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Lisa Beare, Minister of Tourism, Arts and Culture issued the following statement after receiving the National Association of Japanese Canadians’ report, Recommendations for Redressing Historical Wrongs Against Japanese Canadians in BC: Community Consultation: (see link)
A stroll on the beach is often so enjoyable thanks to the people I meet there.
Michal was playing her guitar which attracted us and we asked her to sing, too. She did gladly and we joined in.
Michal, 23 y/o, has recently returned home to Israel from India where she had spent three months. She was looking for peace and quiet in Goa and a place to get away from family pressure.
"I was told repeatedly to start studying, do something with myself, but I just wanted to be left in peace."
India did help her to find quietude although Michal said it was too short a stay. She intends to go back someday.
Michal believes that people should do more things that they love. People shouldn't lie to themselves, they should smile more and love unconditionally.
Shooting the Square Mile (15/24)
At a personal level I like the simplicity of this almost abstract statement. I read into it a step change in the way architects work. The older building, the one on the right, comes from the age of the orthogonal age of the manual drawing board; the Gherkin on the left is from the curvaceous age of computer aided design. The older building deserves a name check, it is now known as St, Helen's Skyscraper (formerly known as the Commercial Union Building) designed by Gollins Melville and Ward and completed in 1969. The City is a restless place.
cute & little blog | petite fashion | loft striped flare dress, bow belt, statement necklace, studded flats | family time dallas arboretum
Statement by Mr Kai Ilchmann on behalf of Ms Kathryn Millett, Biosecure (UK), at the 22nd Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 27 November to 1 December 2017.
Natasha Stone – The Essence of Performance
Critical Reflection
Upon reflection of the creative process I have undergone during this F.M.P, I feel I have really explored the ‘Essence of Performance’; that I set out to achieve. After seeing numerous productions of different genres and really breaking down and analyzing the conventions of each performance I was then able to cross examine all of the performances to see what become the universal ‘essence’, or if there even was a universal essence.
To me, after reflecting on the ideas that I first wanted to examine in my statement of intent: ‘the three staple conventions: actor, audience, space’, I feel that there is less importance placed on the three dynamics I once thought were the core of a performance. I feel the relationship between the audience and the actor (something Marina Abromovic has explored in numerous works that I have also sited) is the essence of the performance, and the way the space is manipulated to suit the aforementioned dynamic of actor-audience interaction.
Leading up to the final exhibition, I was heavily leaning towards 2d work in the form of headshot exploration, text-based graphics and heavily conceptual work. However in the final few weeks of development I started to look deeper into anti-conventional performance pieces such as ‘Big Brother’/CCTV and started to realize the universal convention between all of the performances, all of the reality TV performances and CCTV is based on the response of the audience to the actor. Big Brother for example: if there isn’t a good relationship between the audience and the ‘performer’ (as it where), the audience votes for them to be evicted. In a stage production, if the audience isn’t responding to your work, they will either leave or respond negatively. Upon this notion I then decided to think more heavily towards a 3d performance piece. I had originally began the project with the vision of a performance piece but slowly started experimenting with more 2d based work before coming full circle and deciding that a 3d performance piece would suit the body of work more.
Experimenting and developing more I was thinking whether or not to use myself as the performer or another person; after doing some candid filming I caught a piece of gold in the form of an elder lady knitting. The piece was so captivating she then formed the basis of all of my plans.
During a piece of Artist research I was conducting on the photographer Annie Leibovitz, I came across a quote of hers regarding her collection on actor and director. She described the Actor as ‘Machine’ and the director as the controller. I then started to think about the past performances in this way and noticed that this was universally applicable to every performance I had seen: stage and CCTV/Big Brother. Stage performers are heavily directed during their rehearsal period, Big Brother has a team of directors that manipulate situations and direct them in tasks.
