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Exhibition: May 30 – June 20, 2024
Reception: Thursday, May 30 from 5-7PM
artLAB Gallery
This exhibit is a culmination of Leith Mahkewa’s time as the Indigenous Artist in Resident at Western University. Although the focal art piece of her residency was the production of a cradleboard adorned with beadwork, she also produced many beaded items, which are pictured in the exhibit.
While in residence Leith explored a variety of new art mediums: woodworking, linocut printing, leather handbag making, silversmithing and haute couture embroidery which add to her artistic repertoire and increase her creative skills.
Beadwork is Leith’s primary art medium of choice. Through this residency she followed a vision to create a new and innovative artwork while still conserving the original intent of the cradleboard. This was her first attempt at making a cradleboard and then adorning it with beadwork. The design and creation of the board itself is not a new concept, cradleboards have been used for centuries but Leith had never made one. The completion of this board and accompanying beadwork took approximately 7 months, a relatively short time compared to the 12 years she held this idea and waited for an opportunity to make her idea come to life. The inspiration for this project came from Leith’s personal experience using a cradleboard for her children and her desire to create one herself using beadwork as the main focal point. She promotes the use of the cradleboard and its value to the mother, baby and family.
One of the goals Leith had during her residency goes beyond the boundaries of UWO’s campus and Western’s Wampum Lodge to her community, Oneida Nation of the Thames. Leith’s intentions while at Western was to help increase the visibility and use of cradleboards by those within her community. The avenue that she chose was to encourage a group of women to explore their beadwork journey and to encourage them to bring the cradleboard home for themselves to use or for their families to see its utility and beauty.
The group gathered on campus and in Oneida, where they learned beading techniques, shared food, and comradery. All were gifted a cradleboard to bring home to their families. It’s important to note that beading for Leith is primarily done alone. However, the time spent creating and sharing with these four ladies motivated her to complete her own works and helped to foster the possibility of sharing future beadwork teachings. The beaded wraps for each cradleboard created by Faye Summers, Shelley Elijah, Twyla Antone and Samantha Doxtator are integral to this exhibit and a once in a lifetime experience which sustains the utility of cultural items.
Leith would like to acknowledge all those who mentored, encouraged and at times listened to her creative ramblings. The journey to this point was not done alone, there have been many people who helped to make this process enjoyable and a success. She recognizes the Department of Visual Arts at the University of Western Ontario for the providing the space for the promotion and growth of the Indigenous Artist in Residence program without which she would not have had the resources to work independently and create art as she sees it.
© 2024; Department of Visual Arts; Western University
Re-purposed burlap coffee bean bag. A peek at the inside lining. The bottom of the inside lining matches the outer pocket.
Hong Kong Transport - Trucks
The Hong Kong Truck Culture
The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.
*Vans are classified as Light Goods Vehicles and are not shown in this album
In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below
☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.
☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.
☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.
The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.
The following brands of Trucks can be seen on the streets of Hong Kong and include:-
Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion
Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.
Isuzu is the market leader in terms of sale volume for all types of trucks.
(Source - The Transport Department, Hong Kong Government)
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
IITA Human Resources Services organises Walk for a Purpose to celebrate Walk For a Purpose - World Day for Safety and Health at Work 2018 : “IITA workers' safety and health awareness” on 27 April, 2018 at IITA-Ibadan. Photo by IITA. (file name: 20180427_Walkforapurpose_003).
This virtual edition CreativeMornings/Bogotá event was at home!
Laura Osorno our speaker.
Photos by Juan Felipe Rubio.
Connect and share
Contact us
bogota@creativemornings.com
CreativeMornings/Bogotá
Hoogovenhaven, IJmuiden, Holland on 14th March 2013.
Name: LEDA
Type: vessel for hydrographic measurements
Length: 9 m
Beam: 3 m
Draft: 2,4 m
Flag: Netherlands
This is my official end of Project 365. In case you haven't noticed, I haven't been keeping up with it. At first, it was a fun idea. As time went on, however, it became more of a burden--something I HAD to do. It wasn't really fun anymore, and I was taking stupid pictures just to fill my quota.
Taking pictures is great, but if they are taken with the wrong motivation, what good are they?
I'm changing my focus from being all about photography to being all about Jesus, and using photography for His glory. I had had that idea in my head for awhile, but never really made it official. Passion and Exuma changed that. Especially Exuma.
I only have one life. I want to spend it the best way possible-living for Jesus. I know it won't be easy, but it will be worth it in the end. I don't want to waste it doing stupid stuff. Project 365 won't help me get closer to God or spread His love. It takes up my time, and distracts me. It's stupid.
