiar en Lovaina, Fernando regresa a El Salvador y a la vida civil. Por un periodo de aproximadamente un año, Fernando forma parte de “La Bandadel Sol” un grupo de música interesado en hacer composiciones relacionadas con la religión, el amor, la unidad, intereses que corresponden a los ideales de la juventud de este periodo. A partir de mediados de los años sesenta, la cultura hippie, y el arte Pop habían ganado popularidad internacional, la música representaba una nueva fuerza de expresión que dialogaba con los nuevos valores de libertad, paz y amor. En la escena salvadoreña, surgen en ese momento varias bandas conformadas por jóvenes que de alguna manera sentían que su participación en dichas agrupaciones les permitía establecer un precedente en la conservadora sociedad salvadoreña. En “La Bandadel Sol” participaron, entre otros, Manuel Martínez Daglio, Max Martínez, Carlos Aragón, Ricardo Archer y Alejandro Bella Battle. Otro aspecto relacionado con la música, pero más privado, son sus textos, composiciones, frases y poemas, con los que a veces acompaña su trabajo.
Posteriormente, Llort es enviado por su padre a Louisiana State University, en Baton Rouge, a estudiar arquitectura, permanece seis meses en Louisiana estudiando arte. En esta etapa, se le ocurre la idea de regresar a su país y formar una “comunidad de arte”. Aunque entregado a su trabajo, Llort se sentía especialmente incómodo con las actitudes racistas de sus compañeros hacia las personas de color, recordemos que el problema racista aún pesaba mucho al final de los sesenta, especialmente en el sur de los Estados Unidos (Martin Luther King fue asesinado en 1968). Según Llort, de un día para otro decide regresar a El Salvador aprovechando que su amigo Roberto Sánchez viajaba en carro desde Louisiana. Durante esta travesía, el artista se plantea el regresar a la pintura, a la búsqueda de su propia identidad y a conformar un centro de arte.
Fernando Llort regresa a El Salvador en 1971. Para este momento, el país había alcanzado ciertos logros en el ámbito social, y la escena cultural se consolidaba.
Galería Forma, de Julia Díaz, se había convertido en un centro de actividad cultural y es notoria la apertura de nuevos espacios para exposiciones y de nuevas oportunidades para la música culta, como los festivales de música organizados por Pro Arte, y patrocinados por la empresa privada. La muy discutida reforma educativa de Walter Beneke y sus bachilleratos diversificados, con una política de reclutamiento en el interior del país trajeron nuevos impulsos para el Centro Nacional de Artes.
Sin embargo, en el ámbito político, la década de los setenta representa el periodo de gestación del conflicto armado que habría de abatir a la sociedad salvadoreña entre 1979 y 1992. El régimen militar que detentaba el poder desde 1932 veía acercarse su fin, y la represión desencadenada en este periodo vino a provocar reacciones incontrolables durante la siguiente década.
A su regreso a El Salvador, en 1971, Llort encuentra un país económicamente optimista, a pesar de la reciente guerra con Honduras (1969), con una escena artística que crecía y que acoge a Llort con una exposición en la Galería Forma.Con las ganancias de esta muestra, el artista decide marcharse de San Salvador, y establecerse en la población de La Palma en el departamento de Chalatenango, lugar que le traía buenos recuerdos ya que lo había frecuentado desde su niñez, gracias a que su familia tenía allí una propiedad.
Fernando Llort llega a La Palmaen 1972, a los 23 años, con la idea de pintar, y con un horizonte idealista, Caminando por las calles del pueblo encuentra a un niño que frotando una semilla de copinol conseguía una superficie blanca y dura. De esta semilla, que luego él transformaría en producto artesanal, viene el nombre de su primer taller: “La Semilla de Dios”.
Más tarde,La Semilla de Dios se transformó en una cooperativa-escuela, en la que Llort enseñaba a un grupo de habitantes de La Palmaa trabajar la artesanía en madera. Los diseños fueron desarrollados por el artista inspirados en el entorno del pueblo y en la naturaleza. En la exposición mostramos su libreta de apuntes donde se puede apreciar cómo los dibujos se fueron transformando y simplificando; a partir de los dibujos originales, el artista desarrolló plantillas que pudieran ser usadas por los artesanos, estableciendo una escuela que pronto fue creciendo La Fundación Fernando Llort cuenta con más de 6000 dibujos y plantillas que fueron utilizadas para el aprendizaje de los habitantes del Municipio dela Palma, durante los talleres desarrollados en forma gratuita por más de diez años. La cooperativa se formaliza en 1977, y luego se multiplicó en otros talleres.
