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Nikki Aishat preorder
Dear Friends!
The first Nikky and second Aishat preorders are now opened!
Order period is Feb. 10 – Feb. 29.
Listed on Etsy:
www.etsy.com/shop/BlackCherryDoll
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Or send your order to:
black.cherry.bjd@gmail.com
Please write the head name, your name and full address in the letter.
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Best regards,
Black Cherry Workshop
This is a film detail shot of the room full of computers at abandoned Six Flags Hurricane Harbor in New Orleans. When I look at it, I imagine how the mission statement posted on the wall must have taken on a strange meaning with the high water mark sitting just below it. Floating above Lake Six Flags. Some people boated through the ruins. I imagine them reading "To deliver Family Fun and Fond Memories for all of Our Guests" just hovering on the water. A surreal hope, but their mission was successful with me. I will never forget the intensity I felt wandering the ruins.
My credit card statement consists of two sheets of paper, one I keep with the amount spent each month, this sheet is surplus to my requirements so I shred it.
As you see I used it for a few sums :)
This canvas print is sure to make a statement in any space. It’s hand-stretched on a poly-cotton blend canvas with a matte finish coating.
• fade-resistant
• 20.5 mil-thick poly-cotton blend canvas
• hand-stretched
• hand-glued solid wood stretcher bars
• matte finish coating
If you do not know your way around Barcelona then you can easily get lost in the city. Especially in the Gothic quarter just off of Las Ramblas. My first time in Barcelona was with a friend who spoke very brief Spanish. When I say brief I mean that he spoke Italian but tried to make do. We got lost but using his “knowledge” we found out way back. After this moment I have been here many times and found my way easily. I wanted to visit this bridge to take photos from the first time I saw it. The street underneath is always packed with tourists so I opted for a tight angle, trying to bring more attention to the gothic walkway.
We saw this monument a couple of days ago, and I didn’t really know then if / how I would share this. It represents one of my “watershed” moments, when the past, the present and the future explode into a singular crystal-clear understanding of how things work. The first of these moments was in Cape Town, South Africa, after reading the simple statement at a museum that South African only became a true democracy when apartheid ended. Part of my immense admiration for Prime Minister John DIefenbaker stems from the fact that he had the courage to push through legislation in 1960 that gave Canada’s Aboriginals the ability to vote in elections, something prohibited under the old Indian Act of the day. Canada only became a true democracy in 1960. The watershed moment then was that Canada until then had been existing until 1960 in a state of apartheid just like South Africa.
This recent watershed moment was that a specific object like a bush plane could have radically different interpretations, depending on your own history and genealogy. To understand the pain that permeates the text here is to know a little about Canada’s residential school system, which is as old as Canada itself. Legislation was enacted early on allowing the government to remove children from Aboriginal families and have them taught in European-style residential schools. To put it bluntly, the schools literally tried to beat the Indian-ness out of the students. Although this sounds a bit harsh, it was in fact one of cruelest things a government could do its own people. Today it is understood that this school system was an act of genocide, one that continued the policies that had been started under British rule primarily through the destruction of the buffalo. The last of the residential schools ended in the 1980’s, and so for the last 50 years of the system, bush planes had been the instrument used to sever children from their parents, some who never see each other again, as not all children survived the schools, and not all parents survived being without their children. Or if they did, neither parent nor child would be the same person for the indignity and cruelty they suffered.
It may seem that Canada is painted here in an awful light, and this only portrays a small part this sad part of our history. But I believe, however, that the same can be demonstrated in every country in Western Europe, as well as in Russia, the U.S.A., China, Japan and elsewhere. Whether it is Buckingham Palace, the Louvre, the Empire State Building, the Winter Palace in St. Petersburg, etc etc, each of the empires which generated these marvels was built on the backs and from the blood of serfs, child-workers, slaves, and countless underclasses. As a result, today we have the immigration crisis out of Asian and African to Europe, and we have Black Lives Matter. None of us is exempt, none of us is not-guilty.
en.wikipedia.org/wiki/Canadian_Indian_residential_school_...
It's not going to be a good day/week.
As of Wednesday morning, there are 149 active wildfires burning in Quebec and 52 fires burning in northern Ontario. By this time last year, 202 fires had burned throughout Quebec. This year so far, the province has seen 435 wildfires.
Location:
GSK World Headquarters
16th and Vine Streets, Philadelphia, PA
Zenos’ statement about his vision of the sculpture
I wanted to create a sculpture almost anyone, regardless of their background, could look at and instantly recognize that it is about the idea of struggling to break free. This sculpture is about the struggle for achievement of freedom through the creative process.
