“Over the past few years, I have become immersed in scientific and philosophical concepts, such as Anatomy, Computer Science, Math, Cosmology, Biology, Quantum Physics, and Consciousness. I have been particularly fascinated with scientific diagrams, which explain theories and properties through imagery. Although these rudimentary images are without any leanings towards aesthetics, I find them to be beautiful, though that is not the intention. All of the projects I have created begin as drawings, which I feel has a beauty and intimacy that painting cannot capture. The subtle lines that graphite creates, and the quickness in which one can capture an idea makes this medium alluring.”
Los Angeles Times – the work of artist Daniel Martin Diaz “…. is broodingly personal” with “…a compelling, esoteric edge.”
My work employs hands on methods and low-tech materials. It mostly revolves around appropriation, mark making and colour. The strongest themes running through my work are portraiture, expressionism and form.
BIO & LIFE STORY
Oskar Schlemmer, (born September 4, 1888, Stuttgart, Germany—died April 13, 1943, Baden-Baden, Germany), German painter, sculptor, choreographer, and designer known for his abstract yet precise paintings of the human form as well as for his avant-garde ballet productions.
Schlemmer was exposed to design theory at a young age as an apprentice in amarquetry workshop. He took classes at the Kunstgewerbeschule (School of Applied Arts) in Stuttgart, and a scholarship allowed him to further his studies at the Stuttgart Academy of Fine Art (1906–10). He spent a year in Berlin painting and familiarizing himself with new trends in art by artists associated with theDer Sturm Gallery. He then returned to Stuttgart in 1912 and became a master student of abstract artist Adolf Hölzel.
Schlemmer was wounded in action while serving in World War I and returned to Stuttgart in 1916. In 1919 he helped spearhead a movement to modernize the curriculum at the Stuttgart Academy of Fine Art—which also involved a staunch effort to have Paul Klee appointed to the faculty there—and, more generally, to bring modern art exhibitions to Stuttgart. He was integral to organizing early exhibitions, which featured his own work as well as that of Klee, Willi Baumeister, and others.
In 1920 Schlemmer married Helena (“Tut”) Tutein, and that same year Walter Gropius invited him to theBauhaus school in Weimar to teach. There he made significant contributions to numerous departments (sculpture, mural painting, metal work, and life drawing) but truly left his mark in the stage workshop. For that workshop he created his best-known work, Das triadisches Ballett (1922; “The Triadic Ballet”)—a ballet that he choreographed and for which he designed costumes. He named it “Triadic” to reflect the three acts, three dancers, and three colours (one for each act). The costumes he designed—based on cylinder, sphere, cone, and spiral shapes—were revolutionary. That ballet premiered in Stuttgart in 1922 and was then presented throughout the 1920s in cities such as Weimar, Frankfurt am Main, Berlin, and Paris. Schlemmer served as head of the stage workshop at the Bauhaus from 1923 to 1929. His experience with dance influenced his paintings, which began to incorporate more depth and volume, as seen in The Dancer (1923). Schlemmer developed the Bauhaus theatre in Dessau—where the school had relocated in 1925—and was involved in the design process of many theatrical productions.
Throughout the 1920s Schlemmer was commissioned to paint several murals in both private residences, such as the home of architect Adolf Meyer (1924), and public spaces, such as the former Bauhaus in Weimar (1923), which the Nazis destroyed in 1930, and the Folkwang Museum in Essen (1928–30), which the Nazis vandalized, dismantled, and removed in 1933. Schlemmer left the Bauhaus in 1929.
From the Bauhaus, Schlemmer moved to Breslau, where he continued to work in theatre and teach (State Art Academy). He also continued to paint, and in 1932 he created his well-known work Bauhaus Stairway. Without warning the Nazi regime dismissed him from his teaching position in 1933. Schlemmer moved to Switzerland for a brief time with his wife and children and painted portraits and landscapes.
The last decade of Schlemmer’s life was marred by the Nazi dictatorship and defamation of his life’s work. In 1937 five of his works were included in the Nazi-organized “
Degenerate Art” exhibition in Munich. He continued to exhibit his work when possible and participated in major exhibitions in London and New York City in 1938. Schlemmer was reunited with Baumeister and other artists in 1940 when he moved to Wuppertal, Germany, where he earned a living by working at a lacquer factory. He died of a heart attack three years later. Schlemmer’s Triadic Ballet was revived on a number of occasions in the late 20th century and was performed with the original, restored costumes. Those costumes, however, were the only original elements remaining. The music and choreography associated with Schlemmer’s production were lost. A volume of his diaries and letters edited by his wife was published in 1972; an English translation by Krishna Winston was issued in 1990.