En 1978, Carlos Cañas imparte un taller de grabado a Fernando en la Palma.
En 1973, el artista conoce a Estela Chacón, se casa con ella en la Palma, y forman una familia de tres hijos. Los Llort permanecieron en La Palma hasta 1979, año en que se establecen en San Salvador debido a la situación de inseguridad que se vivía en ese momento.
En San Salvador, el artista abre el centro Cultural “El Árbol de Dios” en 1981. Aquí Llort prosiguió con su labor de enseñanza y los artesanos, venían desde La Palma a entrenarse.
Paralelamente, el artista continuó desarrollando su trabajo. A este respecto es importante mencionar que la presente muestra no pretende ilustrar el desarrollo del proceso artesanal en la Palma, más bien intenta hacer un acercamiento, al trabajo personal de Fernando Llort, el cual a veces nos ha parecido esquivo debido a la maquinaria artesanal que lo rodea; sin embargo, es el propio Llort quien ha marcado como esencial la función social de su trabajo, que tan generosamente se ha convertido en herramienta para el beneficio de muchos.
Esta exposición representa el momento importante para hablar sobre el significado del trabajo de Fernando Llort como artista. En ese sentido, este ejercicio curatorial, intenta ofrecer una visión, ciertamente parcial, que ofrece al público la oportunidad de tener una mejor comprensión de la obra del artista, se trata de hacer visible su proceso de trabajo sus desarrollos paulatinos, sus intereses y su simbolismo. Desde los años setenta, los salvadoreños adoptamos esta simbología y la hicimos nuestra porque nos refiere a una identidad idealizada, limpia y alegre, exactamente lo contrario a la dura realidad de los años ochenta. Veamos ahora el verdadero simbolismo detrás de esas formas, líneas y colores.
INICIOS
El trabajo de Fernando Llort comienza a desarrollarse durante su estadía en Francia, cerca de 1968, con trabajos marcados por el interés por nuestras culturas ancestrales y el sentido de identidad. A su regreso a El Salvador, en 1971, su obra se distingue por el uso del collage, los materiales tridimensionales y cierta afinidad con la abstracción. Esto se hace evidente en el uso de piezas de madera, y tela, así como la utilización de texturas en algunas superficies. Este momento inicial en el trabajo de Llort representa una etapa de búsqueda especialmente interesante, en cuanto se encuentra apartada totalmente de los principios académicos que regían a otros artistas salvadoreños en ese momento. Las piezas tienen un carácter fresco, expresivo y desenfadado; en algunas ya se perfila el uso de simbología religiosa, la utilización de la línea, el dibujo, y de elementos de la naturaleza.
LA PALMA
La naturaleza, el ambiente rural y la sencillez de los habitantes del municipio deLa Palmaen 1972, contrastaban con el ambiente de desasosiego político que se estaba gestando en San Salvador y que después de un periodo complicado habría de estallar, al final de esa década, en el conflicto armado. Para Fernando Llort,La Palma representaba más que un escape de su cotidianeidad, una puerta que conducía a múltiples posibilidades que correspondían a sus deseos de desarrollo artístico, el de encontrar un propósito para su trabajo, y el poder sentirse libre de las ataduras tradicionales de la sociedad salvadoreña. En el contexto de El Salvador de los años setenta, la idea de que un joven de clase media decidiera apartarse de la sociedad y de su familia para irse a vivir a un pueblo, debió haber levantado más de alguna ceja, por decir lo menos. Este posicionamiento poco convencional vino a sentar precedentes en los que ahora ni siquiera pensamos cuando vemos el desarrollo turístico de otros pueblos como Ataco o Alegría.