Although for me, this feeling sprang from a particular personal situation, I was conscious that it was a universal desire with almost everyone; that need to escape from some situation – be it an internal struggle or an adversarial circumstance, and to be free from it.
I began this work in a very traditional sculptural manner by creating a small model in clay called a macquette. The purpose of beginning in this manner is to capture the large action and major proportions of the figure within the overall design without any details to detract from the big idea. Another reason for not having details and for working on a small model only a few inches in height is that the small armature within it, holding the clay, is more easily manipulated, allowing for much greater flexibility in developing a concept. For example, an arm, a leg or a head can be pushed around without any concern for obliterating details, such as a nose or a finger.
The macquette is the original mass of clay where a concept is born and from which it grows and develops. This was important later when I enlarged the sculpture from several inches long to 20 feet long, and I retained in the larger work a sense that all the conceptual material, its forms, focus and development sprang from this rough idea. The work metamorphosized, in the way that we do.
Although there are four figures represented, the work is really one figure moving from left to right. The composition develops from left to right beginning with a kind of mummy/death like captive figure locked into its background. In the second frame, the figure, reminiscent of Michaelangelo’s Rebellious Slave, begins to stir and struggle to escape. The figure in the third frame has torn himself from the wall that held him captive and is stepping out, reaching for freedom. In the fourth frame, the figure is entirely free, victorious, arms outstretched, completely away from the wall and from the grave space he left behind. He evokes an escape from his own mortality.
In working on the large scale sculpture, I was satisfied that those who drove by getting a quick look at it would see the big picture: that it was about escape. I was also concerned that those who worked in the building and who passed the sculpture frequently would have something more to see. There was a lot of empty space between the figures on the wall, which I saw as an opportunity to develop further ideas.
It was important to me that the sculpture have more than one theme going on at once. One of the other major ideas incorporated in the work is that the very process of creating the sculpture is clearly revealed in the work itself. The maquette is cast into the sculpture in the lower left hand corner. In the lower right corner is the cast of the sculptor’s hand holding the sculpture tool with two rolls of clay also cast in bronze. Throughout the background of the Wall, I have rolled out the clay and pressed it with my fingers so that my fingerprints are all over the sculpture. I have not hidden how I have made the piece. In fact, the whole idea of the macquette is enlarged so that all the figures in the background look like a giant macquette. And at the same time, as the figures move from left to right, I have shown how figures are developed when you are sculpting from the rough to the more finished product.
Elements of the sculpture trade beside the tools that are cast into the sculpture are calipers both for their use in measuring and their reference to Protagoras’ words “Man is the measure of all things.”
Also cast into the sculpture is an anatomical man, traditionally used as a reference by sculptors. Many of the heads and figures on the wall, some in the round and some in relief, are shown partially sculpted, revealing the process of creation.
Something else I have done with the sculpture is that I have created a one man show of my work. I have always admired Rodin’s Gates of Hell. I similarly thought I would incorporate many sculptures into the wall where it was suitable.
Like T.S. Eliot and other artists, I have put many personal elements in my work. My friend Philip, a sculptor who died of AIDS, created a work that I included in Freedom because he often expressed his wish to have it in a public space. He did not live long enough to accomplish this himself. My cat, who lived with me for 20 years, my mother, father, and my self portrait are in the work. It is obvious which face is mine because there is a ballooned phrase coming from my mouth with the word “freedom”, written backwards, making it clear that the face was sculpted in a mirror. I see the whole Wall sculpture as a kind of illusion akin to Alice’s Through the Looking Glass.
The sculpture contains an original Duane Hanson -- a bronze cast of my own hands that Duane cast for me as a gift.
Much of what I did with this sculpture has to do with taking traditional forms and combining them in non-traditional ways, forming a postmodern sensibility. For example, I dropped a wax cast of my father’s bust from two or three feet in height so that it broke into large pieces. I cast those into the wall in a fractured manner over another face, an old work I found in a vat of clay purchased from a sculptor who had long ago died.
I have hidden many things in the background for people who see the sculpture more than once to discover, such as a cast of coins – a nickel and two pennies, another nickel and two pennies, and two quarters and a penny. These represent not only the relationship between money and art, but the numerals 7-7-51, my birth date.
It is important to me that the public interact with the sculpture, not just intellectually and emotionally but physically. I have created a space in which I have written “stand here” so that people can place themselves inside the sculpture and become part of the composition.
