#week 112

[mewpet]

@solrus‘s boy Kardur!! :D

[roguecanoe]

Week 112 Daydreaming 

[spncreatorsdaily]

We are so excited to share wonderful gifs from two amazing creators: @deansmichael & @rainbowscas! Please help us in supporting their work by reblogging anything you enjoy.

Just a friendly reminder that you may tag us with #spncreatorsdaily if you would like us to reblog your creations on Saturdays.

We wish all of you a lovely new week!

[jhutchmyanchor]

Week 112

Banner was made by the talented @litlifelover

Here is week 112, folks. As always, thank you to these amazing authors who provide me with endless amounts of entertainment. You are all amazingly talented!

Readers-please make sure you show these authors some love! If you’d like to check out my previous posts, follow #rachel’s fanfic lists or search the tag on my blog. Happy reading!

The Writer's Block One-Shots - jlala aka @jlalafics

The Quiet Boy - juststella aka @justajjfan

A Father's Love - @historywriter2007

My Brother’s Bride - AULOVE aka @mega-aulover

On Borrowed Time - panskiss123

9000 R.P.M. - @katnissdoesnotfollowback

Champion - redheadedflame

Katniss Everdeen is Not a Stalker - AULOVE aka @mega-aulover

Wilderness Log - alliswell aka @alliswell21

Too Familiar - hutchabelle aka @hutchhitched

Pieces That Fall Into Place - everlarklover1960

[sinetheta]

Open Mind Series by Johnson Tsang. 2017.

Johnson Tsang is a sculptor based in Hong Kong. As poor grades and financial instability foregrounded the necessity of work, his foray into sculpture began later in life. His first clay modeling class was in 1991, during his thirteen-year career as a policeman. He developed an instantaneous connection with the medium, feeling a kind of “peace and joy”, as though he was touching “human skin”. Tsang now produces up to one sculpture a week, and his working processes are often documented on his Facebook and Instagram pages.

Johnson Tsang’s work is surrealist and evocative, involving the warping of human faces and features that detach from the sensations of external reality. His recent Open Mind series, completed in late 2017, illustrates Tsang’s incorporation of hand gestures into his sculptures to create the titular open-mindedness. 

Photo credits to the artist.

Follow sinθ magazine for more daily posts about Sino arts and culture.

[spncreatorsdaily]

We hope you enjoyed all the wonderful gifs from @deansmichael & @rainbowscas! Thank you so much for giving us the opportunity to share your work with our fandom. And please consider giving them a follow, so you’ll never miss out on their amazing gifs. 

We are so grateful to everyone who keeps supporting our writers & artists & we hope you have a lovely weekend!

[sinetheta]

36 Emerald Brands by Su Xiaobai (蘇笑柏). 2005. Painting, lacquer on linen.

Born in 1949 in Wuhan, Hubei Province, Su joined the School of Arts and Crafts in Wuhan and later studied oil painting at the Central Academy of Fine Arts in Beijing. His medium du choix – lacquer – richly alludes to Chinese material culture and accounts for the smooth and gently curved surfaces that are characteristic of his works. Constructed layer by layer, Su’s paintings evoke a meditative tradition that brackets both Chinese philosophy and the vocabulary of Abstract Expressionism. 36 Emerald Brands, in an assertion of being, paradoxically closes in upon itself while protruding outwards into three dimensionality. 

Follow sinθ magazine for more daily posts about Sino arts and culture.

[sinetheta]

Skipping Flowers by Pang Xunqin (庞薰琹). 1944. Watercolor on Paper.

Born in Changshu Xian in the Jiangsu Province, Pang Xunqin (1906–1985) began his study of Bird-and-flower painting at the age of eleven. After studying at the Académie Julian in Paris, Pang returned to China in 1930 and founded the Storm Society, China’s first modern art association that aimed to “create the world, which is staggered by colours, lines and forms with our crazy enthusiasm and sound reason.” Pang’s earlier works contained elements from Cubist, Art Nouveau and Post-Impressionist movements, the result of his participation and exposure to Parisian art circles. His later efforts, however, concentrated on traditional Chinese decorative and folk arts. In Skipping Flowers, Pang’s meandering rivers speak to the conventions of shan shui painting, but are rendered with a naturalism and three-dimensionality characteristic of Western painting, further reinforced by the vividly clothed figures in the foreground.

Follow sinθ magazine for more daily posts about Sino arts and culture.