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Fontana di Trevi Rome Italy Roma - Creative Commons by gnuckx

The Trevi Fountain The Trevi Fountain (Italian: Fontana di Trevi) is a fountain in the Trevi rione in Rome, Italy. Standing 25.9 meters (85 feet) high and 19.8 meters (65 feet) wide, it is the largest Baroque fountain in the city. The present fountain. Commission, construction and design In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Gian Lorenzo Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti one attributed to Ferdinando Fuga and a French design by Edme Bouchardon. Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway.[8] Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche. The asso di coppe Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups". The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin. Coin throwing A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain. Approximately 3,000 euros are thrown into the fountain each day. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain. La Fontana di Trevi La Fontana di Trevi è la più grande ed una fra le più note Fontane di Roma; è considerata all'unanimità una delle più celebri fontane del mondo. La settecentesca fontana, progettata da Nicolò Salvi, è un connubio di classicismo e barocco adagiato su un lato di Palazzo Poli. Tema e scenografia Il tema della scultura è il mare. La scenografia è dominata da un cocchio, a forma di conchiglia sul quale è adagiata la grande statua di Oceano di Pietro Bracci, affiancata nelle nicchie laterali dalle statue della Salubrità e dell'Abbondanza, opera di Filippo della Valle; il cocchio è trainato da cavallucci marini, a loro volta preceduti da tritoni. Nella fontana, scultura e architettura barocca si compenetrano e si fondono perfettamente, in un suggestivo spettacolo acquatico. Una celebre tradizione vuole che porti fortuna lanciare una moneta nella fontana volgendole le spalle, perché in questo modo si tornerà sicuramente nella città. Le monete, raccolte quotidianamente, vengono destinate dal comune di Roma ad opere caritatevoli. È stata profondamente restaurata nel 1998, quando è stata ripulita ed è stato ammodernato e sistemato anche l'impianto idraulico. roma rome rom lazio latium roman romano italy italia vatican vaticano church chiesa iglesia nature street light landscape achitecture arquitectura building monument history free europe europa eu wallpaper gnuckx design disegno arte art resolution fuente fontana trevi fountain fuente. The Trevi Fountain The Trevi Fountain (Italian: Fontana di Trevi) is a fountain in the Trevi rione in Rome, Italy. Standing 25.9 meters (85 feet) high and 19.8 meters (65 feet) wide, it is the largest Baroque fountain in the city. The present fountain. Commission, construction and design In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Gian Lorenzo Bernini to sketch possible renovations, but when the Pope died, the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona, preserved in the Albertina, Vienna, also exists, as do various early 18th century sketches, most unsigned, as well as a project attributed to Nicola Michetti one attributed to Ferdinando Fuga and a French design by Edme Bouchardon. Competitions had become the rage during the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway.[8] Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche. The asso di coppe Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans the asso di coppe, "the "Ace of Cups". The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin. Coin throwing A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different individuals, a reported current interpretation is that two coins will lead to a new romance and three will ensure either a marriage or divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain. Approximately 3,000 euros are thrown into the fountain each day. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain. La Fontana di Trevi La Fontana di Trevi è la più grande ed una fra le più note Fontane di Roma; è considerata all'unanimità una delle più celebri fontane del mondo. La settecentesca fontana, progettata da Nicolò Salvi, è un connubio di classicismo e barocco adagiato su un lato di Palazzo Poli. Tema e scenografia Il tema della scultura è il mare. La scenografia è dominata da un cocchio, a forma di conchiglia sul quale è adagiata la grande statua di Oceano di Pietro Bracci, affiancata nelle nicchie laterali dalle statue della Salubrità e dell'Abbondanza, opera di Filippo della Valle; il cocchio è trainato da cavallucci marini, a loro volta preceduti da tritoni. Nella fontana, scultura e architettura barocca si compenetrano e si fondono perfettamente, in un suggestivo spettacolo acquatico. Una celebre tradizione vuole che porti fortuna lanciare una moneta nella fontana volgendole le spalle, perché in questo modo si tornerà sicuramente nella città. Le monete, raccolte quotidianamente, vengono destinate dal comune di Roma ad opere caritatevoli. È stata profondamente restaurata nel 1998, quando è stata ripulita ed è stato ammodernato e sistemato anche l'impianto idraulico. roma rome rom lazio latium roman romano italy italia vatican vaticano church chiesa iglesia nature street light landscape achitecture arquitectura building monument history free europe europa eu wallpaper gnuckx design disegno arte art resolution fuente fontana trevi fountain fuente

Peter denies his Lord

Peter denies his Lord

Barbie brand on glossy office wall realistic texture

Holme Ringvej 148 (under renovering) - DSC_2067_8_9_Balancer

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

Holme Ringvej 148 (under renovering) - DSC_2058_59_60_Balancer

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

Lord of the rings symbol logo vector new

Corinth Mississippi Historical Marker

Corinth Mississippi Historical Marker

Yin Xu

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation) L'album trace. French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation) L'album trace

Thx 4 The Memories.Christchurch.

