KIROKAZE
i don't do bad sauce passes
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pixel skylines
Mike Driver
One Nice Bug Per Day

Kiana Khansmith

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taylor price

Origami Around
Game of Thrones Daily

Janaina Medeiros
will byers stan first human second

blake kathryn

titsay

★
we're not kids anymore.
Cosimo Galluzzi
wallacepolsom
tumblr dot com
seen from Italy

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@jadmaq
Standing Between Shadows
One strips everything down to its essence,
A figure stands between form and void. Alberto Giacometti's sculptures reflect the fragility of existence, stretched bodies dissolving into space.
the other layers emotion into pure form, Mark Rothko's canvas hums in silence, a horizon of contemplation where color becomes emotion.
And then there's me existing in the spaces between, and on my pursuit of meaning and being.
Image description: A Giacometti sculpture stands on a circular platform, casting a shadow that extends its form.
Behind it, a Rothko painting hangs, its colors divided like a distant horizon. A figure stands nearby, absorbed in the scene.
Credit: Jad Maq, Alberto Giacometti, Mark Rothko,
#JadMaq #Artist #contemporary #Giacometti #Rothko #ArtandPhilosophy #FormandVoid #Sculpture #Painting #Existence #ContemporaryArt
https://www.instagram.com/jadmaq/
Feng shui final boss
#jadmaq
Made this in 2022
I love my art
Doorway to purity " Safaa' , الصفاء "
45 working hours later and this doorway is ready to enter, enjoy it
2024, 188 × 152 cm, Mixed media on canvas.
Instagram: jadmaq
#jadmaq #artist #art
Start to finish…
Doorway of purity
45 working hours later and this doorway is ready to enter, enjoy it!
"Safaa', sleisil"
188 × 152 cm, Mixed media on canvas.
Instagram: jadmaq
#jadmaq #artist #art||
Doorway of purity
45 working hours later and this doorway is ready to enter, enjoy it!
"Safaa' , الصفاء "
188 × 152 cm, Mixed media on canvas.
Instagram: jadmaq
#jadmaq #artist #art
An incomplete list of Palestinians killed in Only 2022 Alone - labeled by name, age, date and location of death.
By Palestinian Designer Nazzal Studio
Houses (31°23′30.67″N 35°6′44.45″E), Palestine, 2012-15 The series is a documentation of a Palestinian village called Susya. It was established in the 1830s, and a religious communal Israeli settlement under the jurisdiction of Har Hebron Regional Council was established in 1983. The Palestinian community has a population of 250 residents as of 2013. The Israeli settlement, on 1,800 dunams of land, had a population of 737 in 2006. Susya, whether it refers to the site of the synagogue or the ruins of the large ancient settlement of some 60 dunams (1 dunam =1000 m2), is not mentioned in any ancient text, and Jewish literature failed to register an ancient Jewish town on that site. Susya, as my guide told me, is the village famous for its resistance as it encourages all other villages in the area to stay in place. Here architecture appears as a symbol of resistance in the occupied Palestinian territories, disrupted by the constant construction of new settlements in spite of the fact that in the Palestinian territories land is already too scarce to live on comfortably. The houses (which there aren’t many of) are sturdy as they are made of bricks or concrete. However, they are made to look like temporary structures or tents in order to appear ephemeral and in flux. The land of the Palestinians ends where the house ends. It is dangerous for them to go out into the fields into the proximity of thesettlers. Children are frequently attacked on their way to school when passing near Israeli settlements. The environments of Palestinian houses are no-go areas, are non-spaces. Palestine has been continuously recorded from the very beginning of photography. In 1849, Maxime du Camp was one of the first to make a systematic photographic survey of monuments, ruins and landscapes in the middle east, including Palestine. Today the political question of the territory and how it is represented is more acute than ever, and photography brings a crucial contribution to an awareness of what it is to inhabit a contested and damaged landscape. When the painter Delacroix visited North Africa in 1832, he saw Greek and Roman Antiquity in the folds and drapery of the people’s garments. He was seeing the classical past of art history in the present. To take pictures of these houses in Susya is akin to taking a portrait. The houses of Susya are covered with tarpaulin so that they are concealed from view. And the tarpaulins resemble drapery. These contemporary folds have a new currency: they have migrated from classical art to the present day of these Palestinians dwellings. Acting as camouflage in a zone of conflict, this contemporary form of drapery acquires now an unexpected political and subversive meaning.
Alicja Dobrucka
A sensory joint
A sensory journey through my art.
Art by me
Instagram: jadmaq
#jadmaq
أراك في كل شيء ، i see you in everything
By jadmaq
Instagram : jadmaq
#jadmaq
“Inferno”