DESARROLLO ESTILÍSTICO
Impulsado por el sentido de libertad, y renovado por el cambio de escenario, el trabajo de Fernando Llort experimentó una notable transformación a partir de su llegada a La Palma. Elartista comenzó expresándose en un nuevo lenguaje que implicaba la simplificación y estilización de las formas a un nuevo código, que logró conjugar ideas modernistas con un sentido de ingenuidad, de idealismo. Empezó entonces a trabajar en la insinuación de un sentido de lo local, con la introducción de casitas, techos o torres de iglesia, que en realidad pueden ser de cualquier pueblo. Esta simbología con colores alegres y formas limpias aparece de repente en un país que en ese momento, a pesar del régimen militar, de las injusticias y los atropellos políticos, tenía aspiraciones de progreso y desarrollo económico, de manera que este nuevo lenguaje ideográfico vino de alguna manera a abanderar la idea de un país “progresista”, y pronto fue adoptado como parte de la parafernalia de la simbología nacional. Este fenómeno no formaba parte de la agenda del artista, pero vino a proyectar su obra a nivel internacional, además del impulso que tomó la escena artesanal de La Palma.
LOS MEDIOS
Los materiales con que ha trabajado varían en diferentes momentos: A su regreso a El Salvador en el 71, el artista utiliza principalmente el collage y el ensamblaje. Una vez en La Palma, el artista comienza a experimentar con materiales locales como la madera de pino y las semillas de copinol para las artesanías. Ya establecida la escuela en “La Semilla de Dios”, que así se llamó el primer taller, se utilizaba la témpera barnizada sobre madera. También existe obra pintada del artista en la que ha utilizado esta técnica. Durante los años ochenta, Llort comienza a pintar sobre paneles hechos de estireno, también a producir grabados, y regresa a la cerámica, con la que había practicado cuando estudió con el maestro Se rmeño en su juventud. La variación de materiales así como el desarrollo en el trabajo de Llort ha ocurrido gradualmente. Actualmente, una nueva línea de trabajos está siendo realizada en vidrio con Vitrales de El Salvador, gracias a Margarita Llort de Saade y al técnico Salvador Vásquez Tamayo.
TEMÁTICA Y SIMBOLOGÍA
Las temáticas que han estado presentes a lo largo de la carrera de Fernando Llort son los temas de identidad, religiosidad e idealismo.
La identidad: está representada en la reinterpretación de la naturaleza: flores, animales y pájaros han pasado por un proceso estilístico y, como antes mencionaba, también se sugiere la celebración de lo local por medio de la utilización de simbologías específicas como grupos de casas o colinas. Debe destacarse que algunas de las formas utilizadas por el artista en las representaciones humanas, tienen también influencia de diseños precolombinos y algunos detalles como los ojos rasgados en las figuras femeninas simbolizan la belleza de la mezcla de razas. La cuma en posición vertical es un símbolo de la dignidad del trabajo.
El tema religioso: está contenido en una serie de símbolos que son utilizados por el artista para acentuar el escenario idealizado que presenta en sus obras: Las manos abiertas o hacia arriba son símbolos de alabanza, esperanza, acción de gracias, súplica y amor. El pájaro es visto como símbolo de la creación, y el sol como símbolo del Padre de la creación. El sol con doce rayos circundantes es Jesús con sus doce apóstoles. El fuego simboliza la unidad y la esperanza. Algunas figuras femeninas simbolizan directamente ala Virgen María.
El Idealismo: está representado por el paisaje que conforman los diferentes elementos de las composiciones: las casas, animales, plantas y personas, son plasmadas por el artista como un todo armónico, un paisaje limpio armonioso y feliz. Como si se tratase de la representación de una arcadia latinoamericana.
“El objetivo principal que persigo a través de mis pinturas y artesanías es reencontrarme con mis raíces como latinoamericano, y así contribuir a definir nuestra gente en su dimensión tanto humana como espiritual”. Fernando Llort
LA SEMILLA DE DIOS
El taller-cooperativa “La semilla de Dios” fue fundado enLa Palma en 1977; Fernando había comenzado con su esposa Estela, un taller conformado originalmente por diez personas. A este grupo original, Fernando le enseñó las técnicas de dibujo, pintura y acabado para las primeras artesanías, comenzó trabajando con semillas de copinol decoradas con tinta, coloreadas con marcadores, y barnizadas, también encontró en la zona madera de pino, con la que se comenzaron a trabajar objetos, estos se pintaban con témpera y luego se barnizaban. Debido al aumento de la demanda de productos artesanales, más personas se unieron a trabajar en el taller. La conformación dela Cooperativa en 1977 obedece a la necesidad de constituirse formalmente, y fue la manera de concretar el proyecto de Llort para beneficiar a la comunidad, ya que las ganancias se repartían de manera equitativa.
