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This male thread-waisted wasp, Ammophila sp., is enjoying some goldenrod nectar. Little Bean Marsh Conservation Area, Missouri, USA, September 4, 2022.
Book binders thread
Now I have to think of a binding that will show off the sewn structure. How hard can it be?
Continuing to use items plucked from storage as I organize my attic as subjects for photography.
Today it's small, Japanese spools of metalic thread lying upon a length of Tsumugi silk.
Threads Church on Milham Road. I believe that this structure was built within the last ten years; there used to be a small Baptist church on this property that looked more dated. This building obviously follows the architectural philosophy of building a church that doesn't look like a church. Expect to see more like this during this project.
Tripod mounted Canon XTi, Tokina 16-50mm f2.8. Three image HDR, stacked and tonemapped in Photomatix. Perspective correction using PTGui. The sky was duplicated as another adjustment layer to make it even bluer. Air temperature: 26 degrees F. No one was around to bother me.
things are hanging on a thread, a very thin thread... and the second thing is threat - it's the danger in the eye of a tiger.
(by Ced.)
About a fourty year old roll of heavy thread that was on a vintage (about 1925) commercial Singer sewing machine I am restoring.
This woman has been working to color the silk threads used in her weaving by tying plastic strips around the threads like tie dye. During our baseline survey in Bati, Takeo Province - Cambodia.
In order to span a distance, the first strand a spider releases from its spinneret glands is left to float in the wind and attach to an object on the far side. This is called the bridge thread. This one happens to be in front of this train bridge. I didn't wait to see if this spider went on to create a capture web. I didn't see the spider at all. Maybe this was a trick to lure me into poison ivy to get this shot.
This male thread-waisted wasp, Ammophila sp., is enjoying some goldenrod nectar. Little Bean Marsh Conservation Area, Missouri, USA, September 4, 2022.
War Emergency Make-Up box of Sylko thread. See my other picture for a comparison with the regular Sylko boxes of similar vintage. Blogged about here: scrapiana.com/2010/11/04/temporary-spool/
2010 Oct Canon 181
15 July – 21 October 2017
Curated by Laura Thomas.
Exhibitors: Alana Tyson, Eleri Mills, Indre Eugenija Dunn, Jayne Pierson in collaboration with Neale Howells, Laura Thomas, Llio James, Philippa Lawrence, Rhiannon Williams, Rozanne Hawksley, Ruth Harries, Sally-Ann Parker and Spike Dennis.
Wales has a much celebrated tradition of creating both utilitarian and decorative textiles of distinctive design. From power-loomed blankets to hand-stitched quilts, textiles are a key part of Welsh visual culture and history.
Whilst ‘A Darker Thread’ takes this heritage as its starting point, twelve contemporary artists, designers and makers have been invited to exhibit work which subverts these expectations.
Exhibitors have been selected for their challenging, confrontational or unpredictable approach to making thoroughly contemporary work which confidently cross boundaries of art, design and craft. A variety of making processes are exemplified, but all make use of thread in some form.
The curious, provocative, intense, fragile works explore broad-ranging themes of empowerment, loss, language, internal landscapes, memory and gender to name but a few. Some work might still feel comfortably familiar through its materiality or typically ‘Welsh’ colour palette of black, ecru and red; much hopefully, does not.
Deep in the sun-searched growths the dragonfly
Hangs like a blue thread loosened from the sky.
~Dante Gabriel Rossetti, Silent Noon
"Ikigai", that Japanese concept that alludes to reason and balance, seems to be a guiding thread in Manuel Castillero's artistic search. Pursuing your curiosities and unraveling that mystique, that purpose, is what makes it so interesting. His work does not fail to generously offer a space that allows us to see ourselves reflected in it, feed back on it, make it our own.
Thus, Castillero's painting not only explores its own raison d'être, but suggests that we inhabit in our own flesh the body of the explorers that we find in his pieces. And it is precisely there, in that invitation, where the power of this exhibition lies; the explorers are not the others, they are us, or at least we could be. Through his art, Castillero invites us to rediscover those spaces, to inhabit solitude, to resonate with the human in every corner of his landscapes. Ikigai is perhaps a device that allows us to return to those places and reflect on the particular relationship we have with them.
In one of our talks, Manuel confessed to me: “dystopia is also our mirror. That exercise of imagination raises doubts and problems that are fascinating. They put us in front of a mirror that shows how our species behaves in borderline situations, sometimes pessimistically and other times with wonderful optimism." And that reflection is alive in his work. In his paintings, that tension between the possible and the improbable, between nostalgia and the future, resonates strongly; a desperate struggle between what we are and what we fear or hope to become.
It's as if every corner, every window or every sprout of weeds alludes to the fragility of the familiar, to the impossibility of staying in the beloved. His work is an ode to longing and the feeling of not belonging.
Johely Barrios, Art Editor
From the brochure