Crocheter Uses Her Skills To Turn Dried Leaves Into Works Of Art (30 Pics)
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Crocheter Uses Her Skills To Turn Dried Leaves Into Works Of Art (30 Pics)
Impressive paper sculpture by the artist Patrick Cabral. About 3 months of work and around 900 of individual layers.
The Fall of Phaeton, 1913, Giorgio de Chirico
Medium: oil,canvas
Old Mill. Wow!
Anna BeĂśthy Steiner (French-Hungarian, 1902-1985) - Abstract composition, Gouache on paper, 36 x 26,5 cm (1931)
Liu Dan (Chinese, b. 1953) - Warring States Procession, ink on paper, 46 x 51 cm (1981)
do you ever see someone in some quiet intimate moment and suddenly love them so desperately you feel like youâre dying
#like when they pass a mirror and make a face and mess with their hair a little #or when you hear someone singing in their car with the windows rolled up as they drive past you #i donât know how to express this i just. people are people and it makes me so sad and filled up sometimes
I love seeing grown humans setting about little creative tasks out of boredom and then looking quietly pleased with themselves, like maybe a middle-aged woman on her train home from work manages to make a tower out of empty coffee creamers and gazes at it proudly for a few seconds.
I love seeing other people make the overblown OOPS I FORGOT SOMETHING performance for no-one that most of us do when we have to turn around in the middle of the pavement.
I love seeing stony-faced people in queues unable to contain a smile when a baby looking over its motherâs shoulder in front of them locks eyes and does that astonished stare.
- when someone is standing in line and they donât quite dance to the music playing, but you can SEE their head bop and them mouthing the words
- when someone thinks no oneâs paying attention and they sing-talk themselves thru a task
- when they laugh or try to hide a laugh when looking at their phone
- when someone does the thing where they enter another space (such as a supermarket aisle) striding with total purpose, then suddenly forget what theyâre doing/looking for, and stop there looking blank for a millisecond while they reboot.Â
- when people are looking for scissors, in their home or in a store, and they make the scissors gesture with their non-dominant hand as an aid to remind them what theyâre doing.
- when automatic social interactions glitch, like when you tell a waiter that you hope he enjoys his food too, or tell the stranger on the phone that you love them.Â
- the hand gesture people make when theyâre thinking at their computer, not typing, and their elbow rests on the table, and they feel the edge of their fingernail with their thumb. This is such a lovely little gesture and to my knowledge I have never seen it in fiction. Youâd think it would come up all the time in fic.
- when youâre sharing an experience with a complete stranger (like watching a seagull throw up in public, or waiting for a late train) and you make eye contact, and some comment to each other, and then you guys are, like, ALLIES now. Like you would willingly ride to war to save them. You canât make eye contact again, but you are very aware of them.Â
- just evidence of other peopleâs rich, baffling and complex inner lives.
i love watching couples or friends walking in tandem. i love seeing when they make each other laugh
This is what Hozier means when he says âI fall in love just a little bit everyday with someone new.â
I told Miyazaki I love the âgratuitous motionâ in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
âWe have a word for that in Japanese,â he said. âItâs called ma. Emptiness. Itâs there intentionally.â
Is that like the âpillow wordsâ that separate phrases in Japanese poetry?
âI donât think itâs like the pillow word.â He clapped his hands three or four times. âThe time in between my clapping is ma. If you just have non-stop action with no breathing space at all, itâs just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.â
Which helps explain why Miyazakiâs films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.
âThe people who make the movies are scared of silence, so they want to paper and plaster it over,â he said. âTheyâre worried that the audience will get bored. They might go up and get some popcorn.
But just because itâs 80 percent intense all the time doesnât mean the kids are going to bless you with their concentration. What really matters is the underlying emotionsâthat you never let go of those.
â Roger Ebert in conversation with Hiyao Miyazaki
(via O World invisible: Hilma af Klint)
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