In the end, this sculpture is a statement about the artist’s attempt to free himself from the constraints of mortality through a long lasting creative form.
Sandi Whetzel is seduced by the captivating, graceful forms she finds tucked away in nature. Her fascination with the discovered shapes compels her to enhance their graceful contours, infuse them with luscious color and feature them prominently in her paintings. Whetzel’s contemporary acrylic paintings embrace the nuances of shapes and patterns inspired by the plant world. Her current focus has been an intimate view of succulents; embellishing their engaging shapes with vibrant hues and sculptural textures.
Sandi paints in her home studio located at Days Creek, OR. Since 1997 she has instructed community education art classes for Umpqua Community College. She has studied with accomplished artists, Kevin Macpherson, Tom Browning and Harley Brown. She treasures most the continuing association with her mentor artist and friend, Bonnie Hill of Roseburg, OR.
Several of Whetzel’s works have been used to promote the wine industry through wine-themed events in southern Oregon. Her work appears in Northwest Artists: A Collection of Works by Notable Artists of the Northwest. Her paintings are in private collections in Oregon, Washington, California, Colorado and Arizona. She has exhibited in solo and numerous group shows during the last several years, including two shows at the Coos Art Museum, in Coos Bay, OR.
During her childhood, Sandi’s family changed residence frequently to follow employment in the logging industry of southern Oregon and northern California. She attended many small elementary and high schools, none of which offered any art education. As a teenager she enjoyed paint-by-number oil sets and she became interested in drawing briefly around the age of thirteen. After that, Sandi didn’t have much contact with art until later in life.
For years after she married, her only artistic pursuits had been machine sewing garments and home decorator items. When a friend invited her to a fashion T-shirt painting class she thoroughly enjoyed doing that. At the same time, Whetzel seemed to be mesmerized by PBS TV painting shows.
Near Whetzel’s fortieth birthday she purchased new home furniture and wanted some tropical paintings to go with the new furnishings. Sandi had grown up with a motto that had served her well whenever something had been a bit beyond her reach. It was, “…Necessity is the mother of invention.” She always derived a certain satisfaction with inventing her version of the desired object. She thought, “How hard could it be to do the paintings myself? After all, I have been painting T-shirts and watching the instructional videos on TV.” Sandi immediately started painting all on her own, making discoveries through trial and error. During that time frame, she also ran a child day care business at home. While the three toddlers took their midday nap, Sandi took out her paints and painted for an hour or so during the weekdays. Eventually she took art instruction from a very talented and devoted community college art instructor, Bonnie Hill of Roseburg, OR. In 1997 after only a few years of instruction, Bonnie recommended Sandi to replace herself as instructor of the classes. Bonnie became Sandi’s close friend and mentor; a treasured source of inspiration and knowledge. Whetzel has been painting and instructing art ever since.
When speaking of her art, Sandi has remarked, “I hope my art warms the spirit and inspires people to pursue their dreams. Art that does that for us helps to make our working and living environments more of a sanctuary in stressful times.”
One the first things I noticed on the street Barcelona were the flags draped from many balconies. A quick Wikipedia search taught me that these flags are the Estelada, the flag of Catalonian independence.
There are two versions here, the nationalist flag with the blue triangle and white star and the socialist flag with the red star. The hardest thing about getting a balcony panorama are the lovely trees that line the streets.
Barcelona IMG_5770
The reflection of sun off snow quite literally hurt my eyes, so I did not spend a lot of time in Yokote before hopping on the Ou Line.
A cool small in size piece of small town history.
From Vulcan County Heritage Survey website:
Statement of Integrity
The Volunteer Fire Brigade in Carmangay
is an important heritage resource that is
intact and in reasonable condition. The
building’s original form, scale and massing,
which are integral to the functionality of
the building, have been retained. Original
wooden drop siding is showing some signs
of deterioration with paint chipping. The
wooden tower is starting to show signs
of deterioration with missing pieces of
wooden siding; it is recommended that
wooden siding on the tower be replaced in
kind at the earliest opportunity. The tower
also suffers from deterioration as a result
of guano. The installation of bat deterrents
would help to alleviate this issue. A number
of wooden shingles are also missing from
the roof; it is recommended that these be
replaced in order to preserve the structure.
Description of Historic Place
The Volunteer Fire Brigade is located at the
corner of Carman Street and Grand Avenue
in the Village of Carmangay. This historic
resource is a small, one-storey wood-framed
structure with a front gabled roofline. The
front of the building features a small square
projection with an exaggerated pyramidal
tower on a hipped roofline. The front tower
has double wood-panelled sliding doors,
exposed rafters and a painted Fire Hall sign
on the south elevation of the building. The
addition at the rear was added in 1920.
