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April 22, 2010, Scroll of Honor Dedication. Nearly 500 Clemson University graduates who died in service to their country were remembered Thursday during dedication ceremonies for the Scroll of Honor. Clemson President James Barker and selected dignitaries unveiled two purple-shrouded tiger statues as a crowd of up 1,000 applauded and stood at attention. To date 470 names are etched into the stone scroll. There are 27 names from WWI; one from the Nicaraguan campaign; 378 from WWII; 17 more from Korea; one, that of a pilot, from the Cuban missile crisis; 25 from the Vietnam War: and 19 from the Cold War era and the wars on terror. Two additional names were added just as the ceremony took place. The Clemson Corps, organized in 1999, is responsible for maintaining the Scroll of Honor records. The corps is associated with the Clemson Alumni Association and helps raise funds for the preservation of Clemson's military history and the creation of scholarships for ROTC cadets..
An ordinary potshelf gets a makeover with a hand painted tonal scroll and Santa Fe border design. Perfect for sunny Arizona!
www.scmp.com/magazines/post-magazine/arts-music/article/3...
Title: How reading the story of a Holocaust survivor changed the life of an inventor, environmentalist and Hong Kong educator
- Cesar Jung-Harada remembers Nathan Prochownik as a grandfather figure; his widow gave him the book he’d written, but told him not to read it until he was 21
- When he read it, Prochownik’s story of deportation from France and the loss of his entire family had a profound effect on the Hong Kong-based entrepreneur.
Mémoires Barbelées, et Après (1995) is the memoirs of Nathan Prochownik, a Polish-French Holocaust survivor who subsequently became a successful businessman.
Cesar Jung-Harada, founder and director of makerspace network and foundation MakerBay, executive director of ocean robotics company Scoutbots, and senior lecturer at the University of Hong Kong, who knew Prochownik personally, tells Richard Lord how it changed his life.
Nathan Prochownik sold one of his old factories to my parents, under the market rate, giving my family a huge amount of creative freedom. My father (sculptor Tetsuo Harada) was a Japanese immigrant in France. My parents were broke. They looked for seven years for a workshop for my father – they looked everywhere in Paris – but everything was too expensive.
Finally, they found an abandoned factory building, with dead cats and drug deals in it. They thought they could maybe afford it, but it was hard to find out who it belonged to. They asked the neighbours, who just knew it was an old Jewish guy. They asked around in the Jewish community, and found him in a local Holocaust survivors’ group.
Nathan Prochownik was a Polish-French Holocaust survivor who subsequently became a successful businessman. Photo: courtesy of Cesar Jung-Harada
Nathan Prochownik was a Polish-French Holocaust survivor who subsequently became a successful businessman. Photo: courtesy of Cesar Jung-Harada
When they first walked in, he said he wasn’t selling; he was a businessman and he was too busy with other factories. My father has been making art for peace his whole life. He’d just made a memorial for the victims of World War II. He showed a photo of it to Nathan, who realised this Japanese hippie guy and this French girl from the countryside were really serious about this.
It took more than seven years for my parents to fix the factory and transform it into an art studio and home.
What reading The Wisdom of the Enneagram taught a social enterprise CEO
20 Jul 2022
Nathan was my grandfather figure. He would come around and check the building and that we were doing well. His wife gave me the book he wrote, after he passed away. Nathan had made the explicit request that I should not read it until I turned 21, because it would be too traumatic.
I was extremely tempted to read it when he passed away, when I was 19, but I also wanted to respect his request. I read it on the night of my 21st birthday: September 16, 2004.
Getting to know him after his departure changed me profoundly. Reading it felt like time travelling. He was a Jewish Polish immigrant in Paris. He talks about being deported. It was just so painful. The thing that traumatised me was that, in his family, he was the only survivor. He lost 40 people.
The cover of Prochownik’s book. Photo: courtesy of Cesar Jung-Harada
He describes people disappearing. Then he writes about going back to Paris, working at the factory and eventually becoming the boss. It’s just such a crazy life: from the very bottom to the very top. It’s such an inspiring story.
I wrote a book about my father’s work in 2006, and recently it got turned into a documentary. It just won a bunch of awards and is about to be released in cinemas. Nathan’s book was the inspiration to write my book.