EL ÁRBOL DE DIOS
Fernando Llort regresó a San Salvador en 1979, debido a amenazas recibidas, se asume que de parte de delincuentes comunes. La situación política se complicaba, y la inseguridad comenzaba aprevenir a los clientes de ir ala Palma. A finales de 1979, el artista viaja a México, acompañado de su familia. Allá permanece por un periodo de unos seis meses, Llort regresa entonces a trabajar en San Salvador, y en 1985 funda “El Árbol de Dios”: un centro cultural con una colección de obras de Llort, una sala de exhibiciones, tienda, enmarcado y área de talleres. Aquí se continuó con la venta de la artesanía dela Palmay se organizaban exhibiciones de arte, charlas y conciertos.
LA FUNDACIÓN FERNANDO LLORT
El veinticinco de julio de 1989, Fernando Llort crea una fundación de utilidad pública, “Fundación Fernando Llort para el Fomento del Arte y la Cultura”, la que entra en funcionamiento en el año 2006, recibiendo formalmente el legado de Llort, y estableciendo como su función el fomento del arte y la cultura. Su misión es la de ser una entidad que promueva, a través de la pedagogía, del arte y la cultura, el bienestar y desarrollo integral del ser humano. Entre sus objetivos están el trabajar en gestión e investigación del área artesanal y artística, así como el ejecutar obras de beneficio social y cultural.
PROYECTOS ESPECIALES
Después de 1980, la obra de Fernando Llort fue exhibida en base permanente enla Galería1-2-3 de San Salvador y en la Galería SummaArtis en la ciudad de México, en la que expuso por primera vez en 1977.
Entre los proyectos especiales que el artista ha realizado podemos mencionar:
En 1980, realiza un mural de30 metros en el Hotel Presidente Hyatt (1980) (La obra fue destruida en una remodelación).
En 1983, con motivo de la visita del Papa Juan Pablo II, le fue encargado a Llort la decoración del templete para la misa pontificia. Así como el diseño de la estola Papal para la ceremonia.
En 1985, trabaja en la decoración dela Capilla Monseñor Romero en la UCA. San Salvador.
Ese mismo año, diseña el mural “Homenaje al Sol”, de 36 metros cuadrados para la fachada de El Árbol de Dios.
En 1997, diseña el mural y las verjas “El Camino Real de mi Pueblo”, en el Hotel Camino Real de San Salvador.
El mural dela Catedral: También en 1997, los arquitectos españoles Joaquín Lorda y Joaquín González, que habían sido contratados porla Comisiónde Reconstrucción de Catedral seleccionaron a Fernando Llort para que presentase alternativas al proyecto de un mural para la fachada de Catedral, con la idea de agregar elementos de color y estética que le añadiera carácter latinoamericano al edificio. Los diseños fueron aprobados porla Fundación Catedraljunto al Arzobispo Fernando Sáenz Lacalle, los arquitectos españoles y la Empresa Suárez Consolidados (que había sido contratada en 1995 para llevar a cabo la remodelación). La elaboración y colocación del mural duró un año entero, e involucró el trabajo de más de cien personas.
En 1998, la fachada principal dela Catedral Metropolitana de San Salvador estuvo terminada, la remodelación de catedral fue inaugurada el 19 de marzo de 1999,
En el mural de cerámica están representados alegóricamente el pueblo de Dios, el nuevo hombre y la nueva mujer con los instrumentos que utilizan para su trabajo, los ángeles guardianes, la paloma, símbolo de la paz y, coronándolo todo, una representación de la Última Cena y el símbolo de Dios.
En el año 2003, Fernando Llort recibe dela Asamblea Legislativa de El Salvador la distinción honorífica de Hijo Meritísimo de El Salvador, por sus aportes artísticos en pro de la identidad artesanal de El Salvador y por su trayectoria artística y humanística.
El mural de la fachada de catedral fue destruido en diciembre de 2011.
SOBRE EL TRABAJO DEL ARTISTA
No esperemos entender el trabajo de Fernando Llort de acuerdo a parámetros tradicionales. De manera independiente, el artista ha ido “abriendo camino” y se ha forjado un escenario propio, con prioridades diferentes orientadas a la función social, a la enseñanza y al beneficio comunitario. Su trabajo parece ignorar las fronteras entre arte culto, arte popular y artesanía; su obra tiene influencias modernistas y del arte POP, pero absorbe lo local y lo tradicional transformándolo a su propia dimensión, donde ha transpuesto con desenfado, y con gran sentido de libertad, lo étnico, lo local y lo religioso.
