To Kill Artemis @tokillartemis - Tumblr Blog

fuckingflorida

Rest in peace.

imkindof

magictransistor

Hovsep Pushman, Her Golden Days, 1920.

barbarianconspiracy-deactivated

The Callanish stones, Isle of Lewis, Western Isles of Scotland.

Scan from Burl and Piper Rings Of Stone (1979).

lionofchaeronea

The Colossus of Rhodes, Salvador Dalí, 1954

classical-beauty-of-the-past

Venus Italica, Antonio Canova

by Jean-Pierre Dalbéra

xushima

René Magritte, Le coup au coeur (The blow to the heart), 1952

venivediviavi

Jan Sanders Van Hemessen, Vanity, 1535/40

walksthroughthecenturies

ratak-monodosico

Bernardino Mei. Ghismonda with the heart of Guiscardo (detail)

mudwerks

(via Herbert James Draper/ Emile-Jean-Baptiste Philippe Bin | Frank T. Zumbachs Mysterious World)

Émile Jean-Baptiste Philippe Bin - Persée délivrant Andromède

astroartbook

[ABC…]

Des heures et des heures de boulot qui finissent par payer… Créer une typographie est loin d’être évident, et pourtant le résultat en vaut tellement le coup. J’ai créé au départ une de ces lettres pour le fun, il faut l’avouer. Et dans un excès de folie, j’ai décidé de me lancer à dessiner les 37 autres. Il s’agit d’un alphabet arménien revisité à ma sauce. Avec un peu de douceur, un peu de dotwork, et beaucoup de persévérance !

darksilenceinsuburbia

Joseph Walsh: Lillium I

In the Lilium series, Joseph Walsh expands on the formation and layering language of his Enignum series and once again refers to natural elements that inspire his work.

Lilium explores the relationship between the geometric and the organic; while some of the pieces’ elements keep to symmetrical repetitions, others erupt into glorious, abstract shape.

The finished pieces blur the line between still and living objects, while capturing the natural instincts for growth in the material, the maker and the viewer. They mimic nature’s patterns, beginning with a cohesive bulb / form and growing according to diverse set of circumstances. In this work, Joseph finds the piece’s forms by following the curve of the wood so that the sculpture evolves from a structured, predictable object into a freely flowing work.

“In ‘Lilium’ I explore the relationship between the ordered and chaotic; the geometric and the lyrical; the perfect, effortless symmetry of the bulb, the regulated, controlled element and its freed form as it reaches through and beyond. The Lilium series is both a study and an expression of the relationship between the beauty we create and the beauty we allow to happen; the beauty we participate in creating and the beauty we quietly observe.”

Joseph Walsh, October 2014