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Obra preseleccionada para el Segundo Concurso de Arte Joven del MAVI (Museo de Artes Visuales, Santiago de Chile). Sept, 2007.
Copia Lambda, 1,80 mts. x 1,20 mts.
"Éste fotomontaje digital está fuertemente vinculado a lo pictórico, más específicamente, a la estética del cuadro barroco.
El eje temático de la obra se basa en la historia de Santa Apolonia, virgen que fue martirizada arrancándole los dientes en el siglo IV por mantener su fé cristiana, y en su iconografía (concretamente en el cuadro de Zurbarán, del mismo nombre). La artista escogió su relato, pues al no ser ampliamente difundido en la cultura popular chilena, vacía sus signos del sentido religioso, convirtiéndolos en significantes que enriquecen la escena en lo puramente estético. En ella, diversos elementos temáticos de la pintura barroca se dan cita: el paisaje evoca la representación rica en detalles de la pintura flamenca del siglo XXVII, de los paisajes en los que se sitúan las escenas de caza, donde en una misma imagen conviven el claroscuro y los cielos con nubes bien formadas , como las obras de Jan Fyt y Snyders. La manzana en el piso, donde se asoma un gusano, hace referencia a las naturalezas muertas de Caravaggio, quien evidenciaba la decadencia y transitoriedad de la vida, exponiendo la suciedad y la descomposición en la representación de los elementos naturales. La paradoja se genera en esta obra, pues se trata de una manzana plástica que no está sujeta a los embates de la vida y la muerte. De modo similar, los pájaros, que están allí casi como espectadores, al igual que los animales “vivos” representados en las naturalezas muertas de Chardin; son copias que parecen llevar aún más lejos su voluntad mimética: plumas reales (aunque teñidas de un color artificial) esconden su materialidad real.
La tensión entre una estética proveniente de una temporalidad distante y su recreación (simulación) en un contexto actual, gracias a procedimientos tecnológicos digitales, posibilita y articula este trabajo."
Tomás Fernández Díaz
-artista visual-
www.artenlinea.cl/tomas-fernandez-diaz
"Existen en la Historia nombres de personajes que dejaron la huella de una vida mártir en los cimientos de la Iglesia. La santa patrona de la Ciencia Odontológica, Santa Apolonia, es la que investigamos a través del tiempo y cánones literarios, encontrando un ejemplo de vida y sacrificio que la lleva a convertirse en mártir.
Ocurre pues, un acontecimiento en siglos del Imperio Romano, donde una mujer de Alejandría entrega su vida antes de renunciar a la fe Cristiana pero que golpeada en la cara, pierde sus dientes, y es allí donde ofrece su dolor por el de quienes alguna vez pudieran sentir algo similar, intercediendo gustosamente por estos desvalidos. Convirtiéndosele en la Patrona de los Odontólogos y enfermedades relacionadas con esta ciencia".
(Texto citado de internet).
Hasselblad 503CX with Carl Zeiss Sonnar 180mm F4 T*
Film: Ektar 100
It's too much, isn't it?
It blocks our breath.
(highly amazed by the Sonnar Lens. More great resolution pics to come. :) )
Communicating through images today is fast & easy — with your smart phone you can tell the world where you are, what you’re doing & what you’re eating with just a few button presses. But has that cost us something?
Does the sheer amount of mundane images we see make good photos matter less?
Read more on my blog.
Ever have love / hate feelings about your photography? Of course you do, you're an artist! I had been working on this image, in color, and to be honest it was really pretty, almost too pretty that it bothered me. It was actually so pretty that it was boring; a safe image of a lotus with green lily pads off the right. So I turned it black and white, and fiddled with it a bit, and yet still had this love / hate thing going on. So then I did the equivalent of vandalizing it . . . pixel vandalism! Now, that's better.
2016 Vivid Sydney: Songlines - Lighting The Sails #8
World Premiere
Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.
Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts
Co-curated by Sydney Opera House and Destination NSW
Visual content and animation created by Artists in Motion
Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes.
Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.
As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.
Visual notes from JSB's keynote at the 2010 NMC Summer Conference, captured using Autodesk SketchBook Pro on my iPad.
Taken June 12, 2010.
#AB_FAV_FREE_
I had been 'playing' with this concept for a while in my head. I called it (instead of the Silence of the Lambs) the Silence of the Bird. When I had the final result, it came to me immediately: VISUAL SILENCE.
I don't often 'dive' into the digital 'magical' darkroom that photoshop can be, but for certain projects it is a great creative tool!
Here, in the case of visual silence, what is being absorbed is not sound but gaze.
If silence is the absence of noise, then this visual silence is defined as the gradual absence, the vanishing, of what surrounds it, where we burrow from the visible surface to the invisible core.
Our focus on the image involves a diminution of the optic field:
in this sense, visual silence is like a poem, its power arising from its sheer vulnerability.
The image cannot be penetrated even by the most powerful of gazes because it is already open, in full view... and yet the transparency of the image, one that does not attempt to hide anything, is still capable of mystery.