Richard Lord
Richard is a Hong Kong-based freelance journalist who writes about a broad range of subjects, but with a focus on the arts and culture. He has been an editor at the Wall Street Journal, editorial director of Haymarket Publishing Asia and the editor of a weekly business magazine in his native UK. A graduate of Oxford University, he is also the author of a successful business book and a former stand-up comedian, the latter of which he wasn’t very good at.
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Thank you very much dear Richard for the article. The photo is the work on the "What Took You So Long Foundation" www.whattookyousolong.org/
You can buy the book from the editor (in French): www.editions-harmattan.fr/livre-memoires_barbelees_et_apr...
www.notion.so/cesarjungharada/How-reading-the-story-of-a-...
Hans took my camera to Whistler for a week, so I'm just getting these up now. Made with Amy Butler's Nigella fabric.
Acanthus scroll bordure from the Eros and Psyche mosaic. Each loop is composed of a cornucopia-shaped flower and a leaf. Inside there are flowers, fruite and masks of bearded man.
This is the 1st in a series of shots taken inside a few of the buildings made available to the public during the recent "Open Doors Toronto" weekend. This event allows the public into many building which may not normally be open to the general public.
This Jewish congregation is in Toronto's Junction neighbourhood, and was opened in 1911. It is a modest building with minimal exterior ornamentation and few grand architectural details. Shown here is a view towards the ark, or aron kodesh, housing the Torah scrolls (visible) against the east wall, ensuring that the congregation always faces towards Jerusalem, in accordance with Jewish religious law.
3-shot handheld HDR; f/5.0; ISO 400; Photomatix Pro and PS CS3.
St Editha, Tamworth, Staffordshire.
Grade l listed.
One of the largest parish churches in Staffordshire, especially notable for its Norman work and for its monuments.
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CHURCH OF ST EDITHA, CHURCH STREET, TAMWORTH
Heritage Category: Listed Building
Grade: I
List Entry Number: 1207856
Details
SK 2004 SE; 670-1/7/57
TAMWORTH, CHURCH STREET (north side), Church of St. Editha
11/05/50
GV
I
Former collegiate church. C9 origins shown in plan of former crossing tower; Norman crossing arches and chancel south wall and part of north wall; Early English north porch; most of church mid to late C14 following fire of 1345; late C14-early C15 west tower; C15 clerestories and roofs; extensively restored by B. Ferrey and G.G. Scott, 1850s, and W. Butterfield, c1871. Moulded plinths and plain parapets. 3-bay chancel with crossing and 7-bay clerestory over both; 4-bay north chapel and north transept; 2-bay south chapel and vestry; nave with clerestory and 5-bay aisles; west tower. Chancel has plinth and 6-light east window with king mullion and Perpendicular tracery, mid C14 crocketed hood mould with stops, flanking niches with crocketed ogee hoods and offset diagonal buttresses; C14 two-light south windows and C19 four-light clerestory windows, most with crocketed ogee hoods, plain parapet; north chapel has hollow-chamfered plinth and 7-light Perpendicular east window and 4-light north windows with head stops to hoods between offset buttresses; north transept has 4-light window, embattled parapet; south chapel has offset buttresses flanking windows with renewed tracery of unusual form, blocked east window, gabled vestry has straight-headed windows, of three round-headed lights to east and of 2+2 lights and three traceried lights to south, plain south door. North aisle has plinth and plain parapet, 3-light windows with Geometrical tracery between offset buttresses and 2-storey porch with round-headed entrance with C20 glazed infill and door, 1st floor light with crocketed hood with stops, stair turret in buttress to right, 5-light transomed west window with Perpendicular tracery interrupted by tower buttress; south aisle has plinth and 3-light windows with early Perpendicular tracery between offset buttresses, end gabled buttresses with stack to east, crocketed pinnacle to west, pointed entrance with continuous leaf-trail moulding, entrance to crypt, slate sundial to plain parapet, clerestory as to chancel, 4-light west window with pinnacle to parapet. 3-stage tower has gabled angle buttresses incorporating stair turrets, plinth and string courses, C19 west entrance has hollow-chamfered architrave with arms of diocese and province to spandrels and Tudor flower, paired doors, embattled parapet to wall passage below 6-light window with Perpendicular tracery; C19 south-west stair entrance has niche with St George; 4-light transomed south window with Perpendicular tracery, small lights to second stage; bell stage has paired Y-tracery louvred openings, cornice with gargoyles, embattled parapet with crocketed pinnacles with wind vanes and truncated spire.
