View allAll Photos Tagged provocation
Years, centuries, even millennia of warfare was noble, if tedious work. The Empress sought to solidify her control of the galaxy, and in the eyes of her trillions of subjects, as well as the myriad other species who called the galaxy home, had made humanity a force to be reckoned with.
Yet with each new world, the haze of corruption seeped in all the stronger. Those who yielded to these barbaric and unnatural forces grew in number, strength and cunning. It was seen not just at the end of her own blade, but in the seemingly endless string of casualty reports and the slowing advancement of her forces.
She could not lead her forces at every front while maintaining an empire. A glint of satisfaction shined across her features as the solution became obvious: those of her own bloodline would be ideal forces to act in her stead.
If the galaxy would fight her dominion with legions, her children would lead legions in kind to fight back the darkness.
malachite (Siproeta stelenes) - Cordillera Escallera, Peru
This stunningly beautiful butterfly has picked this leaf to spend the night on. Frustratingly difficult to photograph during the day as these butterflies fly away at the slightest provocation it is much more simple to closely approach one at night as it sleeps, like most species of butterfly this one is diurnal and only active during daylight hours. This is a common species of Central and South America, it gets its name from malachite, the mineral, which has a similar green color to its wings. This individual is looking a bit torn up and has seen better days.
Grange Place, in 13/10/2022 11:15. Despite the known and valued nature of Melbourne's early lanes, newer modern architecture creeps in.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | 180º @ 17:00 | substack
(Continuation. Please see the previous images and the story of Dunja In Timelessness series if you feel like that).
Recently I’ve answered on one comment, which was rather special for me. Truth be told, I get plenty of special for me comments. And pretty often indecently delaying with an answer (I’m so sorry, my friends!). Those comments are just living those own lives inside of me, till an answer will born. Precisely this comment helped to born to this photo (do you remember this Syd Barrett’s random precision, as Roger Waters describe it?). So, thanks a lot again, Tim Munsey, for the help with the birth!
That’s why I decided just to quote my comment with this photo, as a new page out of my art-diary. Here it is (and all our conversation is here: “I'm especially grateful to your comment, Tim, because the hero of this series, Dunja, didn't like this photo. And I'm as a too sensitive artist for a while went cold to it as well. Now I'm warming again. Though at first, I just loved it, because there is something new for me, sort of arthouse photography, some far from mainstream, challenge and provocation. Maybe some hommage - to Cortazar with his El perseguidor and Rayuela, maybe even 62 Modelo para armar, and some other artists. And I'm very fond of challenging and provocation - the viewer as well as myself. As a way to freedom”.
(to be continued…)
Manual of the Warrior of the Light
A warrior of the Light does not spend his days trying to play the role that others have chosen for him
A Warrior of the Light knows what he wants, and he has no need to waste time on explanations
A Warrior of the Light never resorts to trickery, even if he knows how to distract his opponent
A Warrior of the Light does not waste his time listening to provocations
A Warrior of the Light does not seek approval through explanation or justification, but through alignment between his actions and his truth
A Warrior of Light never fights with somebody who does not deserve the honour of combat
IMPORTANT STATEMENT
THE LIMITS
To those looking to scrape, copy, or “borrow” my soul, read carefully:
ZERO TOLERANCE: Any use of my works in portfolios, commercial displays, or training data will be met with rigorous legal action.
NO SHARES: Do not share my work to platforms without my permission. Especially to Pinterest.
NO AI TRAINING: My images are strictly prohibited from being used for diffusion models or AI generators.
VISIBILITY IS NOT A LICENCE: Sharing my soul with the public does not grant you ownership. Using my images to feed an AI or build your portfolio is not “sharing” — it is theft.
ANTI-COPYIST STANCE: Technical mastery does not grant you the right to the soul of another’s work. To copy a composition simply because it is “beautiful” is to fail the fundamental test of artistry: having something original to say.