En relación con la distribución del espacio en el paisaje de sus obras, el artista parece hacer referencia a la pintura prerrenacentista y a los estilos precolombinos, con el uso de superficies planas y la ausencia de perspectiva.
Esta conjunción de influencias estilísticas, elementos con carácter ingenuo, simbología y formas naturales y arquitectónicas estilizadas conforman un mundo idealizado que de alguna manera emula la concepción de comunidad que el artista debe haber imaginado en La Palma. Los elementos religiosos han sido parte integral de su trabajo a lo largo de su carrera y las características de identidad también han sido importantísimas en el desarrollo de su obra.
El lenguaje desarrollado por Llort a partir de1972, ha sido interiorizado por los salvadoreños y forma ya parte de la cultura visual de la republica. En su afán por hacer arte y beneficiar a los habitantes dela Palma, Llort ha sentando precedentes importantes de cooperación y transversalidad entre el arte y la comunidad. Dejando del lado las convenciones, y auxiliado por una metodología clara y directa, logro establecer una iconografía para expresar sus ideas de harmonía paz y convivencia, en un momento en que el país se hundía en la vorágine de la guerra. Quizás sea esta coincidencia histórica la que confiere a su obra personal el atractivo y el misterio de lo utópico.
Es difícil pensar en el trabajo de Llort sin pensar en artesanía. La selección de trabajos que mostramos es una rara oportunidad de apreciar la obra de Fernando Llort en su dimensión original. Esperamos que esta muestra invite al público a reflexionar sobre el tema de la identidad cultural, y de un futuro construido por una sociedad pacifica, armoniosa y trabajadora como la que habita en los paisajes de Llort.
Funete: fernandollort.npo-index.net/
MUNA
Museo de Antropologia Dr. David J. Guzman
Dirección: Av. La Revolución, frente a Centro Internacional de Ferias y Convenciones, CIFCO, Col. San Benito, San Salvador, El Salvador Centroamérica
Teléfonos:(503) 2243-3750
Fax: (503) 2243-3927
E-mail: info@cultura.gob.sv
guias.muna@gmail.com
Success at last! I've tried a couple of times to get this shot right, and this one turned out as I wanted it too!
I do not have any problems with sleeping but when I fall asleep, I have this new problem of squeezing my teeth so badly that my jaw aches when I wake up. I guess It is time to dig into the deeps of some Freudian ideas
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Back in late January early February during the Eagle watch in Sheffield Mills, Nova Scotia I began experience problems with my Sony A99, It seemed to be not focusing properly and because I was just recovering from eye surgery I thought I was just imagining thing.. Yesterday while trying to do a bit of shooting things got worst and so I took it in to have it looked at. It appears that the camera and the lens are not communicating properly when trying to lock in on a focus point. To make a long story, short I have had both camera & lens returned to Sony for repair. Hope to have a lone of a camera from my son later next week.
5½ inch 80# cardstock circles, a good, stiff medium for this model.
Perfect model for CraftROBOing or die-stamping.
After catching his supper, this Green Heron was spooked by something, so he flew to this tree.
I did not spot him until he was about to land. That's when the comedy began.
He tried to figure out how to eat his catch, but there was no stable perch to do so. He kept inching down the tree trunk until finally he gave up and flew off to another location.
I’ve been wanting to take a city break in summer, rather than in the cold months for a while, so rather than heading for the Lake District for a week of toil on the fells when Jayne could get a week off, we took off from Liverpool for Paris. Flight times were nice and sociable but it meant we were on the M62 car park at a busy time in both directions – it’s a shambles! I’ve stopped over in Paris a dozen times – on my way to cycling in the Etape du Tour in the Alps or Pyrenees – and had a few nights out there. Come to think about it and we’ve spent the day on the Champs Elysees watching the final day of the Tour de France with Mark Cavendish winning. We hadn’t been for a holiday there though and it was a bit of a spur of the moment decision. Six nights gave us five and a half days to explore Paris on foot. I had a good selection of (heavy) kit with me, not wanting to make the usual mistake of leaving something behind and regretting it. In the end I carried the kit in my backpack – an ordinary rucksack – to keep the weight down, for 103 miles, all recorded on the cycling Garmin – and took 3500 photos. The little Garmin is light and will do about 15 hours, it expired towards the end of a couple of 16 hour days but I had the info I wanted by then. This also keeps the phone battery free for research and route finding – I managed to flatten that once though.
