|Posted on 5 August, 2018 at 6:20||comments (0)|
GOU PEI, Chinese Fabric Artist engineers her Masterpieces, stitch by stitch, bead upon bead, golden thread and a collection of dreams inspired by an ancient past with dresses that would inspire the Pope.
Pei claims her work denies what it succumbs to; human vanity. Blazing with creativity and one can imagine a barrage of craftsmen on the floor and the Queens mantle on the door. Recreating a setting fit for contemporary dynasties, mere mortals aspiring to be too much more. Costumes to adorn musical divas, fit for the stage, absorbing in their moment of fame.
Like Michelangelo, one can imagine that she is ripe for Vatican success.
|Posted on 5 August, 2018 at 5:55||comments (0)|
I am struggling with these feet of wet clay
Born from and artists hand, I am mud
I am a monument of startled creation
And I am a voyeur with no solid sound.
I hear the chisel and the tick-tock
I see the men busy at the dock and the cleaners and their mop,
I hear the song of those that long
And the vultures and the bores,
This, the drama, and the score.
My heart is heavy with them all.
Munch; Luther and Matisse,
thus I fret and curse
then I struggle with my purse
And my fist must pound down
and it does so, without a sound.
|Posted on 5 August, 2018 at 5:20||comments (0)|
How hard is hard? What is our mortal capacity?
Australian Artist, Mel O’Callaghan explores resistance and endurance in her vieo art. The rite of passage that each of us will pass through eventually, a relative condition at every age.
Her work is cinematic, with life-size actors in a war-like water-battle. O’Callaghan uses a violent contrast of fighting or 'letting go'.
‘What a single body is capable of when enduring a voluntarily experience of duress is a powerful thing to behold’ O'Callaghan.
O’Callaghan lives in Paris and gave a live performance at the Serralves, taking it out of the dark theatre space and into the light of day.
O’Callaghan considers the body as a vehicle of ‘imposed labour’. The resistance of a ballet dancer perhaps or an underpaid worker forcing him/herself out of bed? Consider the Soldier preparing for death, or worse. Each day we battle, not to win, just to remain standing.
‘To fall, to begin again which is where the virtuous aspect comes into violence. It’s not being purely negative but rather a creative force’ O’Callaghan.
Her work also relates to the Political and Economic climax point that is coming into focus.
‘…. those mounting feelings of deep despair that force acts of extremism’ O'Callaghan
|Posted on 31 July, 2016 at 5:15||comments (0)|
Milliners, Kim Fletcher and Kerrie Stanley claim that occasional dressing is part of the fun of going to events like the Melbourne Cup. This is their accessory forecast for racegoers this season. They want to see less fluff on the ends of combs; they want more substance and structure.
“We’ve grown up,” claims Ms. Fletcher
There are more materials available for them to develop their craft and to be more experimental. They are looking for non-traditional millinery items. They would like to see Melbournian women distinguish themselves by being more adventurous in head fashion. Their aim is for our Cup to be a unique fashion statement.
“Using stuff ‘outside the square’ and making them more modern.” Ms. Fletcher adds.
The women agree that Melbourne has some of the best milliners in the world and claims that the industry has stood the test of time due to the Melbourne Cup.
“We have a more casual lifestyle that’s why dressing up for the racers is such a big deal, even some weddings are quite casual in reference to their dress code.” Ms. Fletcher points out.
The primping and priming that Kim and Kerry agree on, is a major incentive for attending the event. The economic flow-on affects a myriad of other industries such as hairdressers, manicurists; make up artists and so forth. We are given a Public Holiday to attend and play our role in its success.
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