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I have a bit of an obsession with glassware. In fact, my husband has restricted my glassware purchases to an as-needed basis-- for example, if one of our glasses break, only then am I allowed to purchase another. Yes, this may sound harsh, but if you saw our overflowing glassware cabinet you would understand his strict rules.
While I normally purchase clear glassware in curvy shapes and elegant forms, lately I have been loving colored crystal and glass stemware, particularly in vintage styles.
Colored glassware makes a stylish statement on any table top, especially when it comes to Holiday entertaining. Replacing your everyday clear-crystal with dramatically colored stemware will help to set the stage for an extraordinary event that leaves your guests feeling extra special.
Green and gold tumblers -- Pier 1
Champagne glasses in amethyst, moss and aquamarine -- Replacements
Renaissance stemware -- Gracious Style
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
'Old house in photos is where Cliff was born. New house was a 2 storey built in 1941'
Part of the Jackie Bleecker Album
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.
In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.
Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.
This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.
The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).
Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.
The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.
Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.
The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.
New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.
During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.
After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!
After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.
In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.
General characteristics:
Crew: 1
Length: 33’ 4” (10.173 m)
Wingspan: 37‘ (11.28 m)
Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade
Wing area: 235 sq ft (21.83 m²)
Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100
Empty weight: 7.180 lb (3,260 kg)
Gross weight: 9,650 lb (4,381 kg)
Max takeoff weight: 11,800 lb (5,357 kg)
Fuel capacity: 255 US gal (212 imp gal; 964 l)
Aspect ratio: 5.83
Powerplant:
1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp
(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller
Performance:
Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)
Cruise speed: 362 mph (583 km/h, 315 kn)
Stall speed: 100 mph (160 km/h, 87 kn)
Range: 855 mi (1,375 km, 747 nm) with internal fuel
1,200 mi (1,930 km, 1,050 nmi) with external tanks
Service ceiling: 30,100 ft (9,200 m)
Rate of climb: 3,200 ft/min (16.3 m/s) at sea level
Wing loading: 30.5 lb/sq ft (149 kg/m²)
Power/mass: 0.19 hp/lb (315 W/kg)
Lift-to-drag ratio: 14.6
Recommended Mach limit 0.8
Armament:
6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds
2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,
or 6 or 10 5” (127 mm) T64 HVAR rockets
The kit and its assembly:
A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.
The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:
- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult
- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage
- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.
- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.
- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.
- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!
- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage
- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away
On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.
The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.
While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.
Painting and markings:
Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.
The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.
The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.
Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.
The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).
In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.
Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.
The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.
The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.
Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.
After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).
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Joint statements by the Prime Minister of Moldova, Natalia Gavrilița and NATO Deputy Secretary General Mircea Geoană
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
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Superintendent Karan Lee briefs officers.
Police in Bury have arrested 14 people following drugs warrants across the town this morning.
Shortly after 6am today, Wednesday 6 February 2013, police raided 15 homes at addresses in Radcliffe, Whitefield, Bury east and Bolton.
Fourteen people were arrested on suspicion of drugs offences including conspiracy to supply Class A drugs. They have been taken into police custody for questioning.
Drugs and cash have also been seized.
Chief Superintendent Caroline Ball, divisional commander at Bury said: "Drugs are a major factor in many other crimes such as burglary, robbery and vehicle crime and so cracking down on those involved is a big priority for us.
"Today's arrests are part of a continued fight against organised crime groups in the area and follow on from arrests and seizures made earlier this year relating to the sale and supply of drugs.
"Tackling organised crime in this way not only causes significant disruption to both users and suppliers of illegal drugs, it also means they will end up out of pocket as we can seize the assets through the Proceeds of Crime Act and put that cash back into the community."
Dozens of officers were involved in the raids, including specialist officers from GMP's tactical aid and dogs units, as well as divisional officers from Bury.
The raids were watched by several members of the community and councillors as well as the Police and Crime Commissioner, Tony Lloyd, who were invited along so they could witness first-hand how police are putting a stop to drugs activity in their neighbourhood.
Police and Crime Commissioner Tony Lloyd said: "This operation is a welcome example of how the police are keeping up the pressure on organised crime, to make it impossible for criminals to operate and bring misery on our communities. Inviting local councillors and residents to witness today's activity first hand, highlights how vital it is for the police, partners and the community to stand together to drive crime out of our neighbourhoods."