What can I say – Paris was fantastic! The weather varied from OK to fantastic, windy for a few days, the dreaded grey white dullness for a while but I couldn’t complain really. We were out around 8.30 in shorts and tee shirt, which I would swap for a vest when it warmed up, hitting 30 degrees at times, we stayed out until around midnight most nights. It was a pretty full on trip. The security at some destinations could have been a problem as there is a bag size limit to save room in the lifts etc. I found the French to be very pragmatic about it, a bag search was a cursory glance, accepting that I was lugging camera gear, not bombs around, and they weren’t going to stop a paying customer from passing because his bag was a bit over size.
We didn’t have a plan, as usual we made it up as we went along, a loose itinerary for the day would always end up changing owing to discoveries along the way. Many times we would visit something a few times, weighing the crowds and light etc. up and deciding to come back later. I waited patiently to go up the Eiffel Tower, we arrived on Tuesday and finally went up on Friday evening. It was a late decision but the weather was good, the light was good and importantly I reckoned that we would get a sunset. Previous evenings the sun had just slid behind distant westerly clouds without any golden glory. It was a good choice. We went up the steps at 7.30 pm, short queue and cheaper – and just to say that we had. The steps are at an easy angle and were nowhere near as bad as expected, even with the heavy pack. We stayed up there, on a mad and busy Friday night, until 11.30, the light changed a lot and once we had stayed a couple of hours we decided to wait for the lights to come on. This was a downside to travelling at this time of year, to do any night photography we had to stay out late as it was light until 10.30. The Eiffel Tower is incredible and very well run, they are quite efficient at moving people around it from level to level. It was still buzzing at midnight with thousands of people around. The sunset on Saturday was probably better but we spent the evening around the base of the Tower, watching the light change, people watching and soaking the party atmosphere up.
Some days our first destination was five miles away, this is a lot of road junctions in a city, the roads in Paris are wide so you generally have to wait for the green man to cross. This made progress steady but when you are on holiday it doesn’t matter too much. Needless to say we walked through some dodgy places, with graffiti on anything that stays still long enough. We were ultra-cautious with our belongings having heard the pickpocket horror stories. At every Café/bar stop the bags were clipped to the table leg out of sight and never left alone. I carried the camera in my hand all day and everywhere I went, I only popped it in my bag to eat. I would guess that there were easier people to rob than us, some people were openly careless with phones and wallets.
We didn’t enter the big attractions, it was too nice to be in a museum or church and quite a few have a photography ban. These bans make me laugh, they are totally ignored by many ( Japanese particularly) people. Having travelled around the world to see something, no one is going to stop them getting their selfies. Selfies? Everywhere people pointed their cameras at their own face, walking around videoing – their self! I do like to have a few photos of us for posterity but these people are self-obsessed.
Paris has obviously got a problem with homeless (mostly) migrants. Walk a distance along the River Seine and you will find tented villages, there is a powerful smell of urine in every corner, with the no alcohol restrictions ignored, empty cans and bottles stacked around the bins as evidence. There are families, woman living on mattresses with as many as four small children, on the main boulevards. They beg by day and at midnight they are all huddled asleep on the pavement. The men in the tents seem to be selling plastic Eiffel Tower models to the tourists or bottled water – even bottles of wine. Love locks and selfy sticks were also top sellers. There must be millions of locks fastened to railings around the city, mostly brass, so removing them will be self-funding as brass is £2.20 a kilo.
As for the sights we saw, well if it was on the map we tried to walk to it. We crossed the Periphique ring road to get to the outer reaches of Paris. La Defense – the financial area with dozens of modern office blocks – was impressive, and still expanding. The Bois de Boulogne park, with the horse racing track and the Louis Vuitton Centre was part of a 20 mile loop that day. Another day saw us in the north east. We had the dome of the Sacre Couer to ourselves, with thousands of tourists wandering below us oblivious of the entrance and ticket office under the church. Again the light was fantastic for us. We read that Pere Lachaise Cemetery or Cimitiere du Pere Lachaise was one of the most visited destinations, a five mile walk but we went. It is massive, you need a map, but for me one massive tomb is much the same as another, it does have highlights but we didn’t stay long. Fortunately we were now closer to the Canal St Martin which would lead us to Parc de la Villette. This was a Sunday and everywhere was both buzzing and chilled at the same time. Where ever we went people were sat watching the world go by, socializing and picnicking, soaking the sun up. As ever I wanted to go up on the roof of anything I could as I love taking cityscapes. Most of these were expensive compared with many places we’ve been to before but up we went. The Tour Montparnasse, a single tower block with 59 floors, 690 foot high and extremely fast lifts has incredible views although it was a touch hazy on our ascent. The Arc de Triomphe was just up the road from our hotel, we went up it within hours of arriving, well worth the visit.
