Noah Kahan
occasionally subtle
izzy's playlists!
Monterey Bay Aquarium
Not today Justin
𓃗
PR's Tumblrdome
No title available
Cosmic Funnies
Show & Tell
#extradirty
Fieri Frames
oozey mess
No title available
No title available
Cosimo Galluzzi
The Stonewall Inn
h
sheepfilms
Love Begins
seen from Russia
seen from United States
seen from Singapore
seen from United Kingdom
seen from Malaysia
seen from Malaysia
seen from Bangladesh
seen from India
seen from Canada
seen from United Kingdom
seen from Bangladesh
seen from Türkiye
seen from Iraq
seen from Italy
seen from United States
seen from United States
seen from Iraq
seen from Iraq
seen from Vietnam
seen from Colombia
@threefootsquareunsw-blog
Cameron Cripps-Kennedy editedit 2017 Single channel video, 0:00:35.
Cameron Cripps-Kennedy is an artist and designer who is still trying to decide what it means to exist between those spaces.
editedit is a explores the artists inner experience of mental illness. Thoughts—racing, frantic and muddled; a visual manifestation of rumination.
@cam.era.on behance.net/ck289
Robert Hogan I’ve Never Liked the Straight and Narrow Path 2018 Watercolour and aerosol on paper Various dimensions
I’ve Never Liked the Straight & Narrow Path addresses Hogan's interest in the historical archetypes of the ‘outdoorsman’ or ‘sportsman’, through the appropriation of subjects from vintage outdoor enthusiast media. He traces the chain of appropriation occurring within this scene, from the original inclusion of these illustrations within hunting magazines, to Ralph Lauren's adaption of them within his clothing line and the eventual co-opting of Ralph Lauren Polo by the hip hop subculture since the 1980s.
The appropriation and repossession of material not specifically intended for specific audiences, is an attitude that has been embodied within hip hop culture from its early roots, in order to reinterpret existing ideas through an individuals unique experience of urban living.
Hogan wishes to continue this tradition by utilising watercolour to express the energy of youth, the art of exploration, and the thrill of risk through participation within modern subcultures.
robert-hogan.com
Bruno Panucci With a Last Breath / Might it Crumble 2017 Mixed media, various dimensions
My installation work takes its departure from my sense of dislocation surrounding romanticised ideas of a home as a safe space of reversion.
The first window, closest to the courtyard of UNSW Art and Design, is a performance activated installation of a makeshift hamster wheel and two channel breathing apparatus made from tubing and latex. The performer activates the monotonous and exhausting objects in the space until they reach a point of exhaustion and breathlessness and the performance concludes. I aim to suggest in this that our dependence on home as a security can be toxic, like a small box filling up with Co2, which then sets up a context for the reading of the second window, closest to Oxford Street.
In this window, air dried clay in the shape of bricks and engraved with neo-colonial symbolism are slowly eroded by a fountain on a timer. The interplay of the two separate yet interconnected works aims to critique the dependency we place on ‘nation home’ as a locating space and source of pride; challenging the viewers’ connection to this country, suggesting it is as superficial as the bricks which support themselves in the slowly weathering structure.
@bruno_panucci
Monica Rudhar All That Glitters 2017 Wax
@monicarudhar
Monica Rudhar Almost 2017 Porcelain
@monicarudhar
Tara Pearson Paint Sample Poetry, 2016-17 Single channel video [stills], 1:09
Paint Sample Poetry is a collection of hardware store paint swatches and an experiment into the poetics of colour and found text. Colour names are assembled into rhythmic poems, creating juxtaposing colour combinations. The arrangements can be read as short and sparse poetry that allows the reader to fill in the gaps. Placement and spacing of the cards work to deliver a rhythmic form with line breaks and pause. The poems are a snapshot of intimate and personal notes on love and heartbreak. These silent serenades capture the poetics within marketed paint swatches and generate new meaning.
@taropea http://tarajadepearson.com/
September artist:
Tara Pearson Paint Sample Poetry, 2016-17 Paint samples, dimensions variable
Moon Ray / Mountain Peak / Stolen Kiss / Hide and Seek
@taropea http://tarajadepearson.com/
Thank you for your beautiful work to first year Fine Arts student Naomi Segal. New projects underway... @_naomisegal indelible, ephemeral
untitled, 2017 Natural pigments on silk, string Dimensions variable
documentation, 2016-2017 Sketchbooks, drawings on paper, colour photographs, string 16 x 14 x 10 cm
My practice has two mutually resistant interests: documentation and the ephemeral. Documenting my memories through drawing and photography has been always been a source of comfort. The indelible marks and memories have accumulated into a personal archive, giving my life a sense of meaning.The ephemeral, however, is a more recent concern that I’ve considered through naturally-dyed silk. I steam silk with eucalyptus leaves and metal, resulting in delicate marks that slowly, slowly fade in the sun. I used to protect my silk works from sunlight, but something changed in me, and I now enjoy the precariousness of leaving them in exposed spaces. The fading marks are a reminder that I don’t have to render my life on paper for it to be meaningful; I can learn to be content in each fragile moment.For now, the silk works are untitled. In this way, I think they can elude documentation, catalogues and online records. My work, like many things, will barely leave a trace.
https://www.instagram.com/_naomisegal/
My practice has two mutually resistant interests: documentation and the ephemeral.
Documenting my memories through drawing and photography has been always been a source of comfort. The indelible marks and memories have accumulated into a personal archive, giving my life a sense of meaning.