I then began to wonder if this was the true essence of performance? The idea of ‘the actor being directed and the audience’s response to the resulting product’. After realizing this I then decided on my final piece idea. After weeks of artist research, seeing –first hand – multiple performances of different varieties and strengths of professionalism and exploring the conventions of each to really break down the true essence, I then found my answer and began to look at ways of implementing this into my final piec
I found the creative process a tricky one. With my piece not being of an entirely physical-art based foundation, I found the challenge of presenting my ideas and explorations challenging. Being of a very photographical background I found myself capturing what I had seen and experimented in a photographical nature, however I then found it difficult to capture the essence of the performance I had witness through a 2d method. The difficulty we face as performers and resultingly the difficulty I found as an artist was capturing the essence of a live performance. Many directors refuse to have their performance filmed as it ruins the live performance ‘essence’. Without experiencing every aspect of the performance: from the smell of the room to the feel of the seats, to the vibrancy of the lights and the heat of the generators.
Without fully encompassing all of these conventions, a live performance is never truly captured via a repeatable medium (Video). Therefore artistic recordings became hard and I had to think of different ways to present my findings. Luckily I was able to manipulate the colours and sharpness in certain photos to really capture a moment in time of the production that would give the viewer a gauge of just how the performance would have looked.
Another thing I found difficult was being too heavily conceptual. I had numerous ideas and findings with very little creative outlet possible. As well as this I found it hard to get my idea across to others through the written word, not being from a performance background it was hard for the viewer to understand what I was trying to achieve through words. I resolved this by using photographs, illustrations and verbal explanation.
The final weeks leading up to the F.M.P I found very difficult. As my fellow artists were adding final touches to their pieces, finalizing type-face or glossing their painted sculptures, I was sat there planning my performance piece that I would not see until the night of the exhibition. I had decided that my idea would conform around the idea of an old lady (looking like a conventional old lady), the same one from the captivating video, would walk around the exhibition like a spectator to lull the other audience members that she is not part of the exhibition. The lady would have an ear piece in so that I could then direct her every move through the exhibition, completely taking on the convention of ‘actor as machine’ and having the director control every move and truly exploring the relationship between the actor and the audience. I had asked the Lady prior to starting if she agreed to hand over complete censorship and abdicate responsibility for her actions, over to myself for the duration of the exhibition. The lady agreed and thus I fitted her with an ear piece and gave her a bag with an air horn in it.
I directed the lady based upon the audience and their attitude. One couple were standing close to each other and so I asked the lady to completely dismiss the female and talk to the male. After which I then told her to barge through the couple and walk away. The woman was slightly offended and the man found it bemusing, yet they didn’t say a word to the lady. I then told the lady to follow certain individuals around. The individuals realized they were being followed and tried to shake off the old lady but still did not say anything to the lady.
Numerous occasions like this happened throughout the performance before the climatic air horn was released. I gave the lady an air horn because it is one of the loudest objects that I knew would resonate so deeply within the hollow cavity of the open exhibition space because of the space’s acoustics. It is such an offensive sound that makes people jump, I thought it would be interesting to see what the reaction of the audience would be if the lady let it off without their awareness. The lady hid the horn in her back and upon my direction walked into the middle of the space and let the horn off still inside the bag. The surrounding unsuspected audience members were horrified, shocked, jumped out of their skin and just confused as to where the sound came from. Not a single person confronted the lady, even after she did it for a second time. I the directed her to do the same thing but in the second performance space; she did so and the reaction was perfectly the same.
For me, the piece was a success. It was a success because the audience were unaware it was a performance piece, we explored (live) the idea of the ‘essence of performance’ and the dynamic of actor as machine being directed by another as well as exploring Marina Abromovic’s influential idea of the relationship between actor and audience.
It was interesting to see the audience’s reactions live. I was surprised by my findings in that not one single person confronted the old lady. It shows the amount of censorship we place upon our selves, a convention I explored slightly in my sketchbook, the idea that we are too afraid to say something to another individual for fear of the response of the public reaction. Having these findings and these reactions made my performance piece successful because we achieved the desired response. We were able to see, first hand, the relationship between certain audience members and the actor as well as first hand seeing the complete abdication of responsibility for ones self and ones censorship, relinquishing this to another individual that then directs you to do whatever they say: the true essence of performance: abdicating responsibility and censorship.
A bold statement of luxury and grand touring, this custom-bodied Duesenberg was the hit of the Paris Salon when it first appeared in 1932. Often the car of choice among the Hollywood elite, Duesenbergs represented the finest in American cars. Trimmed with high-contrasting ivory interior against royal metallic luster red paint, this stunning Duesenberg is the pinnacle of automotive art and fashion.