INTERIOR: chancel has three unglazed 2-light windows to north over three mid-C14 arched tomb recesses with cusping, all open to north chapel; east window flanked by two tiers of niches with crocketed ogee heads, similar niches alternate with clerestory windows, panelled roof has stop-chamfered members, with bosses to sanctuary; crossing has round-headed north and south arches with flat responds, jambs of west arch have chevron moulding with C15 cusped panels to former arch abutments, squint to south aisle; north chapel has glazed C19 screen with brattishing, C15 panelled roof with bosses, 1882 sedilia and piscina project with cusped arches and gables, niches flank east window; transept has C19 panelled roof; south chapel has C14 two-bay west arcade with filleted quatrefoil piers, north wall has round-headed entrance to chancel with blocked deeply splayed window above and shafted buttress to vestry, C14 south piscina, C15 roof with few bosses; aisles have C15 panelled roofs with bosses, pointed entrance to porch with rib vaulting; similar panelled roof to nave, arcades with quatrefoil piers with fillets, clerestory as to chancel, C19 west wall has unglazed traceried opening over doorway with continuous moulding; tower has rib vault and deeply splayed windows and blind arch to north; crypt has single-chamfered vaulting.
FITTINGS: chancel has 1852 reredos by G.G. Scott and J.B. Philip, cusped arcading with marble shafts flanking five cusped gabled arches with mosaic, 1887, by Salviati, encaustic tiles to sanctuary, C19 traceried rail; crossing has stalls with C20 book rests; north chapel has late C19 traceried timber altar and reredos with riddel posts; south chapel has free-standing organ; nave has rich C19 timber pulpit with detached shafts, 1854 font by G.G. Scott, octagonal with shafted pier and enriched panels.
MEMORIALS: chancel has three tombs to recesses: to east, Sir Baldwin de Freville, d.c1400, and wife, chest with figures under gablets with pinnacles, inscription to cornice and two effigies to top; C15 tomb, chest with cusped panels and shields and moulded square balusters to angles, effigy of woman with kennel head-dress; to west, Sir John Ferrers, d.1512, and wife, chest with Tudor flower and shields, Tudor flower to cornice and 2 effigies, the male now without legs; to north a wall tablet to Elizabeth Adderley, d.1661, oval panel with flanking scrolls and foliage with cartouche to apron and segmental pediment with swan-neck pediment above; to south tablet to Henry Michel, d.1629, and wives, round-headed panel; Thomes Willington, d.1696, cartouche with Latin inscription and flanking drapery, apron in form of drapery with further inscription and armorial bearing above; Francis Blick, d.1842, rich Gothic Revival tablet in form of niche; north chapel has tomb recess with effigy of priest, Baldwin de Witney, d.1369; C14 floor slab with indents for missing brasses; transept has fragment of C15 effigy of knight; wall tablet to members of Comberford family, d.1671-1725, in form of drapery with Latin inscription; south chapel has wall tablet to Elizabeth Hood, d.1899, in early C19 style with stole and weeping figure by draped urn and willow; north aisle has war memorial wall slabs; tablet to John Horner, d.1769, obelisk with putto and portrait medallion and apron with palms; other C18 tablets to west wall; tower has large monument to John Ferrers, d.1680, and his son, Humphrey, d.1678, by Arnold Quellin of Grinling Gibbons' studio, chest with cartouches flanking trophy of arms supporting tablet with Latin inscription, flanked by free-standing kneeling figures in Roman armour, top sarcophagus with gadrooning, festoons, putti and flaming urn, with free-standing armorial bearing to front; tablet to John Clarke, d.1818, weeping figure by tomb with armorial bearing. Stained glass: medieval fragments to vestry east window; chancel east window, 1870, by Wailes; good south clerestory windows, 1873, by Ford Madox Brown for Morris and Co; good north chapel east window, 1874, by E.Burne-Jones for Morris and Co., also 2 windows to north, 1901 and 1925, and 2 windows by Messrs Camm, 1939 and 1940; 2 north aisle windows by H. Holiday, 1919, and one by G.E. Smith, 1945; 3 south aisle windows by H. Holiday for Powell and Son, 1881-6; also C19 windows to transept and south chapel. One of the largest parish churches in Staffordshire, especially notable for its Norman work and for its monuments.