A brief flirtation with a sea-change had us doing real estate research on the west coast. I have visited there often. First camping with mates, then on a regular school excursions.
This was the first time I'd seen a traffic warning sign in another language in Australia. Speaks to the volume of foreign drivers the west coast gets I guess. Our sea change idea didn't last long, the market was already beyond our means in 2020.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
💀 DURA 💀 MAN CAVE 💀 LAPOINTE BASTCHILD 💀 KUNST 💀 SIGNATURE 💀 LELUTKA 💀 VEILANCE 💀 THE SUMMONING EVENT 💀
💀 COLAB SOL ROSTOV 💀
More POMO architecture.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
I have a series of locations I revisit on and off. This is one of them.
Roughly the same site, in 2025, now behind a fence so off limits. The construction has now extended to the old quarry site, and may even be buildings, perhaps factories, or warehouses.
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One of my many ongoing approaches is to move through the world as a harvester of images. I stumble, stroll, and lurch, equal parts accident and intent. Each frame is a fragment, a glitch, or a whisper from the margins. My decades-deep, archive serves as both a compass and a crucible: a living constellation of negatives and proof sheets that drive and generate further inquiry. It’s where entropy meets annotation, where decay and growth are catalogued not as opposites but as co-conspirators.
I circle questions that resist resolution: time as texture, presence as performance, and possibility as rupture. I search for quiet collisions, between gesture and ruin, between what’s seen and what’s overlooked, where meaning might flicker into being. I attempt to create each image not as a document and but more a provocation, an invitation to reframe perception and interrogate the ideological choreography of attention.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Reality can be perceived as positive because it is positive. We are not talking about “baptizing” reality starting from a religious preconception, a “pious” vision, but about recognizing it in its ultimate nature. Reality is ontologically positive. Why? Reality is positive because it exists. Everything that exists is there because the Mystery permitted it to happen (everything, in fact, has an origin in a mysterious Something; nothing makes itself); it provokes and sets the person in motion, it represents an invitation to change, an occasion to take a step toward one’s own destiny. Every circumstance is the path and the instrument of our journey—it is a sign. Insomuch as it is there, reality is a provocation, and therefore the occasion for the reawakening of the “I” from its inertia.
--Disarming Beauty ESSAYS ON FAITH, TRUTH, AND FREEDOM, JULIÁN CARRÓN Foreword by Javier Prades
The Robin is a year round resident in the UK, but a small minority of female Robins migrate to southern Europe during winter, a few as far as Spain. Both the male and female feature similar plumage, both with the distinctive red breast. The male bird is extremely territorial and will aggressively defend his territory, attacking any similar sized birds that try to muscle in on their patch.
The adult European robin is 12cm long and weighs between 15 to 22 g with a wingspan of 20–22 cm . The male and female bear similar plumage; an orange breast and face lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black. Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing. Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas
What a sweet song this bird has. Always looks so cute and mild mannered
But Did you know that Male Robins are noted for their highly aggressive territorial behavior. They will attack other males that stray into their territories, and have been observed attacking other small birds without apparent provocation. Such attacks sometimes lead to fatalities, accounting for up to 10% of adult Robin deaths in some areas.[
Today, EU Special Forces failed to disarm what was believed to be a dirty bomb in the center of London. Detonated near Buckingham palace, authorities are scrambing to contain the situation. Current projections released by the Ministry of Defense state that they are expecting nearly 2,000,000 casualties. Minister Fallon has been quoted as saying that "Those responsible will be brought to justice." Meanwhile EU forces around the globe have been ordered to full alert and to expect an attack without the slightest provocation. This is Jamie Austin with BBCOne signing off.