As with all great cars, there are always great stories. For Duesenberg, there are not only great stories but personalities associated with one of the finest automobiles of the 20th century. These stories remind us of the magnificence of the designers, builders and patrons of these fine cars.
In 1932, all of France was stunned as the special-bodied Fernandez and Darrin Duesenberg appeared at the Paris Salon. Fernandez had been a well-known coachbuilder with European designs to his credit, and Howard "Dutch" Darrin had made significant inroads in both U.S. and European markets with his firm, Hibbard and Darrin. In 1931, Darrin dissolved his partnership with Hibbard and began working with Fernandez. One of their first major European contributions to the world of coachbuilt automobiles was built on a stunning, long-wheelbase 1932 Duesenberg Model J chassis.
Resplendent in metallic red with contrasting ivory interior trim and featuring an elegant three-position landau roof, this Duesenberg would later be made in two (perhaps three) otherconfigurations from 1932 through 1933. At some point in the history of these rare cars, a two-toned blue and black car became attributed to movie star Greta Garbo. Although she persisted in denying this, the legend of the Garbo Duesenberg continued as part of the mystique of this illusive actress. Some speculated that her denial of the car was due in part to not wanting to be recognized as she was driven in it. The Garbo mystery could very well be due in part to her friendship with French film star Suzy Vernon, who owned and was pictured many times with the blue and black Model J Duesenberg known as the "Garbo." Some speculate that this is how the legend began.
Today, both cars are regarded as some of the finest coachbuilt cars ever built upon a Duesenberg chassis. The original Paris Salon car has been fully restored to original condition and is currently in a private collection.
1933 Duesenberg J Victoria
1933 Duesenberg J Victoria
The most glamorous Duesenberg ever.
Only two were created -- and now you can own a fabulous recreation!
An astonishing array of luxurious details.
True-to-life operating features.
Statement by EP President Martin Schulz on the CETA agreement's state of play, during the EP plenary session (24-27 October 2016) in Strasbourg: audiovisual.europarl.europa.eu/Assetdetail.aspx?id=1f53dd...
This photo is copyright free, but must be credited: © European Union 2016 - European Parliament. (Attribution-NonCommercial-NoDerivs Creative Commons license). If you need high resolution files do not hesitate to contact us. Please do not forget to send the link or a copy of the publication to us: photobookings(AT)europarl.europa.eu
Clothes make a statement. Costumes tell a story. ~Mason Cooley
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i have admired some of your "wigs" for weeks now and thought i'd pick one up for this week's costume theme... being the holiday and all...
the one in the comments was from my "selfy sunday" submission for the google+ group. some amazing stuff in that gallery... you should check it out!
i had intended to use the same portrait for both groups, but i didn't want to do my make-up twice so i almost skipped out on the g+ entry... i didn't really do my makeup last night, i photoshopped the eyelashes on. ;)
for Me Again Monday theme: halloween and Bam #16
Statement by Mrs Anong Paijitprapakorn, Deputy Director-General, Department of Industrial Works, Ministry of Industry of the Kingdom of Thailand to the OPCW at the 22nd Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 27 November to 1 December 2017.
Apparently he wears the mask because he's a Jain. It prevents him from inadvertently swallowing an insect.
Press Statement by Ministry of Foreign Affairs, Singapore: State Visit of the Governor-General of New Zealand Lieutenant General The Right Honourable Sir Jerry Mateparae and Lady Janine Mateparae, 6 to 8 July 2015
The Governor-General of New Zealand, Lieutenant General The Right Honourable Sir Jerry Mateparae will make a State Visit to Singapore from 6 to 8 July 2015 at the invitation of President Tony Tan Keng Yam. Governor-General Mataparae will be accompanied by his wife Lady Janine Mateparae and officials from the New Zealand Government House and the Ministry of Foreign Affairs and Trade.
An official welcome ceremony will be held for Governor-General Mateparae on 7 July, following which he will have separate meetings with President Tan and Prime Minister Lee Hsien Loong. President Tan and Mrs Tan will host a State Banquet in honour of Governor-General Mateparae and Lady Janine that evening.
