Chanteuse . Artist . Lover . Nomad
This morning I received the most beautiful letter and wind chime from a dear friend far away. Feeling blessed and inspired in the best kind of way! X #loveandletters
Remember that day you sat me down to draw my face before leaving forever and told me you’d love me always? #newyork #love #artists #farewells #forevers #aada #memory #golden
we went to where the desert met the sea
that dark continent filled with colour + spice
those boys were playing half naked on the sand
those happy fishermen were pouring mint tea
on the cliffs edge we saw a spirit sitting alone on the shore
we smiled and waved hello
but the sight of us made him cry out in pain.
we reached to embrace and he dove into the waves swimming desperately to the edge of the world where he could wash away the burning memory of us
Hassan Hajjaj, Odalisque monochrome, ca. 2000-2007
Her thick lashes press against her thick bangs and under the hood of dark hair her eyes peer out unto the world and if you look closely you’ll see in the abyss of her wide pupils a universe under the sea filled with hope + pain + love + rain that bests in rhythm to sound of her lips smacking against each other in kisses that she blows to you in sets of 3 + 4 Her hands clap against your chest as the ground collapses beneath you both, you pull her close in an embrace and fall into the earth
Spencer Tunick, Mardi Gras: The Base (Sydney Opera House), 2010.
Spener Tunick creates artworks in which nude bodies are infinitely repeated: “individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These grouped masses which do not underscore sexuality become abstractions that challenge or reconfigure one’s views of nudity and privacy.” +
In an introductory note to Felix In Exile, Kentridge writes, “In the same way that there is a human act of dismembering the past there is a natural process in the terrain through erosion, growth, dilapidation that also seeks to blot out events. In South Africa this process has other dimensions. The very term ‘new South Africa’ has within it the idea of a painting over the old, the natural process of dismembering, the naturalization of things new.”
Not only in Felix In Exile but in all of his animated works do the concepts of time and change comprise a major theme. He conveys it through his erasure technique, which contrasts with conventional cel-shaded animation, whose seamlessness de-emphasizes the fact that it is actually a succession of hand-drawn images. This he implements by drawing a key frame, erasing certain areas of it, re-drawing them and thus creating the next frame. He is able in this way to create as many frames as he wants based on the original key frame simply by erasing small sections. Traces of what has been erased are still visible to the viewer; as the films unfold, a sense of fading memory or the passing of time and the traces it leaves behind are portrayed. Kentridge’s technique grapples with what is not said, what remains suppressed or forgotten but can easily be felt.
It’s always an uphill battle trying to figure out how to pronounce band names, and I’m at a loss for how I should pronounce Gunakadeit out loud. What I do know is that their single South is incredibly enchanting with its crystalline vocals and avant-garde beauty. There’s an undeniably Dirty Projectors/Amber Coffman and San Fermin vibe going on with the intriguing, magical experimental pop track and its baroque attributes. Today, the band released a video for the single, directed by Liz Nistico of HOLYCHILD.