Drugs workers are also available throughout the day to offer services to any prisoners that currently use drugs and who may want help to stop.
The warrants were carried out following months of intelligence gathering and follow on from numerous operations in Bury over the last 12 months which have resulted in 34 people arrested and charged with over 120 drugs offences. Twelve of those arrested received prison sentences amounting to 27 years, 11 are awaiting sentencing and 11 await trial. Police have seized 30 kilos of heroin, 30 kilos of amphetamine and ¾ of a kilo of cocaine, as well as £120,000 in this time.
Anyone with information about those involved in drug-related activity in their area should call police at Bury, in confidence if needed, on 101 or contact the independent charity Crimestoppers, anonymously, on 0800 555 111.
Those seeking help for drugs abuse can speak to the drugs treatment service on 0161 253 6488.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
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.
Dozens of Greater Manchester’s faith and community leaders stood together against hatred as they signed a new statement pledging their commitment to encouraging strong, diverse communities.
Leaders, including GMP Chief Constable Ian Hopkins, Councillor Carl Austin-Behan, Lord Mayor of Manchester, Rt Revd David Walker, Bishop of Manchester, Mrs Sharon Bannister, President, Jewish Representative Council of Greater Manchester and Region, Mr Qadir Chohan, Chair, Manchester Council of Mosques and many others came together at Manchester Cathedral to sign the statement, created as a result of a rise in hate crimes following the EU referendum result.
Greater Manchester saw a 23 per cent increase in hate crime in the week after the country chose to leave the European Union at the end of June.
Chief Constable Ian Hopkins said: “I believe in a democratic society people should be safe, both from physical harm, but also from hatred. Sadly we are seeing a significant number of people across Greater Manchester being subjected to hate incidents and hate crimes. This is totally unacceptable. Today is an important step in uniting our communities and am pleased to see so many other influential people standing with us to end hate crime and discrimination.
“This statement very clearly reinforces our commitment to encouraging inclusive communities, whilst recognising the difference people bring to Greater Manchester that help make it such a wonderful place. It is also, however, a very strong message to those who go against this – there is absolutely no place for hatred or discrimination in Greater Manchester. We will do all we can to take action against anyone who commits hate crimes.”
Faith Leaders’ Secretary, Canon Steve Williams, said: “The speed with which Faith Leaders acted shows how serious we consider the situation to be. But it also shows that people in our communities want to make a positive difference – to support people who’ve suffered in this way, and to promote good-news stories of acts of kindness and inclusion that build bridges, not barriers.”
The statement is part of GMP’s We Stand Together’ campaign which encourages people to come together as one and celebrate their differences in order to build safer and stronger communities.
It was signed at an event hosted by the Diocese of Manchester on Tuesday, 12 July, which saw speeches from Chief Constable Ian Hopkins, the Dean, Bishop David Walker, The Lord Mayor and the Police and Crime Commissioner.
Anyone who experiences hate crime is encouraged to report it by calling the police on 101, Crimestoppers anonymously on 0800 555 111 or using the True Vision website (www.report-it.org.uk).
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
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.
Artist Statement
The list of the worldly issues minor and major that impact personal experiences seems to be endless. Some of those issues may be: human overconsumption, intrusive surveillance, racial and other forms of inequality and discrimination, deforestation, air and water pollution, religious control, etc. In our contemporary society we are all potentially impacted by these negative forces since the time we start developing in our mother’s wombs. Humanity, right now, has all the necessities and commodities to provide every person on this planet with a comfortable place to sleep, healthy food to eat, clean water to drink, fresh clothes to wear, and a proper healthcare. But yet the said destructive forces are too overpowering, so the future seems doomed.
For this photographic project making “the personal is political,” I approached different people and asked how they wanted our world to change and to write out this desire with black marker on a white board. In an attempt to allow the people photographed to freely and fearlessly express their truest thoughts about any issues that bother them, I asked them to wear a Guy Fawkes mask to conceal their identities. I chose specifically to use this mask because of its long history, the meaning and the symbolism it carries, and the emotions and thoughts it invokes in most people who are familiar with the mask.
