dimanche 29 mai 2011

Titled "Listening to Waves," this contemporary ceramic sculpted by potter Sakiyama Takayuki gives material expression to the sensation of sound and the movement of water. Sakiyama achieved this effect by combing the clay, then double-folded it over on itself to form a dynamic vase that seems to echo the folding of waves and tidal swells. Waves swirl across the exterior, sweeping over the rim into the interior to create a fully integrated, organic form. Moss-colored glaze fills the ebblike grooves, leaving traces of sand on the surface of the vessel. This effect recalls the raked sand-waves of Zenkare sansuigardens, such as the sixteenth-century Ryoanji in Kyoto, which convey the expanse of the oceans, and ultimately the entire universe.

Sakiyama Takayuki

locals and tourists

Blue points on the map are pictures taken by locals (people who have taken pictures in this city dated over a range of a month or more).

Red points are pictures taken by tourists (people who seem to be a local of a different city and who took pictures in this city for less than a month).

Yellow points are pictures where it can't be determined whether or not the photographer was a tourist (because they haven't taken pictures anywhere for over a month). They are probably tourists but might just not post many pictures at all.

race and ethnicity
Red is White, Blue is Black, Green is Asian, Orange is Hispanic, Yellow is Other, and each dot is 25 residents.

vendredi 27 mai 2011




the Giacometti variations

....... + ici
Hands are extremely private parts of the human body, yet at the same time our most public. They embody our innermost personality and yet are the first extension into the world, like branches of our innards reaching out. With our hands we do the most intimate things- both creative and destructive. We make love, we caress, hold, shape, reach, carry, build, and we also slap, hit, push, punch, destroy. Out of love and necessity we prepare food, and wash our private and communal intimate bodies. We know our loved one’s hands as clearly as our own. Somehow, in the depiction of hands, from hands inspired by medieval paintings to the hands of the people I most love, I get close to the ephemeral spirit of a person, the almost thereness of them. The use of dark graphite and glass pushes the sense of the fleeting nature of things, how fragile and yet tensile is our knowing and loving one another. Emerging from darkness in the graphite, ephemerally there in glass, hands reflect this fragile knowing, so mysterious we can see it only sideways, in glimmers, darkness and reflection.

Depuis que je me suis cassé le poignet et que  je fonctionne d'une main, je ne cesse de rencontrer des artistes qui évoquent la main et ce sujet m'amène des éclairages fabuleux sur ma vie et mes expériences.