The ephemeral, however, is a more recent concern that I’ve considered through naturally-dyed silk. I steam silk with eucalyptus leaves and metal, resulting in delicate marks that slowly, slowly fade in the sun. I used to protect my silk works from sunlight, but something changed in me, and I now enjoy the precariousness of leaving them in exposed spaces. The fading marks are a reminder that I don’t have to render my life on paper for it to be meaningful; I can learn to be content in each fragile moment.
For now, the silk works are untitled. In this way, I think they can elude documentation, catalogues and online records. My work, like many things, will barely leave a trace.
Naomi Segal documentation, 2016-2017 Sketchbooks, drawings on paper, colour photographs, string 16 x 14 x 10 cm
@_naomisegal
Unlike my drawings, the marks on naturally-dyed silk will gradually fade in the sun. Leaving these ephemeral works in a relatively exposed space reminds me that I don’t have to render my life on paper for it to be meaningful; instead, I can learn to be content in each fragile moment.
Naomi Segal untitled, 2017 Natural pigments on silk, string Dimensions variable
@_naomisegal https://www.instagram.com/p/BX5Ije0DHeL
Through drawing and photography, I’ve accumulated an archive of indelible marks and memories. It’s a source of security – a way to preserve my life and give it meaning.
Naomi Segal documentation, 2016-2017 (detail) Sketchbooks, drawings on paper, colour photographs, string 16 x 14 x 10 cm
@_naomisegal https://www.instagram.com/p/BX5ITkwj6Ue
Timba Bridge (Master of Art) Melting Me, Burning Me (2016) 22 x 22 x 20cm; 22 x 22 x 17cm; 22 x 22 x 5cm Wax and wick, desert sand, ceramic bowl, framed colour photographs. "A residency at Fowlers Gap, a remote sheep station in far west NSW, inspired a series of sculptures which explore the sense of wonder we have about the fleeting nature of life, here one minute, gone the next, we are ashes to ashes, dust to dust. These melts are a shrine to our robust and delicate, continuous and ephemeral, tellurian and transcendent life cycle. As the body dies, it slowly decays, melts away, gets reabsorbed into the earth; what is this transformation all about, what becomes of the energy and soul that inhabited it? We know our time is short, so can we be more present in the here and now? The work represents our dual nature as earth-bound and corporeal, yet spiritual beings. Out in the vastness of the desert, being swallowed up by the land, it simultaneously acknowledges our significance and total insignificance." https://www.instagram.com/fleurtisan/
Timba Bridge (Master of Art)
Melting Me, Burning Me (2016) 22 x 22 x 20cm; 22 x 22 x 17cm; 22 x 22 x 5cm Wax and wick, desert sand, ceramic bowl, framed colour photographs.
"A residency at Fowlers Gap, a remote sheep station in far west NSW, inspired a series of sculptures which explore the sense of wonder we have about the fleeting nature of life, here one minute, gone the next, we are ashes to ashes, dust to dust. These melts are a shrine to our robust and delicate, continuous and ephemeral, tellurian and transcendent life cycle. As the body dies, it slowly decays, melts away, gets reabsorbed into the earth; what is this transformation all about, what becomes of the energy and soul that inhabited it? We know our time is short, so can we be more present in the here and now? The work represents our dual nature as earth-bound and corporeal, yet spiritual beings. Out in the vastness of the desert, being swallowed up by the land, it simultaneously acknowledges our significance and total insignificance."
@fleurtisan
Samuel Luke Beatty 'How to be a Gender Explorer'
This work present the pages from Beatty's 18 page artist book on a screen viewable 24/7
@samellukeart
https://www.instagram.com/p/BVlaPrbjdvn
20 July 2017
Robert Hogan I’ve Never Liked the Straight and Narrow Path, 2017 Watercolour on paper 42 x 59.4 cm
My work addresses the concept of the terrain vague, which is an indeterminate or residual space that offers a sense of freedom from the homogeneity of the city. The imprecise limits of these spaces allow for the possibility of expression and alternative activities to flourish beyond the rigidity of constructed and controlled spaces. Drawing upon my experience in subcultures centred around disobedience, these sites only thrive until the intervention of outside forces instil order and render the flows, energies and rhythms as mere artefacts of what the transitory space once was.
http://www.robert-hogan.com/
06.11-20.11 Nick Santoro (left) 'Reflector lad' Oil and acrylic on traffic reflector Dimensions variable
(right) 'Shane Bruce Stevenson' Oil and acrylic on canvas board 12" x 12"
20.10 - 03.11 Sara Sohrabian 'Chashm-e del (the eye of the heart) #1' 2015 Colour pencil and screen print on Stonehenge paper “Chashm-e del explores a tangible sense of love and emotion. Del which signifies the ‘heart-stomach’ in Farsi, is conceptualised as a container of emotions, desires, compassions, thoughts, and memories, whereas chashm – ‘The eye’ symbolises emotion. Much Persian literature refers to chashm-e del as spiritual insight. The spiritual essence of del is capable of seeing what the physical chashm cannot perceive.
In my art, del is represented by the pure and blameless nude. We enter the world unclothed, before developing the ability to comprehend verbal and written language; we first rely on emotional communication such as crying or laughing. Such nonverbal language, far more expressive than words themselves, becomes the undercurrent of our existence. Within my work, these beliefs are expressed through various tones and colours that are reflective of the beauty and vivaciousness of the free and soulful butterfly. This, combined with Persian poetry in a range of calligraphy styles, becomes a way of highlighting a spectrum of emotional experiences.
My works are introspective, hybrid and intuitive responses to my dreams and the natural world around. They capture fleeting moments of passion and awe. The nude bodies are only partially revealed, their faces averted, vulnerable and defenseless; they float through space - poetically embodying desires and/or fears, revealing intense emotional struggles through my del.”
Contact: [email protected]