During the course of Governor-General Mateparae’s visit to Singapore, he will be accompanied by Deputy Prime Minister Teo Chee Hean on a tour of the Treelodge@Punggol, HDB’s first Eco-Precinct. Deputy Prime Minister Teo will host Governor-General Mateparae to lunch after the tour. Minister for Defence Dr Ng Eng Hen will also host Governor-General Mateparae to lunch to reaffirm the close and long-standing defence ties between Singapore and New Zealand. Governor-General Mateparae will be accompanied by Minister for Health Gan Kim Yong to the KK Women’s and Children’s Hospital (KKH) to view ongoing collaboration between Singapore and New Zealand at the Neurodevelopment Research Centre under A*STAR’s Singapore Institute for Clinical Sciences.
Governor-General Mateparae and Lady Janine will attend an orchid-naming and tree-planting ceremony at the Singapore Botanic Gardens on 7 July.
Governor-General Mateparae’s visit underscores the excellent ties between Singapore and New Zealand as both countries commemorate the 50th anniversary of the establishment of diplomatic relations this year. There is close cooperation in the fields of trade and investment, defence, and the people-to-people sectors.
. . . . .
MINISTRY OF FOREIGN AFFAIRS
SINGAPORE
5 JULY 2015
I believe that's a gay flag. I dunno whether the pub on the ground floor is a gay pub or not and I don't care. Am not pro nor anti homosexuals. My motto in life is: To each his/her own.
Had reservation about posting this up. However, I thought that this is a nice pic, the colorful flag makes a very nice contrast to the plain building's wall and dark interior. Therefore, this pic is up in my album NOT as a statement, but rather for artistic value only, nothing more. Period!
Please restrain from using this pic to make a statement or as a discussion or start a flame war regarding this sensitive issue. Kindly keep your opinions to yourself. Please respect my decision. Any statement/discussion about this issue will NOT be tolerated and will be be deleted!
MEDIA STATEMENT: Gloucester and Camden residents and their supporters including iconic Australian actor Michael Caton bring their battle against coal seam gas to Sydney for the Annual General Meeting of AGL on Thursday 23 October 2014.
The residents are calling on AGL to immediately suspend its coal seam gas operations in Gloucester.
The group greeted shareholders as they arrived at the venue, informing them about AGL’s involvement in coal seam gas.
Residents also attended the AGM to ask questions about the company’s record of pollution incidents and licence breaches as well as the viability of proceeding with the Gloucester project in a volatile environment of strong community opposition.
There have been more than ten people arrested in the last 48 hours at the site where AGL is trying to begin fracking coal seam gas in Gloucester. The company brought its equipment trucks into the site at 4am on Monday morning.
The community have vowed to continue taking peaceful direct action to interrupt and delay the coal seam gas fracking over concerns it threatens human health, existing agriculture and tourism businesses, and the community’s water supply.
The fracking of four coal seam gas wells at Gloucester was approved by NSW Resources Minister Anthony Roberts in August 2014. This is the first coal seam gas fracking approved by the current NSW Government. AGL is planning to drill and frack 110 coal seam gas wells in the first stage of operations in Gloucester.
Wandering around the city centre on St Patrick’s day, you’ll meet many diverse fun fashion statements to say the least… classy greens, sassy golds and demure nods to patriotism as people roll out in their Sunday best, while others parade full-on costumes ranging from the adventurous to the really out there ! (And that’s not including the official parade!)
This Paddy’s Day, we’re celebrating street fashion on a day of eclectic Irish fashion!
The National Leprechaun Museum and the SCOOP foundation joined up to give everyone (Dubliners and visitors) the chance to show off their Paddy’s Day Finery to the whole world, and set up a picture-book-photo-booth for them to get snapped in!
Entrants got snapped by our photographers on our set and then posted online… winners will be voted on by a worldwide audience! (There’s a range of categories and spot prizes to be won!)
Let us know your favourite by tweeting about it #lookoftheirish!
********
The National Leprechaun Museum opened its doors in March 2010. Since then it has welcomed in excess of 150k visitors through its doors to explore Irish folklore, mythology and storytelling through our unique interactive experience.
