logo design for @anaissummerday who is starting a travel blog, give her a follow to see where she ends up ♡ || here u can see my initial sketch and the finished products. hmu if you want to commission one!
Фото для проекта @faina.yunusova#100daysofquestions
К сожалению агрессия по отношению к друзьям и родным является частью моей жизни. Накричать на кого-то, начать ссору - все это стало уже обычным делом. Как бы я не старался совладать с агрессией, не выпускать ее наружу, она все равно рано или поздно даёт о себе знать. И по моему опыту общения с людьми я понимаю, что агрессия - это очень распространенная проблема.
from the series Famous Waterfalls in Various Provinces
(continues from yesterday)
Hokusai is said to have worked with frenetic energy, rising early to paint and continuing until well after dark. Although his studio and much of his work was destroyed in a fire in 1839, the artist is thought to have produced 30,000 works over the course of his lifetime, his prolific output including paintings, sketches, woodblock prints, erotic illustrations and picture books. .
Hokusai spent his life anticipating old age. The artist commented: ‘When I was 50 I had published a universe of designs, but all I have done before the age of 70 is not worth bothering with. At 75, I’ll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am 80, you will see real progress. At 90, I shall have cut my way deeply into the mystery of life itself. At 100 I shall be a marvellous artist. At 110, everything I create — a dot, a line — will jump to life as never before.’ Hokusai never got to see whether his prediction held true. On 10 May 1849 he died aged 88, apparently exclaiming on his deathbed, ‘If only Heaven will give me just another ten years... Just another five more years, then I could become a real painter.’
Henry David Thoreau. Part of my ungoing series with @ramonaranchera called Diets of the Rich and Famous. Thoreau would eat frugally at Walden.
2 23an hour ago
"Elegance comes from being as beautiful inside as outside."
That's why I always wear amazing pj's.
1 312an hour ago
like a thousand stars
Acrylics on stretched box canvas
Size 2’ x 2’
Radha was similar to Kali if not in form, in her thoughts; unaplogetic and seeks no validation. She went on to fall for Krishna, even if she knew it was extra marital, inter-generational and as some say she was the wife of Yashoda's brother, making the relation even incestual. She still went on to love him, even if it had no acceptance in society.
Krishna had a purpose and when duty calls, he decides to leave the village of Vrindavan for the city of Mathura. While all gopis (milkmaids) cry desperately, asking for promises and assurances of his return, Radha sheds no tear, stands numb with face turned away, knowing that Krishna would never come back. She tries to live in that moment, all her past with him, that was coming to an end. She made him the light of her Life and He leaves her in darkness with nothing to replace the vacuum he would create after he is gone.
That makes Radha, the flower attached to the branches of a tree that can't move and Krishna, the honey bee, that goes from one flower to another, for nectar and leaves it yearning for more and languish in memories of their momentary togetherness.
#AiWeiwei 's #SunflowerSeeds is made up of millions of small works, each apparently identical, but actually unique. However realistic they may seem, these life-sized sunflower seed husks are in fact intricately hand-crafted in porcelain.
Each seed has been individually sculpted and painted by specialists working in small-scale workshops in the Chinese city of Jingdezhen. Far from being industrially produced, they are the effort of hundreds of skilled hands.
Porcelain is almost synonymous with China and, to make this work, Ai Weiwei has manipulated traditional methods of crafting what has historically been one of China’s most prized exports. Sunflower Seeds invites us to look more closely at the ‘Made in China’ phenomenon and the geo-politics of cultural and economic exchange today.
Each piece is a part of the whole, a commentary on the relationship between the individual and the masses. The work continues to pose challenging questions: What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future?