Isolation, was created following the aftermath of the coronavirus and the loss of the Artist's roommate to alcoholism and depression. Capturing the street that the two used to live on, the piece resembles the effects of a mudslide, the destruction, and irrevocable impact left behind in its wake symbolizing that of living through a friend's suicide. Splotches of plaster can be seen thrown onto the canvas in frustration as many emotions were expressed through the creation of this work including but not limited to, grief, anger, joy, and isolation.
Istoria usovershenstvovanii︠a︡ ul’i︠a︡. / Sostavlena chlenom Imperatorskago Volʹnago Ėkonomicheskago Obshchestva A. Pokorskim-Zhoravko. Историа усовершенствования ул’я. / Составлена членом Императорскаго Вольнаго Экономическаго Общества А. Покорским-Жоравко.
Dr. Atkins' Nemesis... Forget the killer bees; what about killer honey and beebread? Diabetics both western and eastern have A.I. Prokopovich to blame for making honey more harvestable by his invention in 1814 of beehives with removable frames. In earlier times artificial hives imitating the real thing were hollow logs, or imitation hollow logs, straw hives of all shapes covered in clay, and the classic box-with-a hole, all placed strategically to get the attention of bees harvesting pollen from nearby bee-plants. This Petersburg imprint is apparently a very rare little pamphlet. In addition to this illustration of different kinds of hives, there's a plate with enlarged images of Prokopovich boxes, with cross-sections, and a lovely chromolithograph of Echium vulgare (viper's bugloss), a valuable source of beebread. There are five species of the genus Echium in the Russian Republic and beebread comes from the pollen that bees gather from it, pack into honeycomb cells and cover with honey. In these aerobic conditions is formed the absolutely necessary protein-carbohydrate food for bees, without which the development of bee colonies is retarded and honey yield greatly decreased.
http://spencer.lib.ku.edu/using-the-library/library-use-and-policies
The final scene from Fleabag, shows Fleabag (Phoebe Waller-Bridge) and the Priest (Andre Scott) saying their goodbyes at the bus stop after confessing their love to each other. The scene symbolizes the fact that love is not always enough to keep two people together.
For many years, I’ve used the cotton-paper pages of my 1963 printing of Interpretation of Dreams by Sigmund Freud as the background for paintings and drawings. When displaying these works, I’ve frequently noticed viewers spending extra time reading the text on the page, presumably in an attempt to make meaning from the words combined with the imagery I created, despite the fact that absolutely no thought goes into the selection of the pages before I use them. As humans we are pattern-seekers. When our life experiences are unexplainable, we look for signs in nature, from stories, bones, tea, Tarot, slips of paper baked into cookies, the alignment of the stars - and, as with Dr. Freud, our dreams. We also use signs to communicate concrete meaning - for example: names, locations, and societal expectations. With their often elaborate silhouettes the shapes of signs contribute to the visual experience and feel of a place. This series, IT’S A SIGN, is at once a documentation of the unique sign shapes, I have found in my small adventures, and a tongue-in-cheek criticism of our human tendency to seek meaning in that which is merely coincidental.
Cassandra Liuzzo Graduate Studies in Visual Art
It's a small group here at #thatcampks, but I'm excited for the sessions. Cleaning data, undergrad DH research, Advanced Omeka.
9 portraits of the main cast of "Better Call Saul"
Oftentimes, the mundane gives us an incredible and overwhelming sense of joy to be alive. This piece, inspired by “The Orange” by Wendy Cope, illustrates how an object such as an orange can have a profound impact on the outlook of your life. Together, the quick lines, blurring colors, and movement of this piece, is a commentary on how life is ever changing and that the will to exist is not static. Throughout a life, an individual may experience depression, hindering their ability to say “I’m glad I exist.” This piece demonstrates those depressive moments through the movement and sweeping lines, pulling the viewer across the paper like the ups and downs of life, and centralizes the concept of small glimmers of hope. Of seeing the mundane, an orange, as a reason to exist.