I'll be uploading pictures still, but I won't make it my main priority.
These images are yours to use freely for non-commercial purposes if you were a participant in the 2015 Malta 5K race on September 12, 2015. Please feel free to enjoy them and even post them on social media - if you think of it I would appreciate photo credit.
They are not developed, edited, straightened, or retouched; and, they are small, low res files @ 640 pixels on the long edge.
If you find an image you would like developed in in full resolution and ready to print - I will be happy to supply the developed image to you for $5 per image requested.
My email address is photoconnelly@gmail.com and my cell number is 518-321-4725. I can accept cash, check or charge.
BGL
Collective founded in Quebec City in 1996
Jasmin Blodeau
Born in Lac-Mégantig Quebec, in 1973
Sébastien Giguere
Born in Arthabasu Quebec, in 1972
Nicolas Laverdiére
Born in Quebec City in 1972
2008
Damaged snowmobile, velvet flakes, salt, spray glue
Purchase, Louise Lalonde-Lamarre memorial Fund
Inventory 2010.11
The artist collective BGL makes recurrent use of found or repurposed objects. Here, a snowmobile, also known by its brand name Ski-Doo (manufactured by Bombardier), hangs bke a lifeless, frozen carcass embodying a vestige of past traditions. Having both recreational and functional purposes, snowmobiles ease travel on snow-covered ground, providing access to remote areas that would be inaccessible without skis, snowshoes or dogsleds. Their introduction into Inuit territory in 1959 transformed modes of transportation in the North, reducing the traditional use of dogsledding and changing Inuit hunting, herding and trapping patterns. Reflecting the artists' social and political concerns about consumerist economies, the work's title, Arctic Power— a reference to a brand of laundry detergent — alludes to the "cleansing" of the North of dog teams (qimutsiit in Inuktitut) and to the powerful Ski-Doo travelling through the Arctic. Snowmobiles cause extensive ecological damage by emitting pollutants that impact air and water quality, harming aquatic and terrestrial ecosystems. Furthermore, they compact snow, which affects the soil and vegetation, and the noise they generate disturbs wildlife.
The purpose of posting this 35mm slide is for "Historical Purposes Only" I bought this slide at an "Estate Sale" several years ago. If anyone claims Copyright to this Photo then please let me know.
P.S. This Image is not to be Printed, Distributed or used "Without Written Permission" ThankYou Photo2c aka E.H.J.
The purpose of the Book Week Celebration is to encourage students to become readers through fun and engaging activities that motivates students to appreciate the different kinds of literature the world has to offer - from epic novels to simple newspaper comics.
To kick off the opening of the SFAMSC Book Week, a mini parade where the preschool, grade school, and some intermediate and high school student wore the costumes of their favourite literary and comic characters!
The purpose of the Book Week Celebration is to encourage students to become readers through fun and engaging activities that motivates students to appreciate the different kinds of literature the world has to offer - from epic novels to simple newspaper comics.
To kick off the opening of the SFAMSC Book Week, a mini parade where the preschool, grade school, and some intermediate and high school student wore the costumes of their favourite literary and comic characters!
25th June 2025 Charities Institute - Purpose and Partnership, building better Charity Business Collaborations event held in Arthur Cox, Ten, Earlsfort Terrace, Dublin 2, D02 T380. Photo: Aidan Oliver Photography
***No fee applies***
A long exposure shot with NoctaCam.
Want to take great photos like this? Download NoctaCam at noctacam.com
Week 16 - 16/03/2013
Please note: Quality of Photos is reduced for viewing purposes. High quality Photos are available for purchase through Ballarat Little Athletics Club
Exhibition: May 30 – June 20, 2024
Reception: Thursday, May 30 from 5-7PM
artLAB Gallery
This exhibit is a culmination of Leith Mahkewa’s time as the Indigenous Artist in Resident at Western University. Although the focal art piece of her residency was the production of a cradleboard adorned with beadwork, she also produced many beaded items, which are pictured in the exhibit.
While in residence Leith explored a variety of new art mediums: woodworking, linocut printing, leather handbag making, silversmithing and haute couture embroidery which add to her artistic repertoire and increase her creative skills.