Guy Fawkes was a revolutionary who did not like the status quo, and wanted to overthrow corrupt government and make the world a better place. Hollywood greatly popularized his image via the movie “V For Vendetta,” so to this day he is remembered by many people around the globe as the one who opposed the ruling system. The mask symbolizes protest against tyranny, totalitarianism, any kind of oppression, and any other type of mistreatment and misconduct towards other fellow human beings. It symbolizes a great desire for a better and happier life for all people. It reminds us that we all are creators of our own destiny, builders of our own fate. Except the limitations you place ourselves into by our your own beliefs there are no limitations to what people can do.
ARTIST STATEMENT:
These pieces are about beauty and society’s value on beauty and how it affects the mental states of individuals. Andrea Deszo’s “My Mother Claimed” inspired me. In this series the artist embroiders serious sayings her mother had said to her as a child into fabric. I realized by doing so it made the harsh words seem less harsh. I followed her method and decided to use colorful embroidery thread to lighten stern subjects. In the beginning I wanted to reunite society with those whom it had shunned due to their visible differences. I wanted to embroider limbs onto amputees, sew aligned spines onto the elderly, and hair onto chemotherapy patients. The finished product is a more concentrated version. The pieces play with the topic of both internal and external health and beauty. I kept in mind how the individuals felt, how they were treated, and their physical inhibitions. For materials I used cotton and embroidery thread. I decided to use the frail handkerchiefs because they were easy to sew into and also added to the theme.
ARTIST BIO:
Brigette Larmena has been an active student at New Urban Arts for the past four years. She graduated from Classical High School last year and is now taking classes at the Community College of Rhode Island and an anatomy class at Brown University. She works within multiple media, including sculpting, watercolor painting, drawing, sewing, fashion design and writing. She spent her summers making art at New Urban Arts as part of the 2009 Zine Team, the 2010 Art Inquiry on archives, the 2011 Untitlement Project, and, most recently, she was awarded a scholarship for her work in the Senior Studio Immersion that explored health, arts and healing. Her individual project explored chemotherapy and hair loss. Brigette has been a member of the Studio Team Advisory Board at New Urban Arts for the past three years. As a STAB member, she dreamed up and organized the 2010 How To Fair, a sharing of the things we love to do through a series of demonstration booths. She is excited for the opportunity to be the 2012-13 STAB chair.
27-XII-2021 Lunes
______
Bueno a lo tonto
pero hoy voy a ir
para empezar a
tomar metadona
y así al menos
quitar - me
el mono malo
y dar el 1er paso
y así empezar
a moverme para
salir de esto.
Cuando acabe el
dolor voy a estar
en otras
condiciones
seguro, voy a
estar bien sin
consumir.
seguro.
voy a hacerlo
voy x ello
(Documento real, reflexión anónima encontrada en el suelo escrita en una etiqueta por alguien)
I don't know how many times I have been into Norwich in my lifetime. It is certainly hundreds if only for the football at Carrow Road.
On top of that there were the shopping trips of the 70s and 80s which included visits to Brentford Nylons, C&A and then chips on the market, in the shadow of St Peter.
And in all those times, along with the visits to the beer festival, vinyl hunts at the Record and Tape Exchange, I have never set foot into St Peter. Until last month.
And so thanks to my good friend mira66 for showing me around the city and into several of the city's fine churches and the 'other' cathedral.
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The great urban churches of northern Europe sit on their market places, especially in Cathedral cities. It is as if they were intended as late Medieval statements of civic pride. They are a reminder of the way that the cities rose to prominence in the decades after the Black Death, as if the old order had been broken and a new one was beginning. They were a great affirmation of Catholic orthodoxy and social communion, in the years before the merchants that paid for them embraced Protestantism and capitalism. They are European culture caught on the cusp of the Renaissance, the beacons that lead us into early modern Europe.
These things are more easily sensed in the great late medieval cities of Flanders and the Netherlands, for example at Bruges. The bridges, the medieval triumph, the tourist tat shops and the foreign voices can create an illusion of being in Cambridge or Oxford, but the great Market Church and Belfry on the main square recall Norwich, where St Peter Mancroft and the medieval Guildhall have a similar juxtaposition. The Industrial Revolution would bring a new wave of cities to prominence, but in the provincial cities that were prominent in the 15th century, Norwich, and Bristol, and York, you still sense the power of those times.