Heritage Value of Historic Place
The Volunteer Fire Brigade is of historic
significance for its association with fire
rescue in the Village of Carmangay and
Vulcan County and is a testament to its
role in protective services during the early
development of the community. During the
Edwardian era, as Carmangay experienced
explosive growth due to the construction
of the extension of the Aldersyde-Kipp
CPR railway line to Carmangay in 1909-
11, population increased, as did the
number of wood-frame buildings posing
the risk of fire. With the installation of
water services, a volunteer fire brigade
was established and this building was
constructed by 23 volunteers in a single day
on Friday September 27, 1912. Initially, fire
equipment was basic and consisted of twowheeled
carts with reels of hoses. A team
of four men pulled the carts with a fifth
man operating the hydrant and connecting
the hose. Volunteer residents formed the
basis of the brigade, demonstrating their
commitment to the community’s safety. The
first fire chief was D.O. McKay.
The Volunteer Fire Brigade has additional
value as an example of utilitarian vernacular
architecture, designed to suit its role in
fire rescue. The pyramidal tower, which
measures 9 metres in height, not only
provided fire wardens with maximum
visibility in all directions, but also provided
a space to dry hosetops. A bell situated at
the top of the tower would have provided
emergency warning to residents. Large
wooden-paneled sliding doors provide
wide access to the structure, which was necessary for the
two-wheeled carts that were utilized before a fire truck was
purchased in 1928. The rear addition was built sometime in
the 1920’s.
From the plaque at the firehall:
Building The Fire Hall
On September 27, 1912, 23 volunteers built the front tower portion
of the firehall, start to finish in 1 day. The 500 pound bell in the bell
tower was purchased from the Cincinnatti Bell Company. The fire
brigades' two wheeled carts with hose reels now had a place out of
the weather. The longer addition to the reat was added in the 1920's
and in 1928 the Village of Carmangay purchased its first firetruck.
The small privately owned building to the North of the Firehall is
also historically significant as iti was built as the jail. These buildings
are still sitting in the location that they were originally built on.
The Old Fire Truck
Currently housed in the firehall is the 1935 Ford fire truck that was
purchased from Black Diamond in the late 1950's. A news article
from the time states, "The 36 year old motor, the muffler and what
comes out of the tail pipe may not pass pollutioni tests today,but
the outfit gets the job done for the community." It was used to fight
the Carmangay school fire where the pump ran for 3 hours straight.
Once the village purchaed a modern fired truck, the old truck was
kept and used for parades.
Dedicated Volunteers
As most small towns, Carmangay's fire brigades were made up of
volunteers. The 2 wheeled carts would be pulled by four ment to a hydrant.
There have been many notable fires in Carmangay. The first was in
1914 when businesses were lost. It was said that the loss would
have been worse if not for the volunteer fire brigade and town water
system. Generations of residents are thankful for the men and women
Volunteers that continue to man the firehall to this day.
Bell Significance
1985 marked Carmangay's 75th Anniversary and the firehall was designated
as the villages logo by the pproviince. The firehall was spurced up with a new
paint job fo rhte celebrations. For the villages 100th Anniversary in 2010, pins
were produced with the firehalls image. By the end of the 1980's the firehall
fell into such disrepairi that the bell had to be removed from the tower for
feat that it may collapse. In 2012 the firehall was officially designated as a
municipal Heritage Site. The major significance of this Firhall is that it is one of
the only buildings of its kind in Alberta with the original bell hanging in the
original tower. Other firehalls with original bells hanging can be found, but
their bell towers are made of brick.
Restoring The Legacy
The Carmangay & District Historeical Society began working on raising funds to
restore the building to ites former glory in 2012. Once the funding was in place,
a contractor was hired to begin the restoration. The original transom windows and
front doors were restored and installed. Engineers determined that due to the weight
of the bell, the bell tower structure would need a new foundation. The damaged
parts of the exterior were replaced, the roofs were re-shingled and new paint was
applied. In the fall of 2018, the bell was once again hung in its rightful space, completing
the restoration. The Carmangay Firehall is a prized historical building reminding
all of its role throughout Carmangay History.
The famous spa town of Buxton, Derbyshire, nestles in the snow in this image taken from Long Hill.
Buxton is the highest market town in England and is bordered on three sides by the Peak District National Park.