It has been proven that highly creative people’s brains work quite differently than other brains. That special brain wiring that can create such wonderful art, music, and writing can often lead to strain in a relationship, because of those differences. If you’ve ever loved a highly creative person, you know that it can seem like they live in their own little word at times, and that thought isn’t far from the truth. Here are some things to keep in mind when you are in love with a highly creative person:
1. Their Minds Don’t Slow Down
The highly creative mind is one that is running at full speed all the time. Although it can be a source of crazy, spontaneous fun – it can also be a burden. Highly creative people rarely keep normal sleep cycles, and are often prone to bouncing from one task to another throughout the day. It can be exhausting to try to keep up.
2. They are Cyclical
The flow of creativity is a cycle, full of highs and lows. Some people may consider this “manic” behavior, but in reality, it is just how the creative process works. Keep this in mind as your partner goes through these natural ebbs and flows. The low periods aren’t permanent.
3. They Need Time Alone
Creative minds need air to breathe. Whether it is their own little work space or an escape to somewhere quiet, they need a time and place to be alone with their thoughts. Some people are inclined to think that if nothing is being said that there is something wrong, but with creative people that is not the case. They are just working within their own head.
4. They are Intensely Focused
When a creative person is on task, they are fiercely intense. The change from being scatter-brained to hyper-focused can be difficult to deal with, so just understand that it is how their brains work. Don’t get frustrated.
5. Emotions Run Deeper
Creative people feel everything on a deeper level. What doesn’t seem like a big deal to you, can be crushing to them. It’s that same passion that goes into whatever they create that drives them to love you, so understand that with the good – comes the bad.
6. They Speak in Stories
Creative people often express themselves in experiences, instead of just saying what they want to say. It is a way of sharing themselves that personifies who they are. At times, it can be difficult to figure out what a creative person is saying, so don’t be afraid to read between the lines.
7. They Battle with Themselves
Being creative can be a serious internal struggle. Motivation, enthusiasm, direction, and drive can all be issues for creative people. Some days it is hard for them just to get out of bed, and other days you can’t get them to slow down. Be patient in the lulls, because there is usually a burst of activity right around the corner.
8. Intuition is Important
Creative people, because of their intense emotional tendencies, tend to rely on intuition over logic. They go with their gut. Some people consider this to be more on the “impulsive” end of the spectrum. The creative mind doesn’t rely on logic to make a decision, it relies on experience and passion.
9. They Struggle with Confidence
When people create, especially for a living, they are always struggling with acceptance. That is art. They have to wear their hearts on their sleeves, and so they always question whether or not what they are producing is good enough. Being supportive is the key to loving a creative person.
10. Growing Up is Hard to Do
Creative people are almost always children at heart. That care-free nature can seem immature and impetuous – but it is all part of the deal. Understand that the aspects of their creative brains that you love are the same ones that make them somewhat irresponsible when it comes to being an adult.
I was born in Seoul in 1980, now live and work in Seoul. I studied oriental painting which is a study on the traditional East Asian painting. I’ve been drawing Moonassi series since university. The series is my life-time project. There is no specific background story or a theory about the drawing. Each drawing is created based on my daily thoughts and feelings. I draw to meditate on myself and others, and to be able to see the whole story of the series in the end.
CRAZY STOP MOTION!!!!!
The Value of Suffering
I want to be like I wasn’t there
Please take care of this
Sinking of you
Face the whole
The moon I see
More or less
I wanted to share this interesting and fascinating documentary with all you amazing spirits.
Take what you want and leave what you want!
xxx Love love love
Mélika Emira Baccouche
Burning Man is an annual festival that takes places in Black Rock City, located in the Black Rock Desert, Nevada. The event brings together a number of people from across the nation who are influenced by community, art, radical self expression, self-reliance, sharing, and decommodification.
One of the sculptures there is called “Love.” Created by Alexandr Milov from Odessa, Ukraine, the sculpture demonstrates a conflict between a man and a woman and, ultimately, an inner expression of human nature.
The figures of the protagonists are made in the form of big metal cages, with their inner selves trapped within in the form of children, who are holding out their hands through the grating.
When nightfall comes, the children start to glow and shine, which represents a “symbol of purity and sincerity that brings people together and gives a chance of making up when the dark time arrives.”
In the mid 1960s Raysse’s work developed around a number of recurrent themes; in particular he concentrated on the contours of aportrait, a mouth or an eye, repeating them endlessly using all kinds of visual formulae, and drawing on the most diverse types of materials.
He gave up his pictorial explorations in the atmosphere of the events of 1968 in France. When he returned to painting, his work had undergone an important change. Little by little he moved away from the urban world towards a return to nature, a bucolic ideal of a gentle and calm community with reminiscences of Poussin and of mythology. He used pastel and tempera to depict timeless magical or fantastic scenes, anticipating the vogue for mythological subjects that appeared in the work of other painters in the 1980s.
Here is an outline of his beautiful work for my beautiful humans
Sending LOVE LOVE & more LOVE
Mélika Emira Baccouche