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  Tuesday, September 30th, 2014

Vision of Spain


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  Tuesday, September 30th, 2014

Indigo Shibori

There are an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for shibori, and each way results in very different patterns. Each method is used to achieve a certain result, but each method is also used to work in harmony with the type of cloth used. Therefore, the technique used in shibori depends not only on the desired pattern, but the characteristics of the cloth being dyed. Also, different techniques can be used in conjunction with one another to achieve even more elaborate results. (Wikipedia)

Illustration: Indigo Kumo Shibori ‘zoikin’, Japan, Taisho (c.1920), 134x33cm. The common English translation of the Japanese word shibori is “tie-dye.” However, a more accurate translation is “shaped-resist dyeing,” which describes the inherent patterning process of manipulating the two-dimensional cloth surface into three-dimensional shapes before compressing them to dye. Diverse shibori techniques are used to obtain different patterns. This piece features spider-webs of ‘kumo’ shibori. Kumo shibori has long been known in Japan. a 12th century painting shows a simple hemp garment with a pattern that resembles this type of shibori. It appears frequently in the ukiyo-e (wood block-prints) of the Edo period (1603-1868), which depict the lives of people from all parts of society. In the 19th century, an unusually fine type of pleated and bound kumo shibori dyed in indigo on fine cotton became very fashionable. The present cloth was possibly a never-used ‘zoikin’ (diaper) as it is lined with brown cotton. In its design the spider-webs look to be at centre of larger ‘clouds’ of shibori, and these are of irregular and unpredictable form. This gives a sense of freedom to the whole composition, that I particularly like. Very good condition. Whimsical and great looking.


  Sunday, September 28th, 2014

One’s not half of two; two are halves of one.

—E.E.Cummings

  Monday, September 22nd, 2014

There is only one valuable thing in art: the thing you cannot explain.

—Georges Braque

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  Wednesday, September 17th, 2014

Lyrical Abstraction

Lyrical abstraction is not a formal, specific school of art. It is a term art critics have invented to differentiate abstract works which present ideation and imagery (or imagery potentials, depending on the viewers’ ability to discern them), versus those with no relation to the natural world or pictorial allusion. There is a balanced, aesthetic elegance one can immediately sense in lyrical abstraction. Such works present viewpoints and convictions, but are rarely sentimental; they may be lively and animated or subtle and soothing, but above all, are charged with content.

The art of lyrical abstraction allows us to ponder meanings and emotions in ways that mere stripes of color, for instance, don’t. Lyrical abstraction has something to say, and it often takes on the dynamics of psychological exploration. It may or may not include suggestions or representations of imagery from the natural world. The paintings may vary widely in visual effect, but all share a similar intent: evoking feelings of essence—and that all-important connection to higher, more esoteric worlds.

Illustration: Yellow-Red-Blue, 1925 by Wassily Kandinsky


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  Tuesday, September 9th, 2014

Coptic Binding

Coptic binding or Coptic sewing comprises methods of bookbinding employed by early Christians in Egypt, the Copts, and used from as early as the 2nd century AD to the 11th century.The term is also used to describe modern bindings sewn in the same style.

Coptic bindings, the first true codices, are characterized by one or more sections of parchment, papyrus, or paper sewn through their folds, and (if more than one section) attached to each other with chain stitch linkings across the spine, rather than to the thongs or cords running across the spine that characterise European bindings from the 8th century onwards. In practice, the phrase “Coptic binding” usually refers to multi-section bindings, while single-section Coptic codices are often referred to as “Nag Hammadi bindings,” after the 13 codices found in 1945 which exemplify the form.


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  Sunday, September 7th, 2014

Cadmium yellow

The name comes from Latin cadmia = zinc ore calamine, from Greek kadmeia = Cadmean earth, first found near Thebes, city founded by the Phoenician prince Cadmus.

The particle sizes of the deeper cadmiums are about fifty times larger than the paler varieties. They are transparent particles that appear in clusters, microscopically.


  Wednesday, September 3rd, 2014

There are endless ways of approaching a painting.

—Gordon Onslow-Ford

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  Sunday, August 31st, 2014

Art evokes the mystery without which the world would not exist.

—Magritte

  Saturday, August 30th, 2014

I will lift up mine eyes unto the hills, from whence my help comes from. My help comes from the Lord, maker of heaven and earth.

—Psalm 121:1

  Friday, August 29th, 2014

If you hear a voice within you say “you cannot paint,” then by all means paint, and that voice will be silenced.

—Vincent Van Gogh

  Monday, August 25th, 2014

Disarming the Narcissist (Commentary)

I would like to think there is help for an N—but I don’t believe there is. I think of the smear campaign—very deliberate lies meant to completely discredit someone, isolate someone. That is evil.

God is the only help—He can set the captives free. The captives of the N.

God is very clear in His word—there are evil people. Do not throw your pearls before swine. They will turn and trample you.

Ns have made a deliberate decision to live against God’s word and they have no excuse. Many are “Christians.” They know the Word.

Their evil is deliberate.

—Kathy

It is useful to understand how narcissists operate. It is also useful to understand how victims respond and why they respond in these ways. We can choose to try to help narcissists or to help victims. We cannot do both at the same time and the narcissists’ victims are not the ones who should be trying to help the narcissists.

—Forrest


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  Thursday, August 21st, 2014

By the silent line

Photos by Pierre Folk


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  Tuesday, August 19th, 2014

R. Waller’s Catalogue of Simple & Mixt Colours

From Philosophical Transactions (1686)


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  Thursday, August 14th, 2014

Non-objective Art

The representation I’m interested in is of those things only the eye can touch. I think of painting without subject matter as music without words. —Kenneth Noland

Hilma af Klint, Chaos, Nr. 2, 1906