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A horse in the shade of a tree in Angkor Wat, Cambodia.
Licensed under the Creative Commons - Anyone is free to use this photo. Please credit! (See Note in my Profile for more details)
This boulevard garden is shaded by a linden tree, but a little of the noon sun sneaks through and hits the hosta, which is why some of the leaves are over-exposed.
A pedestrian walking past the Jade Buddha Temple, Shanghai, China during the midday heat.
© Rob Colin Thomas
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A detail shot for Shade's birth announcements. Yep, that's Ferdinand the bull in the foreground. Paper Source Luxe White.
My shade garden. It was impossible to grow grass on this side of the lawn, so I gave up and went with the flow. I like it so much better now with shade plants instead of clumps of half-hearted grass. This was taken in spring. before everything had filled out.
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When I had first deboxed Raphia and Shade late July of 2007 and I brought them over to the living room to show my family, my mother brought this novelty picture frame out from her bedroom for Shade to sit in. I gave it back to her quickly since she is soo FRIGGEN TERRITORIAL! Well today when she was at work, I popped into her room to barrow it again for a quick shoot. What she doesn't know can't hurt her.
New shade wall at Dust Devils Stadium, Pasco, WA
85ft tall wall built to shade all the seats along the third base side in the stadium from the hot evening desert sun by 20 degrees.....wooohooo!
Ya know what......IT WORKS!
River's dam, Coastalight Shades of Blac (Eclipse’s Blac Lava x Grousemoor Coastalight Dream). I love this photo of Shade. I wish we lived closer so I could get to know Shade better. Photo by Wendy MacDonald.
2016
Silicone, fibreglass and gauze
Anish Kapoor at the Lisson Gallery,
31 March – 6 May 2017
Anish Kapoor, one of the most influential artists of his generation, presents a major exhibition of new work at Lisson Gallery London, marking his sixteenth exhibition with the gallery. The show explores the affective nature of painting from the multiple perspectives of Kapoor’s varied working practice. His works evince overlapping dimensions, at once image and object, illusion and representation, substance and skin, surface and depth.
The exhibition debuts three large-scale, amorphous, hybrid forms that exist somewhere between paintings, sculptures and anamorphic objects. These signal an important development into sculptural objecthood from the expressive silicone ‘paintings’ that premiered in the artist’s last London show two years ago. The exhibition features work further exploring the shift between two and three dimensions, including a pair of red stainless steel mirrors – employing different types of reflectivity – as well as a number of significant gouache works on paper made over the past six years.
The artist’s actions, whether by hand or fabrication, simultaneously build and tear apart the substance of the world, veiling and unveiling its image. These latest developments relate to and expand on a series of experiments with painted silicone that Kapoor has been working on for many years, but showing only recently, including the triptych of paintings Internal Object in Three Parts (2013-15). This work was first exhibited at Lisson Gallery London in 2015, and then travelled to the Rijksmuseum, Amsterdam later that year and were shown alongside a wider selection at MACRO, Rome from December 2016 until April 2017.
The exhibition foregrounds a maroon-red palette of colours, darkening to an earthy black, continuing his interest in the interior void and the ‘dirty corner’ of the world’s material and psychic realities. Even his concave polished mirrored works are here complicated by a coating of hazy matte colour with a seductive satin surface, which blurs and softens the reflection of space including the viewer. A rare presentation of recent works on paper sees Kapoor utilising paint to similar, visceral effect. Ranging from the apocalyptic and abstract to transcendent and gestural, the leap from paper to object is palpable without these works being containable as drawings or studies towards larger pieces.
[Lisson Gallery]