Finished in 1812 this was the third city hall that the city had. The first was built by the Dutch when the city was still known as New Amsterdam and that was demolished in 1690. The second was built by the British in 1700 and was renamed and repurposed as Federal Hall. The city offered a prize of $350 to the architect(s) for to submit the wining design plans won by Joseph-François Mangin and John McComb Jr. In 1954 the city replaced much of the exterior stonework with better quality materials and in 2008 the building got a major restoration that cost 150 million. The building was subjected a violent riot in 1857 when the between the recently dissolved New York Municipal Police and the newly formed Metropolitan Police on June 16, 1857. Municipal police fought with Metropolitan officers who were attempting to arrest New York City Mayor Fernando Wood. In 1970 during the Vietnam War it was the scene of the infamous "Hard hat riot." when hundreds on construction workers violently and without provocation attacked a group of antiwar protestors. In 2003 a city council member James E Davis was murdered by a political rival and was shot dead by police at the scene. The building is now a national historical landmark and a New York City historical landmark. Ever since the destruction of the World Trade Center access to building has been quite restricted and I took this picture through a gap in fencing surrounding the area. I did strike up a conversation with two police officers neither who could have been a day over 30 how back in 1969 me and brother stood on the steps not more than forty feet away watched Neil Armstrong, Buzz Aldrin and Mike Collins got the key from the city from Mayor John Lindsay as they were honored for the Apollo 11 moon landing and being regarded as a witness to history.
The Robin is a year round resident in the UK, but a small minority of female Robins migrate to southern Europe during winter, a few as far as Spain. Both the male and female feature similar plumage, both with the distinctive red breast. The male bird is extremely territorial and will aggressively defend his territory, attacking any similar sized birds that try to muscle in on their patch.
The adult European robin is 12cm long and weighs between 15 to 22 g with a wingspan of 20–22 cm . The male and female bear similar plumage; an orange breast and face lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black. Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing. Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas
marketplace.secondlife.com/p/DeLa-Mesh-Hair-Meline-Demo/2...
Style Card
UC_NaughtyNights_Top
[Provocation] Bella bra
- wraith - Cargo Pants
[AlternatiVe] Alyssa Necklace
[AlternatiVe] Earring Diamond Gold "Charm"-L
SIGMA Sparkle earrings
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DeLa* main store
slurl.com/secondlife/DeLa/114/112/24
=DeLa*= at Marketplace
marketplace.secondlife.com/stores/13625
DeLa* flickr
The Robin is a year round resident in the UK, but a small minority of female Robins migrate to southern Europe during winter, a few as far as Spain. Both the male and female feature similar plumage, both with the distinctive red breast. The male bird is extremely territorial and will aggressively defend his territory, attacking any similar sized birds that try to muscle in on their patch.
The adult European robin is 12cm long and weighs between 15 to 22 g with a wingspan of 20–22 cm . The male and female bear similar plumage; an orange breast and face lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black. Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing. Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas
The Robin is a year round resident in the UK, but a small minority of female Robins migrate to southern Europe during winter, a few as far as Spain. Both the male and female feature similar plumage, both with the distinctive red breast. The male bird is extremely territorial and will aggressively defend his territory, attacking any similar sized birds that try to muscle in on their patch.
The adult European robin is 12cm long and weighs between 15 to 22 g with a wingspan of 20–22 cm . The male and female bear similar plumage; an orange breast and face lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black. Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing. Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas
The Robin is a year round resident in the UK, but a small minority of female Robins migrate to southern Europe during winter, a few as far as Spain. Both the male and female feature similar plumage, both with the distinctive red breast. The male bird is extremely territorial and will aggressively defend his territory, attacking any similar sized birds that try to muscle in on their patch.
The adult European robin is 12cm long and weighs between 15 to 22 g with a wingspan of 20–22 cm . The male and female bear similar plumage; an orange breast and face lined by a bluish grey on the sides of the neck and chest. The upperparts are brownish, or olive-tinged in British birds, and the belly whitish, while the legs and feet are brown. The bill and eyes are black. Juveniles are a spotted brown and white in colouration, with patches of orange gradually appearing. Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. There are instances of robins attacking their own reflection. Territorial disputes sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas
forbidden fruits, all things that glitter, and a pretty girl are mans downfall.
fools gold and a T girls are just as bad!