At the time of writing I have no idea how many images will make the cut but it will be a lot. If I have ten subtly different shots of something, I find it hard to consign nine to the dark depths of my hard drive never to be seen again – and I’m not very good at ruthless selection – so if the photo is OK it will get uploaded. My view is that it’s my photostream, I like to be able to browse my own work at my leisure at a later date, it’s more or less free and stats tell me these images will get looked at. I’m not aiming for single stunning shots, more of a comprehensive overview of an interesting place, presented to the best of my current capabilities. I am my own biggest critic, another reason for looking at my older stuff is to critique it and look to improve on previous mistakes. I do get regular requests from both individuals and organisations to use images and I’m obliging unless someone is taking the piss. I’m not bothered about work being published (with my permission) but it is reassuringly nice to be asked. The manipulation of Flickr favourites and views through adding thousands of contacts doesn’t interest me and I do sometimes question the whole point of the Flickr exercise. I do like having access to my own back catalogue though and it gives family and friends the chance to read about the trip and view the photos at their leisure so for the time being I’m sticking with it. I do have over 15 million views at the moment which is a far cry from showing a few people an album, let’s face it, there’s an oversupply of images, many of them superb but all being devalued by the sheer quantity available.
Don’t think that it was all walking and photography, we had a great break and spent plenty of time in pavement bistros having a glass of wine and people watching. I can certainly understand why Paris is top of the travellers list of destinations.
27 April 2014. Same old location; same old problem?
Or is it?
For many years, a litter bin at the corner of Dowsett Road and Parkhurst Road in Tottenham has been a location for dumping. Why?
Here's a list based partly on my own observations. And also on guesses and speculations - including comments I've heard from other local residents.
Possible factors in causing the problem?
● Not enough litter bins on our streets.
● Too many residents using the bin.
● Not enough collections by Veolia, Haringey
Council's waste management contractors.
● Residents who treat litter bins as collection points
for any waste.
● People keep trying to add their rubbish until
a bin is stuffed full and overflows.
● People think a full bin means it's okay to
leave their waste on the pavement because it
will eventually be collected.
● Some residents don't use the household waste
and recycling bins outside their own homes.
● Kids litter on their way to and from nearby schools.
● Haringey Council changed from a weekly
to a fortnightly general waste collection.
● Some residents take no responsibility for the
waste they generate.
● Failure by the Government to introduce
a tax on plastic bags.
● Haringey Council and Veolia not engaging
effectively with residents to "nudge" us into
recycling, composting more, and using the
weekly food waste collection.
● People living in very cramped accommodation
who buy "convenience" foods and dispose of
waste in the easiest way.
You'll realise there is no single "right" answer. There may be some wrong answers as well. Plus other factors not listed.
I want to suggest that this isn't just a random list.
It points to different people "framing" the problem in
different ways. Which implies different possible
approaches and solutions.
Whose problem is it? Are we looking for someone to blame and to punish? If so how will this be done? (E.g. spot fines?)
Or will we get further by framing the problem as the need for more money and other resources? For example, to hire more cleaners and empty litter bins more frequently?
Do we take a "systems" perspective and look overall at what's happening in our partly unsuccessful waste collection arrangements?
Or is the most fruitful approach to find ways of making a "culture change" leading to different behaviour by local residents?
Go and Look
But before we theorise or even make guesses, there's an obvious place to start. Obvious if we want to find out what's actually happening, and how different people behave to cause these problems.
We can go to the place and look. Talking to
people who use the bins, or live nearby.
When I was an elected Haringey councillor, I was impressed to meet many Haringey staff - and a few councillors - who thought it was a good idea to do just this. Years ago I sometimes tagged along with our friend Lucy Craig - then also a Haringey councillor. Lucy would chat with residents and council staff who responded to her friendly low-key questions. She also showed me the advantage of taking a digital camera - persuading me to save up for my own.