Looking at St Peter, the sophistication of its Perpendicular architecture feels a geological age away from the coarse, brutal Norman castle on the far side of the Main Croft ('Mancroft'), which is understandable. Four hundred years had passed since the Norman invasion, and St Peter Mancroft is as close in time to the Industrial Revolution as it is to the Normans. That is true of all late medieval churches, of course, but seeing the architecture in a city you get a sense that it looked to the future more than to the past. St Peter Mancroft feels entirely at home with the clean, Scandinavian lines of the adjacent 1930s City Hall, and perhaps even more so with the retro-Modernism of the new Forum, whch reflects it back to the city. The Forum was built to replace the Norwich City library, tragically destroyed by fire in 1994, but in style it echoes the confidence of a great 19th century railway station, the roof a triumph of engineering. You are reminded of Cologne, where to leave the railway station and step into the shadow of the west front of the great Cathedral is to merely move from one statement of civic pride to another.
The influence of Flanders and the Netherlands is familiar in East Anglia, of course, but it is only at Norwich you sense this sense of civic bullishness. Utilitarian, practical Ipswich demolished St Mildred on the Cornhill in the 19th century - the French Baroque town hall now stands on the site. In Cambridge, the market place has been skewed so that today St Mary the Great sits with its east window facing the stalls, as if keeping them at a distance. Worse, it now styles itself the 'University Church'. The great north side of St Peter Mancroft, its massive tower and clerestory like eternal truths rising above the deckchair jollity of the stall canopies, is a constant presence. You can never ignore it.
We know that the present church was begun by 1430, and was consecrated on St Peter's Day, 1455. That is, it is all of a piece. In the nave and chancel there are echoes of near-contemporary Holy Trinity, Long Melford, in Suffolk. The tower is something else again; idiosyncratic, a symbol of power and wealth. There's nothing else quite like it. Pevsner thought it more rich than aesthetically successful, and this is not helped by Street's spirelet of 1881, a flighty thing. There was a massive Victorian restoration here. Before the Streets, pere et fils, came along, diocesan architect Richard Phipson had given it a going over, and there is a sense of the grand 19th century civic dignity of his St Mary le Tower in Ipswich. Of course, hardly anything of these restorations is visible from the outside, apart from a mid-20th century meeting room down in the south-east corner, a jaunty Festival of Britain affair, now a parish tea room.
A processional way runs beneath the tower, and there is another beneath the chancel, the land sloping steeply away towards the east. You enter from either the north or south sides, through surprisingly small porches which lead into the aisles. Again, a sense of civic confidence pervades as the interior unfolds before you.
There is no chancel arch. The arcades run the full length of the church, the great east window is echoed by that to the west, and if you stand in the middle of the church and look to either end, only the west end organ tells you easily which direction you are facing. The furnishings are pretty much all Phipson's, uneasily heavy under the delicate fluting of the columns. How good modern wooden chairs would look in here! There are civic memorials the lengths of the aisle walls, but because the windows are full of clear glass they are not oppressive here as they are, say, at St Stephen.
At the west end of the north aisle sits the font on its pedestal. You can see at a glance that it was one of the seven sacraments series, and that all of its reliefs have been completely erased, as in the great churches of Southwold and Blythburgh in Suffolk. At Wenhaston, we know that this happened in the 19th century - could the same thing be true here? Above the font is the famous font canopy. Now, font canopies are so rare - there are only four of them, and they are all so different - that it is not particularly useful to compare them. Certainly, that here reflects the rather grander example at Trunch, some twenty miles away. Since the other two are either post-Reformation (Durham) or made of stone (Luton), it might make sense to think of the Norfolk two as a unique pair. Here at St Peter Mancroft, much of the upper part is a 19th century restoration, and there seems to have been some attempt to copy Trunch. The lower part is more interesting, with its niches and canopies. It must have been spectacular when the font was intact.
Pevsner tells us that the gilded reredos in the sanctuary is by JP Seddon, but that Ninian Comper restored and enlarged it in the early 1930s. It is not exciting, but that is probably as well, for above it is one of the greatest medieval treasures of East Anglia. This is the medieval glass that survives from the first few decades of the existence of the church. Some of it was probably in place that first Petertide. It has been moved around a bit since then; the whole east side was blown out by an explosion in 1648, and the glass has been removed on several occasions since, most recently during the Second World War. After East Harling, it is the finest expanse of Norwich School glass of the 15th century.