An image from the personal portfolio of one of Greater Manchester Police’s photographers.
View our Gallery set below for more non-police related images taken by the Force's photographers.
All the work has been produced in the photographers’ own time and has been uploaded outside of working hours. We hope you enjoy your visit. The Gallery
For more information about Policing in Greater Manchester please visit our website.
To report crime call police on 101 the national non-emergency number.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Image by Chris Oldham : Greater Manchester Police
When kidnapped, it's important to wear comfortable pajamas. Aside from making a timely fashion statement., one can catch a snooze on the fly or stop by to tease the crocodiles.
48x36 in.
Oil & oil stick on gallery canvas
Visit my website at ajeffries101958.wix.com/atjart#
and my Facebook page at www.facebook.com/#!/pages/Alan-Taylor-Jeffries-Art/166608...
To purchase original please contact ajeffries101958@yahoo.com
Thanks for taking the time to look at my work.
reporters listening and viewing the details of the case during closing. Full gallery of live trial sketches here. www.washingtonpost.com/graphics/national/tsarnaev-trial/
The Great Reno Balloon Race is a hot-air balloon race held each September in Reno, Nevada. The event is held at the Rancho San Rafael Park, just west of the University of Nevada, Reno. The event is free to the public, and completed its 30th year in 2011. Part of the mission statement of the race is to celebrate the joy of flight.
The Great Reno Balloon Race, the largest free hot air ballooning event in the country, is held the first weekend after Labor day each September at Rancho San Rafael Regional Park in Reno, Nevada. The GRBR draws in a crowd of 140,000 on average each year, making it the largest free event in Northern Nevada.
The first Balloon Race was in 1982, when a mere 20 balloons graced the crisp Nevadan sky. Today, upwards of 100 balloons participate each year. An event that was first started to create a tourist attraction between the Nevada State Fair and the Reno Air Races has become the icon of the community. Bringing people from all over together who share a love for family, community and ballooning, The Great Reno Balloon Race has become a beloved tradition which is embraced by locals and tourists alike.
One of the most spectacular shows over the three-day event is the Great Reno Balloon Race is Dawn Patrol. A term patented by the board of trustees when Federal Aviation officials approved predawn flying regulations in 1978. Safety precautions such as special navigation lights became the status quo and The Great Reno Balloon Race quickly became a national role model for pre-dawn events in 1990 when it began launching balloons before sunrise.
en.wikipedia.org/wiki/The_Great_Reno_Balloon_Race
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Michael and Albert (AJ) Patnode - Artist Statement
Father and son collaboration
Our photographic art is a kinetic motion study, from the results of interacting with my son A.J and his toys.
He was born severely handicapped much like a quadriplegic. On December 17,1998. Our family’s goal has always been to help A.J. use his mind, even though he has minimal use of his body.
A.J. likes to watch lights and movement. One of the few things he can do for himself is to operate a switch that sets in motion lights and various shiny, colorful streamers and toys that swirl above his bed.
One day I took a picture of A.J. with his toys flying out from the big mobile near his bed like swings on a carnival ride. I liked the way the swirling objects and colors looked in the photo.
I wanted to study the motion more and photograph the whirling objects in an artful way, I wanted my son A.J. to be a part of it. After all, he’s the one who inspires me. When A.J. and I work together on our motion artwork, A.J. starts his streamers and objects twirling, I take the photographs.
Activating a tiny switch might not seem like much to some, but it’s all A.J. can do. He controls the direction the mobile will spin, as well as when it starts and stops. The shutter speeds are long, and sometimes, I move the camera and other times I hold it still.
I begin our creation with a Nikon digital camera. Then I use my computer with Photoshop to alter the images into what I feel might be an artistic way. Working with Photoshop, I find the best parts from several images and combine them into the final composite photograph. I consider the finished work to be fine art. The computer is just the vehicle that helps my expressions grow.
I take the photographs and A.J. adds the magic. It’s something this father and son do together. After I’ve taken a few shots, I show him the photos in the back of the camera. When the images are completed, I show him from a laptop. He just looks. He can’t tell me whether or not he likes the images, but he’s always ready to work with me again.
It offers me my only glance into A.J.’s secret world. We’ve built a large collection of images and I hope the motion and color move you as much as they do me.
A.J. inspires me to work harder to understand my life in the areas of art, photography, people, spirituality, and so much more. He truly sets my mind in motion and helps me find the beauty in everyday things.
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
AJ'S blog:
Abstract set:
www.flickr.com/photos/patnode-rainbowman/sets/72157602269...