Many Haringey staff go a lot further too. Click this link for some photos I took in 2009. They show Kelly Peck, then one of the Enforcement Staff in the Environment Department, opening rubbish bags in search of evidence of who dumped them on the street.
No-Go-No-See
When a councillor I also came across no-can-do staff. They used one or more of 101 reasons to explain why something wasn't possible. Why the bureaucracy was right and residents almost invariably wrong.
To be fair, sometimes bureaucrats are right. There are many sensible and sometimes excellent technical and professional reasons why something residents would like to happen cannot in practice be done. But if someone starts with a fixed bias and a refusal, it's not hard to find justifications. Especially if you're not willing even to look and ask and reflect.
Here's an example I've given before: a pedestrian zebra crossing in Endymion Road London N4. In this example residents who are members of a local community website shared their concerns online about what they saw as a dangerous crossing. They also contacted Haringey's professional Highways staff *.
But instead of going to the crossing and taking a look, the Highways staff wasted time and effort writing emails to excuse their inaction. So another local resident went and looked and took some photos. Doing the job which professional staff were paid for and were failing to do.
And guess what? Residents spotted that:
● Branches from park trees partly obscured drivers' line-of-sight.
● The flashing beacons at the crossing were dirty and dim.
● Some of the white colour had come off the beacon poles, so the black and white stripes didn't show up.
Table Talk
In 2008 I suggested a small project to find out more about what's happening near the Dowsett Road regular dumping spot. And potentially many other rubbish dumping 'hotspots'. My idea was that Haringey staff and councillors would engage with and learn from local people by talking to them and carefully listening, Asking what they thought and knew.
I gave this project a possible name: Table Talk.. Suggesting that the talk could be around a small table in the street - ideally in the the long summer evenings.
What was the response to my suggestion? Zero. (Though always a polite zero.)
London borough elections are held every four years. Many new councillors were elected in May 2014. With another bunch of newbies in May 2018. Not all of them were as closed-minded and incompetent as the leadership. One or two were willing to "go to the place" - to look, listen, and learn.
___________________________________________
§ One version of go-to-the-place-and-look approach is the Japanese notion of: "Genchi Genbutsu" here explained by the Economist magazine as: "More a frame of mind than a plan of action.
(webpage dated 13 October 2009. Accessed 4 February 2017.
§ Link to a helpful summary of the ideas in: Frame Reflection: Toward the Resolution of Intractable Policy Controversies by Donald A. Schon and Martin Rein, (New York: Basic Books, 1994).
§ Charlotte Pell's blog Freedom from Command and Control discusses systems ideas entertainingly and clearly. {Blog offline September 2016]
§ Wikipedia entry about Gemba - or Genba. N.B. "Gemba Walk".
§ In 2000 Lucy Craig brought her digital camera to Tottenham Hale station. She and I took photos of the litter, weeds, pavement parking and rat holes. After a lot of complaints, this helped achieve a successful clean-up.
§ My reading of Jane Jacobs suggests that she frequently invites her readers to reframe a problem by turning it around. As when she discusses parks and other green spaces.
"Conventionally, neighborhood parks or parklike open spaces are considered boons conferred on the deprived population of cities. Let us turn this thought around, and consider city parks deprived places that need the boon of the city conferred on them. This is more than nearly in accord with reality, for people do confer use on parks and make them successes – or else withhold use and doom parks to rejection and failure".
— From The Death and Life of Great American Cities, Chapter 5.
[§ (Note to self for additional material on Berlin; Tower Hamlets and Park View Road waste bins.)]
§ Highways staff * This team seems to have the fancy-schmancy fashionable new name of "Sustainable Transport". I can't keep up with the restructuring and name changes in Haringey Council. And frankly residents should not have to. Especially as each name change wastes time and money the Council hasn't got. As far as possible they should settle on something plain and understandable and stick with it.
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Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild
Choose the best alternative:
1) I haven't an objective wide enough
2) the subject i too BIG
3) I am too close
4) stitching several photos is frustrating
5) anything else, pls describe.
Found the problem with my ring flash and it is working again. Apparently it does not like rechargeable batteries. This seed pod seemed like a good choice to get back into the swing of things with it.