Beadwork is Leith’s primary art medium of choice. Through this residency she followed a vision to create a new and innovative artwork while still conserving the original intent of the cradleboard. This was her first attempt at making a cradleboard and then adorning it with beadwork. The design and creation of the board itself is not a new concept, cradleboards have been used for centuries but Leith had never made one. The completion of this board and accompanying beadwork took approximately 7 months, a relatively short time compared to the 12 years she held this idea and waited for an opportunity to make her idea come to life. The inspiration for this project came from Leith’s personal experience using a cradleboard for her children and her desire to create one herself using beadwork as the main focal point. She promotes the use of the cradleboard and its value to the mother, baby and family.
One of the goals Leith had during her residency goes beyond the boundaries of UWO’s campus and Western’s Wampum Lodge to her community, Oneida Nation of the Thames. Leith’s intentions while at Western was to help increase the visibility and use of cradleboards by those within her community. The avenue that she chose was to encourage a group of women to explore their beadwork journey and to encourage them to bring the cradleboard home for themselves to use or for their families to see its utility and beauty.
The group gathered on campus and in Oneida, where they learned beading techniques, shared food, and comradery. All were gifted a cradleboard to bring home to their families. It’s important to note that beading for Leith is primarily done alone. However, the time spent creating and sharing with these four ladies motivated her to complete her own works and helped to foster the possibility of sharing future beadwork teachings. The beaded wraps for each cradleboard created by Faye Summers, Shelley Elijah, Twyla Antone and Samantha Doxtator are integral to this exhibit and a once in a lifetime experience which sustains the utility of cultural items.
Leith would like to acknowledge all those who mentored, encouraged and at times listened to her creative ramblings. The journey to this point was not done alone, there have been many people who helped to make this process enjoyable and a success. She recognizes the Department of Visual Arts at the University of Western Ontario for the providing the space for the promotion and growth of the Indigenous Artist in Residence program without which she would not have had the resources to work independently and create art as she sees it.
© 2024; Department of Visual Arts; Western University
Exhibition: May 30 – June 20, 2024
Reception: Thursday, May 30 from 5-7PM
artLAB Gallery
This exhibit is a culmination of Leith Mahkewa’s time as the Indigenous Artist in Resident at Western University. Although the focal art piece of her residency was the production of a cradleboard adorned with beadwork, she also produced many beaded items, which are pictured in the exhibit.
While in residence Leith explored a variety of new art mediums: woodworking, linocut printing, leather handbag making, silversmithing and haute couture embroidery which add to her artistic repertoire and increase her creative skills.
Beadwork is Leith’s primary art medium of choice. Through this residency she followed a vision to create a new and innovative artwork while still conserving the original intent of the cradleboard. This was her first attempt at making a cradleboard and then adorning it with beadwork. The design and creation of the board itself is not a new concept, cradleboards have been used for centuries but Leith had never made one. The completion of this board and accompanying beadwork took approximately 7 months, a relatively short time compared to the 12 years she held this idea and waited for an opportunity to make her idea come to life. The inspiration for this project came from Leith’s personal experience using a cradleboard for her children and her desire to create one herself using beadwork as the main focal point. She promotes the use of the cradleboard and its value to the mother, baby and family.
One of the goals Leith had during her residency goes beyond the boundaries of UWO’s campus and Western’s Wampum Lodge to her community, Oneida Nation of the Thames. Leith’s intentions while at Western was to help increase the visibility and use of cradleboards by those within her community. The avenue that she chose was to encourage a group of women to explore their beadwork journey and to encourage them to bring the cradleboard home for themselves to use or for their families to see its utility and beauty.
The group gathered on campus and in Oneida, where they learned beading techniques, shared food, and comradery. All were gifted a cradleboard to bring home to their families. It’s important to note that beading for Leith is primarily done alone. However, the time spent creating and sharing with these four ladies motivated her to complete her own works and helped to foster the possibility of sharing future beadwork teachings. The beaded wraps for each cradleboard created by Faye Summers, Shelley Elijah, Twyla Antone and Samantha Doxtator are integral to this exhibit and a once in a lifetime experience which sustains the utility of cultural items.
Leith would like to acknowledge all those who mentored, encouraged and at times listened to her creative ramblings. The journey to this point was not done alone, there have been many people who helped to make this process enjoyable and a success. She recognizes the Department of Visual Arts at the University of Western Ontario for the providing the space for the promotion and growth of the Indigenous Artist in Residence program without which she would not have had the resources to work independently and create art as she sees it.
© 2024; Department of Visual Arts; Western University
This virtual edition CreativeMornings/Bogotá event was at home!
Laura Osorno our speaker.
Photos by Juan Felipe Rubio.
Connect and share
Contact us
bogota@creativemornings.com
CreativeMornings/Bogotá