Books have been written about the glass at St Peter Mancroft, and there is neither time nor space to go into too much detail here. Suffice to say that this is the work of several Norwich workshops, probably working in the Conesford area of the city along what is today King Street. It is obvious that some other glass in East Anglia is from the same workshops using the same or similar cartoons, notably North Tuddenham in Norfolk and Combs in Suffolk, and of course most obviously, East Harling. Indeed, by comparison with East Harling in the 1920s, the historian Christopher Woodforde was able to deduce some of what was missing here, and what there.
There are several sequences, most notably the Story of Christ from the Annunciation to the day of Pentecost. This extends into a Marian sequence depicting the story of the Assumption. There are also scenes from the stories of St Peter and St John, and other individual Saints panels, including St Faith, a significant cult in late medieval Norwich. The panel of St Francis suggests that it was also once part of a sequence. The lower range depicts the donors, some of whom are identified. The central spine is largely modern glass by Clayton and Bell for the Streets in the 1880s. Some of the missing glass is now at Felbrigg Hall.
In any other church, the 1921 glass by Herbert Hendrie in the south chapel aisle chapel would be considered outstanding. It is in the style of Eric Gill, but feels rather heavy handed next to the extraordinary delicacy of its medieval neighbours.
While I was here, I stopped taking photographs for the one o'clock prayers. One of the custodians stood at the lectern and read very eloquently from the Acts of the Apostles, and said prayers for the city and its people. Apart from me, there were only two other listeners in the vast space. It was tenderly and thoughtfully done, but I couldn't help thinking that it is the exterior of this wonderful structure which is the Church's true act of witness in central Norwich now.
Simon Knott, May 2007
www.norfolkchurches.co.uk/norwichstpetermancroft/norwichs...
Never has a statement said so much, even i have to say am getting concerned about the future............I love my job but the world and our industry will never be the same again ....WHAT NOW...
5 May 2021. The online business session of the Board of Governors of ADB was restricted to ADB Governors or their appointed representatives. Written statements of the Governors are available in ADB's annual meeting website.
In the photo, ADB President Masatsugu Asakawa.
The event was held during the 54th Annual Meeting of the ADB Board of Governors.
ADB held its 54th Annual Meeting as a virtual event comprising a formal business session and selected knowledge events. This event’s theme was Collaboration for Resilient and Green Recovery.
ADB’s Annual Meetings have become a premier forum for the discussion of economic and social development issues in Asia and the Pacific.
Visit the Annual Meeting website for more information and updates.
From my nighttime expedition to the Turk St. hoard for long exposure images (for my fellow amateur photographers who like cars, I've discovered that the best images are nighttime ones with timed exposures--try it). Since my first trip here two weeks ago, I've learned that the owner is a gentleman called Nick who evidently works as a cab driver, and who owns at least 15 cars. One of these days I hope to meet him. I went out of my way to be conspicuous while shooting these, but no one came to the window.
As to what we have here, in the foreground is the beautiful 58 Buick Century, now parked on the street with its 'Deluxe Fashionaire' grill visible for all to see, and in the background, along with appropriate period architecture, a fellow 1958 GM offering: the Oldsmobile 88.
New York: After years of relentless campaigning to ensure States negotiate a strong global treaty to regulate the arms trade, civil society groups have been denied participation in key discussions. As Member States have started negotiations this week at the UN Headquarters in New York, Chair Ambassador Roberto Garcia Moritan of Argentina, announced late on Wednesday (July 14) that civil society groups would no longer be allowed to be present during crucial discussions.
Ambassador Moritan is chairing the preparatory talks that are running until next week. The decision to close the meeting came as a surprise as numerous Member States had made earlier statements on the importance of openness and transparency in the process.
“Some States want to hide behind closed doors because they don’t want people to see how much they are prepared to protect trading interests at the expense of protecting the people that bear the brunt of illicit arms deals. This is a major let down during the first week of negotiations,” said Denis Mizne, Director at Sou da Paz in Brazil.
Mizne continued: “As soon as the negotiations turned to the content of the treaty, the doors have been slammed shut. This is giving in to demands from some states that want to strip the treaty of key provisions such as those on human rights and international humanitarian law.”