Rave reviews from the likes of Time magazine, the Guardian, the BBC, and even the cast of Jackass, highlight the uniquely enjoyable experience for adults and children alike, exploring the world of Irish folklore in a series of fun and interactive spaces led by our great storytellers.
OPEN EVERY DAY!
10.30 – 18.30 (Last entry at 17.45)
********
The SCOOP (Support Children Out Of Poverty / Stop Corruption On Our Planet) is a young, innovative and hard working organisation working and creating out of Dublin City, Ireland.
They endeavour to raise funds through their own events and unique ideas, in order to build schools and opportunities for children and young people caught in the poverty trap in the some of the poorest and more corrupt parts of the world.
They also wish to create a different type of charity in Ireland; one that utilises young and talented people to keep creating new and positive methods to achieve their many goals and aspirations.
Watch this space!
Registered charity CHY 18767
**********
Photography by Martin Bures & Jennette Donnelly
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A new free crochet pattern offered by Stitch Diva Studios in our very own glistening Studio Silk.
Make a statement with some inexpensive flat decorative marbles, basic crochet skills and some pretty yarn.
This project is fast enough for you to make a few of these very trendy statement necklace pieces - explore using more or fewer marbles or varying the configuration of the stones for your very own creation!
Wandering around the city centre on St Patrick’s day, you’ll meet many diverse fun fashion statements to say the least… classy greens, sassy golds and demure nods to patriotism as people roll out in their Sunday best, while others parade full-on costumes ranging from the adventurous to the really out there ! (And that’s not including the official parade!)
This Paddy’s Day, we’re celebrating street fashion on a day of eclectic Irish fashion!
The National Leprechaun Museum and the SCOOP foundation joined up to give everyone (Dubliners and visitors) the chance to show off their Paddy’s Day Finery to the whole world, and set up a picture-book-photo-booth for them to get snapped in!
Entrants got snapped by our photographers on our set and then posted online… winners will be voted on by a worldwide audience! (There’s a range of categories and spot prizes to be won!)
Let us know your favourite by tweeting about it #lookoftheirish!
********
The National Leprechaun Museum opened its doors in March 2010. Since then it has welcomed in excess of 150k visitors through its doors to explore Irish folklore, mythology and storytelling through our unique interactive experience.
Rave reviews from the likes of Time magazine, the Guardian, the BBC, and even the cast of Jackass, highlight the uniquely enjoyable experience for adults and children alike, exploring the world of Irish folklore in a series of fun and interactive spaces led by our great storytellers.
OPEN EVERY DAY!
10.30 – 18.30 (Last entry at 17.45)
********
The SCOOP (Support Children Out Of Poverty / Stop Corruption On Our Planet) is a young, innovative and hard working organisation working and creating out of Dublin City, Ireland.
They endeavour to raise funds through their own events and unique ideas, in order to build schools and opportunities for children and young people caught in the poverty trap in the some of the poorest and more corrupt parts of the world.
They also wish to create a different type of charity in Ireland; one that utilises young and talented people to keep creating new and positive methods to achieve their many goals and aspirations.
Watch this space!
Registered charity CHY 18767
***********
Photography by Martin Bures & Jennette Donnelly
***********
6711 Williams Street, Richmond, BC.
Statement of Significance:
Description of Site:
The house is a late Craftsman style home situated in a residential neighbourhood on Williams Road. The house has a large front yard providing a separation from the street, with a concrete wall and entry columns between the front yard and the sidewalk.
Statement of Values:
The heritage value of the Yarmish house lies in its historical association to the Ukrainian Catholic Church in Richmond, established to serve the Ukrainian cultural community as Richmond’s population continued to diversify. Church services were held in the house before the congregation was able to build a church of its own. The house speaks to a time period in Richmond when the first suburban developments were occurring during the early 20th century. The house also has aesthetic value as a good example of the late Craftsman building style, and its large front yard with mature trees speaks to the early suburban nature of the site.
Character Defining Elements:
Key elements that define the heritage character of the site include: · The Craftsman style and design of the entire house, as illustrated by triangular eave brackets, exposed rafter ends, shed dormers, and an open verandah with twinned columns · Mature landscape features, including foundation planting and two original cherry trees located in the front yard · Early concrete block perimeter wall with decorative concrete entry columns.