(Buildings of England: Pevsner N: Staffordshire: London: 1974-: P.274-77; Pace GG: The Collegiate and Parish Church of St Editha, Tamworth: Tamworth).
Listing NGR: SK2078604090
This List entry has been amended to add the source for War Memorials Register. This source was not used in the compilation of this List entry but is added here as a guide for further reading, 30 October 2017.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 386462
Legacy System: LBS
Sources
Books and journals
Pace, G G, The Collegiate and Parish Church of St Editha Tamworth
Pevsner, N, The Buildings of England: Staffordshire, (1974), 274-77
Websites
War Memorials Register, accessed 30 October 2017 from www.iwm.org.uk/memorials/item/memorial/13745
Public Domain Book: Stand Scroll Book
Standard scroll book
Published 1876 by J. Haney & co. in New York .
Written in English.
From the Wyewood Arts and Sciences championship. To clarify, this isn't BY me... it was given TO me.
Thank you to Catraoine di Risteaird and Tvorimir Danilov for the work of creating this lovely scroll!
A plain salon wall gets updated with rustic faux stripes. "Everyone Deserves to Look and Feel Beautiful" was hand painted using golds, browns and metallics.
I love the scrolls in this colorwork pattern. This is my first Fiddlehead Mitten, knit in Berroco Ultra Alpaca Light. So fun to knit and really I didn't even want to put it down! blogged
This is a photograph from the seventh annual Donadea 50KM Ultramarathon which was held in Donadea Forest, Donadea, Naas, Co. Kildare, Ireland on Saturday 13th February 2016 at 10:00. The race was also an International Association of Ultrarunners Silver Label Event and the Athletics Association of Ireland (AAI) National 50KM Championships. The race completes 10 loops of a very well known 5KM trail around the circumference of the forest. Most of this trail is in very good condition with good conditions underfoot for the entire 5KM stretch. The start-finish area is located close to the coffee shop area in the center of the park beside the now ruined and abandoned Donadea Castle. This year, like all previous events, was a fantastic event with great support around the course for the athletes. However the structure of the course with the repeated loops makes a great atmosphere for the runners themselves with great camaraderie being shown amongst all of the competitors. This is one of the most popular 50KM races in Ireland. A garmin GPS link is available here [connect.garmin.com/activity/70206204]
Want to use this photograph or share it? Please read/scroll down a little further to find out how - it's very easy!
We have a full set of photographs from the event today on our Flickr photostream in the following album: [https://www.flickr.com/photos/peterm7/albums/72157664641851105]
Where is Donadea?. Donadea Forest Park is situated in rural north Kildare and is approximately 640 acres in size. The amenities at the forest include good walking trails, a diversity of natural habitats, a walled stream, a large natural lake, and the ruins of Donadea castle. The Park is a designated National Heritage Area. The basic designation for wildlife is the Natural Heritage Area (NHA). This is an area considered important for the habitats present or which holds species of plants and animals whose habitat needs protection. It is a special occasion to allow the 50KM to be held in this environment.
Donadea Forest on Facebook (requires Facebook access) [www.facebook.com/pages/Donadea-Forest-Park/42728436062858...]
Here is a stunning 4K Aerial Video of Donadea Castle & Lake on YouTube [www.youtube.com/watch?sns=fb&v=BG7LmBo2WlU&app=de...]
Timing, results, and event management was provided by RedTagTiming.com from Galway Ireland - results available at www.redtagtiming.com/
Our photographs of the Donadea 50KM 2015 are here on Flickr [https://www.flickr.com/photos/peterm7/sets/72157650821612375/]
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Moodboard
Colors: Green, Gold, Black + White
Here are some of her key descriptor words from my client before I created this moodboard: elegant, antique, history, cream and black as the main colors. Of course, I had to throw some color in there and suggested an emerald green. It just felt right for the mood she was going for, and it will add that modern feel to the overall look. Also, I want her wedding to have a little more edge and playful twist to the European, Victorian era that she seeks.