Feminine charms are such a hoot to master a little provocation, a hint of seduction the sweet girl next door turned into a sexy miss..would you as Adam resist such temptation?
Just have to make do with old bird ;-)
Fitzroy's lanes never cease to deliver, when I flaneur through them.
This is the cover image from my self published book, "What's the ugliest part of your body". You can purchase it via the MPC website or from the NGV Art Book Fair.
Edit 2026
Baby Guerrilla is the artist, perhaps, is an anonymous Australian street artist known for her massive, hand-drawn paste-ups. A graduate of the Victorian College of the Arts, she creates her work to liberate art from traditional gallery spaces and make it accessible to the public. Her figures are often depicted floating, falling, or suspended in mid-air, interacting directly with the architecture of the buildings they are placed on.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Wandering the streets around my neighbourhood keeps turning up small, unexpected gems.
I’m pulled to the places where nature presses up against the city, sometimes sharing the space, sometimes taking it back entirely. And always, the slow, creep of decay.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
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Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
A different view of the scene.
I have a series of locations I revisit on and off. This is one of them.
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One of my many ongoing approaches is to move through the world as a harvester of images. I stumble, stroll, and lurch, equal parts accident and intent. Each frame is a fragment, a glitch, or a whisper from the margins. My decades-deep, archive serves as both a compass and a crucible: a living constellation of negatives and proof sheets that drive and generate further inquiry. It’s where entropy meets annotation, where decay and growth are catalogued not as opposites but as co-conspirators.
I circle questions that resist resolution: time as texture, presence as performance, and possibility as rupture. I search for quiet collisions, between gesture and ruin, between what’s seen and what’s overlooked, where meaning might flicker into being. I attempt to create each image not as a document and but more a provocation, an invitation to reframe perception and interrogate the ideological choreography of attention.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
Victim blaming is any response that explicitly states or implies that the victim is to blame for the abuse they have experienced: victim blaming often revolves around actions that a victim could have taken, or not taken, to avoid experiencing abuse. My observations made it clear that victim blaming also makes part of the blackmail system, using chemical products. Psychology is also an important tool in the submission apparatus:
Severe personality problems find *camouflage.* No one thinks "I'm a sadist" or "I'm a malignant narcissist."
They find a belief system/social group that validates their most hateful, destructive impulses & construes them as virtues.
The most toxic and hateful people in the world are 100% convinced they fight for what is true and right.
For colleagues looking for more theoretical explanation, the psychological processes are splitting, projection & projective identification. Splitting means not recognizing one's own capacity for hate, cruelty, and destructiveness. The person is blind to the bad in themselves.
Instead, they project the badness onto some designated other. And this other person, via the defense of projection, is now seen as the repository of all that is bad and evil and necessary to destroy. That's the projection.
The person now feels fully justified in unleashing
their viciousness and hate on the other person, who is now seen (via projection) as someone monstrous who must be destroyed. If the person who is projected on responds to the provocation with anger, this is now seen as further confirmation of how hateful and destructive they are (this is what is called is "projective identification.") The end result is that the person can deny their own sadism, cruelty, and hate—while simultaneously acting it out without restraint. And feel themselves to be 100% on the side of truth and right as they do it.(Prof Jonathan Shedler)
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70 x 100 cm, acrylic on canvas
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Jan Theuninck is a Belgian painter
www.boekgrrls.nl/BgDiversen/Onderwerpen/gedichten_over_sc...
www.forumeerstewereldoorlog.be/wiki/index.php/Yperite-Jan...
www.graphiste-webdesigner.fr/blog/2013/04/la-peinture-bel...
www.eutrio.be/nl/expo-west-meet-east
When I made this picture the West Gate Tunnel had yet to open,
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
THE TRUTH ALWAYS COMES OUT.
I created this image to represent a simple and unavoidable idea: sooner or later, truth rises to the surface.