History:
The house of Dr. Ivan and Mary Yarmish was host to services of the Ukrainian Catholic Church before the congregation was able to build a church of their own. Reverend James Bartman, who lived with the Yarmish family, ministered to the congregation. The church was established to serve its particular cultural group, an indication of the continued diversification of Richmond’s population.
Architectural Style: Late Craftsman
Design Features:
The house exhibits many features of the Late Craftsman style, notably triangular eave brackets and exposed rafter ends. It is rectangular in plan, with a concrete foundation and symmetrical massing. The roof is a side gable with a large gable dormer at the front, with a shed dormer on either side. The roof cover is asphalt shingle, documented as being new. The cladding consists of stucco on the first floor, horizontal clapboard on the basement, and double coursed shingles on the second storey. There is a full, open front verandah at the font of the house, supported by double square columns, one side possibly having been filled in. The windows are wooden sash casement; the windows in the gable dormer have coloured glass in a multi-paned transom. The gable dormer has possibly been filled in, and has a row of casement windows.
Design Attributes:
Large original cherry trees are located in the front yard of the house. An early concrete block wall with columns demarcates the front property line of the house. The house has some foundation planting of indeterminate age.
- City of Richmond
Ok Rack, I will tell you what I am going to try to do, although it is a little crazy, and is somewhat a ‘kernel’ still. I have this idea about timelines, it’s always been there, but now I am going for it more consciously. Of course, it revolves around ‘Rack and Ruin’, but they are no longer only us.
There are three main ‘timelines’. The first is 1917/1918, and a story of a double pandemic: Syphilis and The Spanish Flu. Two men, an Irish writer and a French artists set up a three-day assignation in a Dublin hotel, 'The Shelbourne' to take opium, cocaine, and mercury, and perform what they call ‘The Lancing Cure’. Their assumed names are Rack and Ruin, their cover, one is gay, the other is ‘straight’, or at least as gay as Duchamp might have been and as ‘straight’ as that notorious ‘petomane’ Joyce was. They won’t be named in this part of the 'book', they will be Rack and Ruin, two desperate men looking for both a type of fellowship in their shared condition, and some release through a mercury cure. Both have syphilis, of course. (I am remembering our high tea in ‘The Shelbourne’, that hysteria). Ruin has booked a room for three nights, and filled it with what would be needed for this ‘cure’.
The second time-line is, of course, from 1987 to the present (2021), with that ‘Rack and Ruin’ we are used to, you and me maneuvering from one pandemic to another, finding fellowship.
The third is the future, two characters met on a clunky website called Flickr, in 2022. They never actually meet, other than on this ‘astral plain’. Their gender is ‘indeterminate’, flexible and fluid, but mainly because gender doesn’t matter anymore in 2040. They have survived a double pandemic during the 20s, and are sort of the narrators. They are both fat and very old and permanently attached to screens, though keyboards aren’t necessary anymore. They are also gender-neutral simply because at their age all that doesn’t matter anymore, as if a second reason was needed. They have been set free to be tied down to their monitors. Pandemics are over, more or less, with everyone remaining hermetically sealed, as extensions of their computers. Food is now downloaded and printed out, and everybody is writing furiously, or creating digital ‘mash-ups’, to entertain each other. Permanently sitting still has reduced carbon emissions completely, so that’s no longer a problem either. President Thunberg (of the European Federation) and President Kardashian of the USA seem to have worked out their differences. Everything, and everyone, here in the Netherlands, is floating along nicely, those floating pontoons really work!
Even in cyberspace Rack and Ruin still blister each other, as they already have for hundreds of years, apparently.
So, what we have so far: You know I have studied and been obsessed with Duchamp for well over 40 years, even basing my doctorate around him. I am currently busy unpacking Joyce (again). I presume that I haven’t got 40 years to unpack him, but I do seem to be going for it with a vengeance (see Flickr). Eventually they won’t be them anyway, but they will be used as a type of fodder, I will be using their ideas.
I have started, tentatively, a sort of rough ‘draft’, a quasi ‘statement of intention’. It’s under the ‘The Lancing Cure’ image on Flickr (attached). It is unedited, uncorrected, raw. Duchamp and Joyce are both mentioned by name, but my intention is not to name them, to keep that open. I also recognize an indebtedness to ‘Orlando’, but then Woolf was an obsession for years too when I was struggling initially with the incestuous abuse in my childhood. Her ‘22 Hyde Park Gate’ is an extraordinary document.