Final color palette: an off-white hue, antiqued gold, emerald green and black.
The bold black & white classic hues are accented with green and touches of vintage gold. The Victorian flair is brought in with the traditional cameos that I plan to customize to her profile silhouette and her fiance's, too. And I felt the need to add antiqued gold & black frames in various sizes to bring out that sense of history. Whether the table numbers are framed, or a cluster of portraits of the bride, groom and old family photos are displayed somewhere in the reception venue. There are soo many fun applications that they can be used for; especially for photography.
When I say I want to the give the bride "a little more edge" to her wedding day, I mean to modernize it from where she wants which may come off a bit dated based on her original key words. And I plan on doing it with a custom, green pattern with a tailored European feel, and I would like to contrast it with another graphic pattern – black & white stripes. However, these patterns won't exist everywhere in the decor; it will be used thoughtfully & selectively throughout her wedding and reception. It's those extra little accents that will give it that personal, tailored, classic appeal with a twist to the European Era.
Invitation design: custom black cameo portraits, incorporate traditional scroll flourish designs, custom green pattern on thick, uncoated paper, letterpress, and a black envelope with a personalized wax seal
Apparel/Accessories: bride in off-white, bridesmaids in black cocktail length dresses and accented in gold antiqued jewelry, the groom & groomsmen in black, or grey suits with black & white striped bow ties/or a tie
Floral selection: white anemones with their bold-dark center and white roses
Table decor/seating: a mix of black and antiqued vases with white florals, candlesticks and eclectic frames on black table linens, gold chiavari chairs, white plates with gold chargers
Guest favor boxes: black boxes accented with a green ribbon, and a sticker seal of the cameo portraits of the bride & groom
To see more inspiring design projects, visit www.designwithchon.com
Like me on Facebook! www.facebook.com/DesignWithChon
.............................
Design With Chon (DWC), a boutique design studio with defined niches in (1) visual communication, (2) event design and (3) interiors. Each of these industries are huge in themselves, but DWC has an understanding that bridges them together — color, balance, texture, order and a good eye for design. DWC’s goal is to achieve good design in all its various forms, whether it’s from the branding of your business to saying “I do” to transforming a dwelling in your home. Let me, “Chon," be your go-to person for good design, color, great photography and art. A balanced environment makes you feel good, and I am here to inspire your surroundings.
If you’re interested in sharing an idea or a project, drop me a line at designwithchon[at]gmail.com to start the conversation.
©Design With Chon. All Rights Reserved.
Who needs a computercontrolled lasercutter when you could do it with a handcontrolled stroll saw!?
Production of 40 different letterpress posters in 33 different languages! From Chinese to Russian to German to Arabic... And so on and on and on..
Printed from handcut MDF blocks... I've got still a few to do. haha
Photos of the prints are gonna follow! But first I probably need to cut for another week or so...
Quick photo of a batch of scroll wedding invitations made for a client this February. Each has little calla lilies and a sheer gold ribbon, with guest names handwritten in calligraphy on the scroll.
April 22, 2010 Ð Scroll of Honor Dedication. Nearly 500 Clemson University graduates who died in service to their country were remembered Thursday during dedication ceremonies for the Scroll of Honor. Clemson President James Barker and selected dignitaries unveiled two purple-shrouded tiger statues as a crowd of up 1,000 applauded and stood at attention. To date 470 names are etched into the stone scroll. There are 27 names from WWI; one from the Nicaraguan campaign; 378 from WWII; 17 more from Korea; one, that of a pilot, from the Cuban missile crisis; 25 from the Vietnam War: and 19 from the Cold War era and the wars on terror. Two additional names were added just as the ceremony took place. The Clemson Corps, organized in 1999, is responsible for maintaining the Scroll of Honor records. The corps is associated with the Clemson Alumni Association and helps raise funds for the preservation of ClemsonÕs military history and the creation of scholarships for ROTC cadets..
Fifth attempt to move bodies through space by combining micro and macro views. First introduction of a collapsed timeline - merging the lifespan of a rock to that of a plant, for example - depicting the environmental byproducts of the global market (beautiful and disgusting) alongside the emerging economic giant China.
Many thanks to Ben Guttin for the rock/plant/collapsed time conversation.
Acrylic on scrim, 30 x 160" 2008
mollydilworth.com