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Water main replacement, storm sewer line replacement, and street resurfacing pause for the weekend. Taken by Edgar.
LAVISHY loves applique/Appliqué--a decorative surface design technique that adds dimension and texture to the background fabric by combining smaller pieces of fabric that are then sewn or glued onto a larger piece of fabric. The term of applique was derived from the French word appliquer (and the Latin applicare) which means to join or attach. While its early use was most likely to strengthen worn areas or serve as a patch over holes, appliqué developed into a creative art form used by many cultures over many centuries went back as far as the ancient Egyptians.
Inspired by beautiful patterns from around the world and empowered by modern technology--computerized applique cutting machine and advanced sewing equipments, Adora collection was created in 2002 by PETA approved vegan brand LAVISHY and has been our top selling collection internationally becauses of its playful look.
Made with Eco-friendly cruelty-free vegan materials, Adora collection features lovely applique motifs of flower, owl, sparrow, dog, cat, dragonfly,ladybug, elephant, deer, monkey, frog and fox.
Adora collection has bags, large wallets, medium wallets, small wallets, keyring coin purses, card holders, makeup pouches/pencil cases, tablet sleeves, passport wallets, passport covers and luggage tags.
Adora collection playful and fun vegan applique products have been presented at leading trade shows in New York, Paris, London, Toronto, Vancouver, Montreal and Los Angeles. Adora collection wholesale orders were also abled to be placed at leading wholesale market showrooms from Los Angeles to Toronto. Now, wholesale orders can be most easily placed online at LAVISHY official web site.
For more information to order wholesale from Adora collection for your gift store, boutique or as corporate gifts, please register to open a wholesale account.
To shop for personal use or as gifts for your loved ones, please visit LAVISHY online boutique.
At Choeung Ek, human bones and fragments of clothing still surface as rains wash away the earth. Groundskeepers collect them for safe storage every few weeks.
© David Koiter - All Rights Reserved. No usage allowed including copying or sharing without written permission.
May 2009...The Katiku family in the drought prone Usugu Village, east Kenya, have been able to grow crops on their land despite no rain for four years thanks to the help of UCCS. The partner built a small sub-surface dam in a nearby river which pumps water up on to their land. With the farming techniques that Makula Katiku has learned on the UCCS training days, he is now able to grow enough food to feed his family and sell the surplus at the market. With the extra money he is able to educate all five of his children, build his own house and buy extra livestock.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
Running the knee up and down the column to make sure it stays parallel.
Quite happy with that, a bit under 2 tenths of a thou over 8" and still pointing in the right direction, and most of that seems to be wear in the old engineer's square I was using. :-)
This means that I've cured the problem I originally had, where the carriage was climbing up the V's giving a misleading indication.
Little John Missile and Launcher
A short-range, surface-to-surface U.S. Army missile, the Little John was much lighter and more mobile than its larger predecessor, the Honest John. Both missile and launcher were portable enough to be carried aboard helicopters and other aircraft.
The Little John was developed by the Army’s Rocket and Guided Missile Agency laboratory at Huntsville, Alabama. The Missile could be fitted with either a conventional or nuclear warhead. The Army evaluated the system in 1958 at Fort Knox, Kentucky, but because of some shortcomings, the Little John did not become operational until late 1961. It remained in service only briefly.
Length:
4.4 m (14 ft 6 in)
Weight, loaded:
354 kg (780 lb)
Range:
7.2-37km ( 4.5-23 mi)
Propellant:
Solid
Manufacturer:
Douglas Aircraft Co.