Civil society has initiated this process along with key governments and has been a constant voice to ensure that key provisions on development, human rights and international humanitarian law will be part of a future deal. Civil society groups are now urging Ambassador Moritan to reconsider and let them join a more transparent process.
“This is very disappointing and worrying. Without the experience and expertise of civil society, it will make it harder to get a strong treaty that reduces suffering and saves lives. This is pandering to a small number of states that want to undermine the treaty,” said Baffour Amoa, Director at WANSA in Ghana.
Civil society has been part of previous international negotiations such as for the Convention of Rights of Persons with Disability (CRPD) and during global climate change negotiations.
“Hundreds of civil society organisations around the world have been advocating to ensure that a future arms trade treaty would be truly effective in preventing the transfer of arms that fuel conflict, human rights abuses, corruption, crime, gender-based violence, terrorism and poverty.” said Helena Koumi, Programme Officer at Swefor.
Negotiations have finally started four years after the UN General Assembly decided by an overwhelming majority to negotiate an Arms Trade Treaty. The future treaty would establish international rules and standards to better regulate the arms trade and close current loopholes. The final negotiating conference is set to take place in 2012.
For more information: Louis Belanger +1 917 224 0834 +1 917 224 0834
2nd Lt. Beau Benton of O’Fallon, Ill., assigned to 709th Military Police Battalion, 18th MP Brigade prepares a counseling statement during the Counseling Lane of U.S. Army Europe’s Best Junior Officer Competition at Grafenwoehr Training Area, Germany August 19, 2013. The Best Junior Officer Competition, unique to U.S. Army Europe, is a weeklong training event highlighting the best lieutenants and captains in Army units across Europe. These officers represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Competitors for the title of Best Junior Officer prove themselves in events testing physical stamina, leadership and technical knowledge. (U.S. Army photo by Sgt. Jermaine Baker)
Dolls in photo (from left to right):
-1985 Barbie and the Rockers
-1977 Fashion Photo Barbie
-1981 Fashion Jeans Barbie
-1994 Tropical Splash Barbie
Rocker Barbie has the most ornate earrings of the collage. This is actually her second pair that I made her. After being decapitated for months, because I kept forgetting or putting off fixing her neck, I thought that Miss Barbie deserved some new bling. But I really did still like the way that her old pair coordinated with the style/colors of her outfit. So I took them apart, made two more strands of seed beads, and designed "shooting star" earrings with them. These star beads came from a small $2 pack from Wal-Mart, and I just love everything about them. I also paired the stars with small silver beads, to match the silver polka dots on her jacket. So her earrings are fuller and more eye catching now than her original pair. But the colors still coordinate just as well with her 80s themed concert attire. Barbie seems to like her new earrings...although she still isn't happy about how long it took me to fix her neck (can't say I blame her).
The other three pairs of earrings in this collage are all pretty simple, and I happened to make them at the same time. For Fashion Photo Barbie, I wanted groovy mod earrings to go with the Best Buy fashion pack she wears. What says 70s more than loudly colored wooden beads? For Fashion Jeans Barbie, I really wanted to make earrings that matched her statement fuzzy sweater. I happened to have these bulbous light pink beads, from a deconstructed necklace, that fit the bill. I've used them frequently--if you just look around my "Handmade Doll Earrings" album, you'll see a lot of these beads in collages. I also added some dark, navy blue crystals to compliment her jeans, and to give her a bit more class/sophistication. And last but not least is Tropical Splash Barbie. I LOVE making Tropical Splash earrings because their factory ones are so huge and obnoxious, so it makes me feel even more inspired to make bulky, gaudy earrings. However, this Barbie doesn't have her original swimsuit, so she instead wears a random fashion pack. So I decided to make those gaudy earrings to match this fashion pack...and if she gets her original swimsuit at a later date, I'll just make a new pair of earrings. The outfit she currently wears is a bright orange color with neon green trim and yellow details. So I just picked out my largest, most extravagant orange and green beads and paired them together, and topped them off with little yellow glass beads. I think these earrings are so vivacious, despite their simple design!
redesign of a drawing i did a few years ago
www.flickr.com/photos/vanessarivera/3439980897/in/set-721...