Visual silence arrests us because it is the interface between two realms of partial knowledge: between he who does not know he is being watched and those who do not know what they are watching.
Some images leave us speechless, we watch them in silent awe.
Ultimately the camera is merely an extension of the human eye, it only sees and cannot wholly know what it is seeing.
Each time I think... that's it, there's only so much you can do with flowers... and yet again and again, I'll see something new.
Being creative is not a choice... it is an urge in me.
May PEACE be with you and thanx for everything, M, (*_*)
For more of my other work visit here: www.indigo2photography.com
Please do not use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
feathers, indigo, eyes, blue, flowers gerbera, daisy, post-processed, digital, square, studio, visual-silence, visual-art, Hasselblad, Zeiss, Magda indigo
Vigil for Jayson Negron, shot and killed by Bridgeport City Police, 1000 Park Avenue, Bridgeport, Connecticut, Wednesday, May 10, 2017.
Cada placa de esta pared lleva un número diminuto pintado en un círculo blanco, como si fuera parte de un juego de mesa gigante. En un extremo de la calle, unas grandes placas hacen las veces de índice: un catálogo que permite buscar el nombre correspondiente a cada pieza. Sin ese índice, la pared es pura anarquía visual —una máquina de escribir oxidada, un rostro esculpido en piedra, un círculo con forma de laberinto, una placa amarilla con la palabra "ELVIS!" en letras de cómic, dos figuras de metal que parecen bailar—. Con el índice, cada objeto recupera su nombre y su historia.
Lo interesante es que la pared no distingue jerarquías. Un poeta lituano del siglo XIX puede estar junto a un fan declarado de Elvis Presley, una caligrafía japonesa junto a un objeto abstracto imposible de descifrar sin ayuda. La lámpara que cuelga del alero ilumina el centro de la composición con un halo casi religioso, como si fuera un altar dedicado a la letra impresa. Ese contraste entre el orden numerado del catálogo y el caos aparente de la pared es, quizás, la mejor metáfora posible de lo que es una biblioteca: un desorden que solo tiene sentido cuando alguien se molesta en clasificarlo.
(Texto creado con ayuda del modelo Sonnet 5 de Claude AI)
Foto hecha con el móvil.
—
Vilna, Lituania.
Seems a sort of visual commentary in a way.
Somewhere around a place called Stinking Creek in Tennessee on I-75 S.
My resolutions (not especially for 2011)
- To be more kindly with my mirror image
- Learn to draw from real life
- Sleep more
- Be more impatient
El Cuerpo. Nuestros cuerpos,
enredados dándole al movimiento,
danzantes, danzan en caricias y besos, enredados el uno contra el otro.
Mientras nuestras lenguas hablando, hablantes, hablan el mismo lenguaje.
Para después entre besos besarse, gozarse.
Mezclando nuestras salivas y entre besos ellas dos gozando, gozan.
El Cuerpo, el cuerpo se agita,
se convulsiona va adoptando la forma amorosa de la pasión acelerada hasta
que llega la sudoración corporal y la paz invade los cuerpos, al final del alma.
Autora autodidacta Jade Bueno Morales poesía echa a partir de un sentimiento
Autora autodidacta Jade Bueno Morales Fotógrafa
By doing the Visual Study from the beginning I felt that it was not going the way I wanted, not having control of the charcoal, It was hard for me to take on the shape and the spaces that I needed. I was struggling but managed to continue on the basic shape of the art work in front of me and little by little I have managed to give few details also creating waves of patterns by using the charcoals as well as using shadowing in my work which made the visual project stand out more.
I'm entering this in a call for visual journals by the Brooklyn Sketchbook Library to be put in a time capsule for 50 years (!). I've decided the theme will be birds, with the Emily Dickinson quote in mind, "I hope you love birds too. It's economical. It saves going to heaven."
Magnificent tall beech forest at the beginning of winter - a frosty late afternoon with frost on branches and on the forest floor, up against the winter dark sky with drifting black snow clouds - in a stunning visual display.
School of Art and Art History at University of Iowa in Iowa City, Iowa. Designed by New York City architect Steven Holl.
#landcarlos1 #sx50carlos1 #2014carlos1 #piedadecarlos1 #instagram
UM LINDO VISUAL...
- Este jogo de sombras e luz, que adoro, me faz lembrar de uma colega de trabalho... a Beatriz. Ela também adora fotos, mas não é muito fã de sair...
- No chão o que se encontra no céu...
A BEAUTIFUL LOOK...
- This play of shadows and light, which I love, reminds me of a coworker... Beatriz. She also loves photos, but she's not much of a fan...
- On the ground what is in the sky...
Timnit Gebru wants to replace the U.S. Census (which costs $1B/year to implement) by simply analyzing the cars seen in Google Street View images.
After processing 22 million observed cars, she found some fascinating things, like the predictive power of "the sedan/truck ratio" for political party. Republicans sure like trucks! More findings in the comments below.
From the AI in Fintech Forum today at Stanford ICME.
Fireworks over the 2021 Visual Arts Centre in Scunthorpe, North Lincolnshire, to celebrate the Christmas lights switch-on.