Even when someone tries to bury it, darken it, distort it, or keep it hidden, truth always finds a way through.
In this scene, the dark glass becomes a metaphor for a mind filled with omissions, silence and lies — yet something inside still moves, emerges, ignites, and breaks the surface. It is that precise moment when what was hidden becomes visible, and pretending is no longer possible.
I am creating a series of images inspired by proverbs because proverbs are the moral memory of humanity: in just a few words they contain experience, wounds, justice, irony, and survival.
I chose to create them digitally with Artificial Intelligence not because this technology can replace photography or “pure” art, but because I want to use a new tool without becoming its servant.
I want to bend the instrument to my own language — turning it into poetic provocation and visual protest.
Before the virtual becomes a weapon against human beings, I use it to remind human beings who they are.
And above all, to remind that truth — even when buried — always comes out.
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar
During the 2025 Ballarat International Photo Biennial. I stumbled on this gallery wall. Is it ironic I'm making an empty gallery wall art; or is that, attempting to make art?
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | Dpreview albums | my work archived on trove at the National Library of Australia. | reddit
This part of the west, once a dirt back road, now a major thoroughfare was a popular spot for dumping and torching cars, one can safely assume they were stolen too.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
Piratical Destiny: A man wearing heavy eye makeup and a buccaneer hat sits at a decorated table, intent on reading a deck of cards. My immediate reaction upon seeing a fortune teller dressed up like a Pirate of the Caribbean was a candid laugh. How can anyone take seriously someone who hides their total lack of credibility behind a street-fair costume? The deception is so massive that it becomes both ridiculous and metaphorical... Yet, the world is full of these overhyped characters who, convinced they are great and fearsome privateers capable of steering other people's courses and deciding their destinies in the dark, fail to realize they are just caricatures. And when the trick fades and the performance ends, the entire castle of illusions could very well crumble. This text ironizes solely on the photographed subject and the metaphor it represents. It takes nothing away from the wonderful Wine Heart of Levigliani festival, a masterfully organized event that deserves nothing but praise
A scene packed with competing lines and structures; concrete tiers overhead, the green Veloway running like a drawn stroke across the frame, and an Opal truck slipping through the mid‑ground as a fleeting accent.
The foreground curves and textures of a BMX track push forward while the overpasses stack in heavy layers above, creating a composition that feels full to the point of bursting.
Every element is attempting to do something: pillars, spikes, signage, shadows, motion. The eye drawn quickly, darting from one system to the next, a visual sprint through a space built for speed and flow.
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One of many ongoing approaches, where I move through the world as a harvester of images stumbling, strolling, lurching, equal parts accidental, and intentional. My concerns circumnavigate around questions that resist easy answers: time as texture, presence as performance, possibility as glitch. I trace the contours of decay and growth, hope and entropy, searching for the quiet collisions where meaning might emerge. Each image is less a document than a provocation an invitation to reconsider what we 'see', and what we ignore; and why.
_____________________________________
Blog | Tumblr | Website | pixelfed.au | Instagram | Photography links | my Ko-fi shop | Off Ya Trolley! | s2z digital garden | vero | 180º @ 17:00 | Dpreview albums | reddit | red bubble | newgrain
July 2025. The Israeli Stock Market reached an all-time high of 3,156.35.
We are taking Palestine.
This image is not about provocation, but about truth.
In July 2025, the Israeli Stock Market reached an all-time high of 3,156.35 points, while the war against Palestine kept causing death and devastation.
This is not an invented figure: it comes from financial sources and economic news reports.
Israel profits, Palestine dies.
Artificial Intelligence
I snuck down to the waters edge and snapped a few of this guy from my belly.
Normally, I can't get close to the turtles at the wetlands. They are very skittish and dive into the water at the slightest provocation. This little guy, about 4 inches long, seemed to not care at all that I laid down close to him.
You can always tell if I had a good day or bad day shooting, by how dirty I get. Today I was filthy.