This e-mail will be part of it. It is written by the fat grey Ruin of a gender-free man attached to a monitor.
Anything you ever write to me will be used, treated as if we actually had something worthwhile to say, something that might be of use. I wanted to get this ‘intention’ down, that’s enough for now. We have no idea how far we will get. Sometimes stating your intention might suffice, it might even encourage someone else to go further. Surely that is more than enough.
I can almost guarantee that it will all be 'gloriously purple', and therefore not to everyone’s taste. The beast will out, either way.
This gentleman's ensemble says either "I have chosen a rather obscure character; so obscure that few people will even be able to identify it" or "Oh, crap. You mean the Glenn Beck 'Americans For Freedom America God Liberty and Libertidinous American Freedom Under God' rally is next Saturday? I'm so embarrassed. "
I made another necklace with similar colors, but this one is a completely different style.
(Sparkle Beast Designs)
(Please do not copy or imitate. This is my design.)
Hinckley Cook PC
2005 E Lamar Blvd #100, Arlington, TX 76006
(817) 265-1040   (817) 265-6915 ‎ www.hinckleycookcpa.com/
cute & little blog | windowpane checkered grid sweater, burgundy pencil skirt, jewelmint statement necklace outfit
Clockwork Statement Necklace...This Steampunk inspired piece consists of a vintage watch movement manufactured by the Croton Watch Co. Swarovski Siam and Opal Crystals adorn the front of the movement. A shiny bail is torch soldered to the movement. The pendant is suspended by antiqued rolled chain and secured by a toggle clasp. An antiqued metal gear dangles from the toggle. The entire length of the chain is 21 1/2" and the necklace will hang approximately 12" upon closure. The movement measures 1" in diameter.
Statement piece of any room, this bright red couch can be yours for only $30. All sales are final, all items are sold as-is. No refunds. returns or exchanges.
Press Statement by Ministry of Foreign Affairs, Singapore: State Visit of the Governor-General of New Zealand Lieutenant General The Right Honourable Sir Jerry Mateparae and Lady Janine Mateparae, 6 to 8 July 2015
The Governor-General of New Zealand, Lieutenant General The Right Honourable Sir Jerry Mateparae will make a State Visit to Singapore from 6 to 8 July 2015 at the invitation of President Tony Tan Keng Yam. Governor-General Mataparae will be accompanied by his wife Lady Janine Mateparae and officials from the New Zealand Government House and the Ministry of Foreign Affairs and Trade.
An official welcome ceremony will be held for Governor-General Mateparae on 7 July, following which he will have separate meetings with President Tan and Prime Minister Lee Hsien Loong. President Tan and Mrs Tan will host a State Banquet in honour of Governor-General Mateparae and Lady Janine that evening.
During the course of Governor-General Mateparae’s visit to Singapore, he will be accompanied by Deputy Prime Minister Teo Chee Hean on a tour of the Treelodge@Punggol, HDB’s first Eco-Precinct. Deputy Prime Minister Teo will host Governor-General Mateparae to lunch after the tour. Minister for Defence Dr Ng Eng Hen will also host Governor-General Mateparae to lunch to reaffirm the close and long-standing defence ties between Singapore and New Zealand. Governor-General Mateparae will be accompanied by Minister for Health Gan Kim Yong to the KK Women’s and Children’s Hospital (KKH) to view ongoing collaboration between Singapore and New Zealand at the Neurodevelopment Research Centre under A*STAR’s Singapore Institute for Clinical Sciences.
Governor-General Mateparae and Lady Janine will attend an orchid-naming and tree-planting ceremony at the Singapore Botanic Gardens on 7 July.
Governor-General Mateparae’s visit underscores the excellent ties between Singapore and New Zealand as both countries commemorate the 50th anniversary of the establishment of diplomatic relations this year. There is close cooperation in the fields of trade and investment, defence, and the people-to-people sectors.
. . . . .
MINISTRY OF FOREIGN AFFAIRS
SINGAPORE
5 JULY 2015