the perks of being a stone flower

❦ everything that i post appears for the keen reflection of the numerous notions that inspire me to serenity; & probably the keen reflection of my perfectionist vital force as a roadblock of my own efficiency; ❦ ☽ valentina ⊱ femme ⊰ jeune; vieille âme ⊰ ☾

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marginal rabbit Apocalypse with commentary of Nicholas de Lyra, Italy 1476.

Bodleian Library, MS. Laud Misc. 485, fol. 249v

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moon is perfect for sowing seeds tonight.

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Poynter, Edward John. Psyche in the Temple of Love. Detail. 1882. Oil on canvas. Walker Art Gallery, Liverpool, England.

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Graham Grecken

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Heart; Love

18th Century wood engraving London 1792

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stillsandstrokes -Free Project. 2010 Together with Cosima Walther

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One of the works in Brooklyn’s extensive and historic collection of African art that best summarizes the spirit of Black History Month may be Looking Back Into the Future, by the painter Owusu-Ankomah.

Owusu-Ankomah’s paintings depict a spiritual world occupied by people and symbols. The male figure in this work is covered by, and moves within, Akan adinkra symbols from the artist’s native Ghana, each of which graphically represents a particular concept or proverb. Looking Back Into the Future depicts a nude man with his head turned backward, in a pose associated with the Akan proverbial concept of sankofa―“one must know the past to know the future.” The figure turns toward the heart-shaped symbol which represents the sankofa proverb.

Sankofa is a concept with a deep and resonant meaning, both in its own Akan context, and in the wider African diaspora, where it has come to symbolize a pan-African spirit of collective memory and heritage. In that spirit, and in its suggestion that the past and the future are dynamically, and intimately connected, it is also the perfect symbol for my approach to our latest African installation, Double Take: African Innovations.

Posted by Kevin Dumouchelle

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(via We ❤ It)

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