M. C. Escher - Metamorphose II

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noise dept.

if i look back, i am lost
TVSTRANGERTHINGS
trying on a metaphor
Noah Kahan
Sade Olutola
occasionally subtle

Kiana Khansmith
Aqua Utopia|海の底で記憶を紡ぐ
Mike Driver

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d e v o n
KIROKAZE
🪼
let's talk about Bridgerton tea, my ask is open

pixel skylines
RMH

#extradirty
he wasn't even looking at me and he found me

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@triomphe
M. C. Escher - Metamorphose II
Keith Haring
Jules de Balincourt (French/American, b. 1972), Close Out Sale, 2003. Oil, enamel and pen on panel, 100 x 119.7 cm.
Anjelica Huston 1974 Studio 54
Monica Rohan
Lisa Wright, After the Masked Visitor, 2015
Shattered Grounds, 18x24, Digital.
Instagram - Purchase Prints - Bēhance
“Birth of Satyavati”
For quite some time now, my favorite painting has been “The Birth of Venus” by Sandro Botticelli. This is a classic western painting that has become symbolic of ideal beauty in the art world & in pop culture. A few years ago, I was lucky enough to see the actual painting in Florence, and ever since I was curious to create my own “desi remix”. Recently, there’s been a lot of conversations about westerners “borrowing” eastern cultures, so I thought why not “easternize” a classic western painting? A lot of my work has a heavy indian influence, so for inspiration I started looking through all my old indian story books. India has such a rich history of story telling, the art of epics & folk tales has become the base of our culture. This is why I wanted my translation to be connected to a tale most indians would recognize.
In my research, I came across a painting by Raja Ravi Varma depicting king Shantanu and his queen, Satyavati from the Mahabharata. Satyavati was the daughter of a fisherman, a commoner who made a living helping her father fish. It was said that people always noted the stench of fish exuding from her body. She was known for this stench until she met a priest who exchanged her foul smell for one so fragrant it made her smell alluring from far away (which is what lead king Shantanu to her). Similar to the original Birth of Venus, there is a question of what we consider beautiful. Satyavati was a commoner but was beautiful enough for a king. Whether by her smell, looks, physical or internal beauty, beauty is more than just godly or divine, which classic paintings have traditionally lead us to believe. In light of beauty in south asian culture today, there has been much talk about sexuality and breaking free from the stereotypical image of south asian women being shy and obedient by instead showing beauty in the strength of a woman’s actions and not being ashamed of her body. Physical beauty has typically been something that is celebrated in western art, but it’s something we shy away from especially in south asian culture. This is why I want the viewer not only to see the visual depiction of Satyavati’s story but to see power in all aspects of Satyavati’s being: the ugliness of her now beautiful stench, her humble beginnings and background as a working woman, her body in both the physical and spiritual sense, internal and external self, and her allure as a woman.
It’s funny how throughout time we keep trying to define beauty and place parameters on something that is ever changing and unbound. It truly is in the eye of the beholder.
“Gargi”
Part 5 of the ‘Desi Remix’ series [Remix of “The Last Supper” by Juan de Juanes]
Gargi Vachaknavi was an ancient Indian philosopher. From a young age she became known for her intelligence, studying the Vedas and other philosophical scriptures with great proficiency, often surpassing men with her knowledge. One day King Janaka held a gathering, inviting all the educated sages, kings, and princes of India to participate. Janaka, also a scholar, was so impressed by the turnout of learned sages, he decided to hold a debate in search of finding a single scholar with the most knowledge about Brahman. Offering a prize of 1000 cows with golden horns, no one except sage Yajnavalkya was confident in their knowledge of the subject. Many other scholars chose not to debate with him out of uncertainty, however 8 renowned sages decided to challenge him, including Gargi, the only woman at the gathering.
Many of the competing sages debated with Yajnavalkya and asked him many philosophical questions, however his arguments were all too convincing, resulting in a loss for the sages. When it was finally Gargi’s turn to take up the challenge she questioned Yajnavalkya’s superiority, arguing repeatedly with him. She asked him everything from the status of human souls, to the environment, the universe, the origin of all existence, and the interconnectedness of the world. Upon her final question she asked him to define the world of the imperishable (Brahman). At this, he stopped her from questioning him any further and Gargi conceded to his superior knowledge. However, she still made it farther than anyone else at the debate and was Yajnavalkya’s toughest challenger to date. Being the only woman to outsmart a room full of men, she was honored as one of the 9 gems in King Janaka’s court.
As with all the pieces in this series, the point is to highlight stories of feminism and provide examples of non-stereotypical women that stood out for their unique definitions of strength in Indian mythology. This piece especially stands out because it made me reflect on how much we’ve had to fight for our rights as women. We’ve come so far from being viewed solely as child bearers and homemakers to career driven, educated women with opinions that matter and can change the world. We still have a ways to go, and there are still glass ceilings to be broken, but I hope the story of Gargi inspires you to never take no for an answer. And most importantly, never let any one make you feel that being a woman comes with limitations. If you choose to fight, you have the power to prevail and triumph.
Tod Papageorge (b.1940) Studio 54 1977
Celibacy 2018
Katsushika Hokusai
The Fuji from Gotenyama at Shinagawa on the Tokaido
(via @lonequixote)