Thx 4 The Memories Exhibitions - Photography Events Worcester Boulevard, Christchurch City, After a series of devasting earthquakes in Christchurch, residents in a large part of the eastern suburbs began to hear the words 'Red Zone' and as the Government decreed that numerous homes in suburbs across the city were to totally disappear, the lives of thousands of people were suddenly and irrevocably changed. This large-scale outdoors exhibition by Place In Time, the Christchurch documentary project, records stories and images from one such place, the suburb of Avonside and testifies to their resilience and to the very human strength of their stories. Photographs by Bridgit Anderson and Tim J. Veling. Text by Glenn Busch. Thx 4 The Memories Exhibitions - Photography Events Worcester Boulevard, Christchurch City, After a series of devasting earthquakes in Christchurch, residents in a large part of the eastern suburbs began to hear the words 'Red Zone' and as the Government decreed that numerous homes in suburbs across the city were to totally disappear, the lives of thousands of people were suddenly and irrevocably changed. This large-scale outdoors exhibition by Place In Time, the Christchurch documentary project, records stories and images from one such place, the suburb of Avonside and testifies to their resilience and to the very human strength of their stories. Photographs by Bridgit Anderson and Tim J. Veling. Text by Glenn Busch.

Carnarvon Gorge

Carnarvon Gorge

2014_01_31_Lido_Lifeguards-12.JPG

Residents of Mogadishu stand around Lido beache's lifeboats on a sandbank in Somalia on January 31. The Mogadishu lifeguards, consisting entirely of a volunteer force of fisherman, began patrolling Lido beach in September 2013 after a spate of drownings. Mogadishu's beaches have become a popular destination for the city's residents since al Shabab withdrew the majority of its militants from the city in 2011. AU UN IST PHOTO / Tobin Jones. Residents of Mogadishu stand around Lido beache's lifeboats on a sandbank in Somalia on January 31. The Mogadishu lifeguards, consisting entirely of a volunteer force of fisherman, began patrolling Lido beach in September 2013 after a spate of drownings. Mogadishu's beaches have become a popular destination for the city's residents since al Shabab withdrew the majority of its militants from the city in 2011. AU UN IST PHOTO / Tobin Jones

Holme Ringvej 148 (under renovering) - DSC_2079_80_Realistic 2

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. View from the backyard, showing the scars after the demolished stairwell. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. View from the backyard, showing the scars after the demolished stairwell. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

MARTINS BANK LIVERPOOL

View from the road up Robinson Crater. A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « ballpoint », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de surface. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « ballpoint », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de surface. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

Catedral de Santa Maria, Burgos ( Spain )

Catedral de Santa Maria, Burgos ( Spain )

Piazza Chiesa San Giusseppe-Taormina-Sicilia-Italy - Creative Commons by gnuckx

www.meimanrensheng.com/ www.livingalifeincolour.com/ www.travelagenda.nl/ www.travelagenda.nl/nieuws/koffietijdkiekjes/koffietijd-k... To see more ... www.flickr.com/photos/gnuckx Taormina Taormina (Sicilian: Taurmina, Greek: Ταυρομένιον - Tauromenion, Latin Tauromenium) is a comune and small town on the east coast of the island of Sicily, Italy, in the Province of Messina, about midway between Messina and Catania. Taormina has been a very popular tourist destination since the 19th century. It has popular beaches (accessible via an aerial tramway) on the Ionian sea, which is remarkably warm and has a high salt content. Taormina can be reached via highways (autostrade) from Messina from the north and Catania from the south. Contemporary age In the late 19th century Taormina gained further prominence as the place where Wilhelm von Gloeden worked most of his life as a photographer of predominantly male nudes. Also credited for making Taormina popular was Otto Geleng, best known in his hometown of Berlin for his fine paintings, which he composed and painted in Italy but exhibited in Germany. What distinguishes Geleng, however, is his choice to depict the more southern regions where he captured the spectacular views and light of Sicily. He often painted the area's Greek colonial ruins, including Taormina. Taormina's first important tourist was Johann Wolfgang Goethe who dedicated exalting pages to the city in his book entitled "Journey to Italy," but perhaps it was Geleng’s views that made its beauty talked about throughout Europe and turned the site into a famous tourist center. The artist arrived in Sicily at the age of 20 in search of new subjects for his paintings. On his way through Taormina he was so enamoured by the landscape that he decided to stop for part of the winter. Geleng began to paint everything that Taormina offered: ruins, sea, mountains, none of which were familiar to the rest of Europe. When his paintings were later exhibited in Berlin and Paris, many critics accused Geleng of having an ‘unbridled imagination’. At that, Geleng challenged them all to go to Taormina with him, promising that he would pay everyone's expenses if he were not telling the truth. During the early 20th century the town became a colony of expatriate artists, writers, and intellectuals. D. H. Lawrence stayed here at the Fontana Vecchia from 1920 to 1922, and wrote a number of his poems, novels, short stories, and essays, and a travel book, Sea and Sardinia. Charles Webster Leadbeater, the theosophical author, found out that Taormina had the right magnetics fields for Jiddu Krishnamurti to develop his talents, so the young Krishnamurti dwelt here from time to time. Halldór Laxness, the Icelandic author, worked here on the first modern Icelandic novel, Vefarinn mikli frá Kasmír. By this time Taormina had become "a polite synonym for Sodom" as Harold Acton described it. Later, however, after the Second World War Acton was visiting Taormina with Evelyn Waugh and, coming upon a board advertising “Ye Olde English Teas” he sighed and commented that Taormina 'was now quite as boring as Bournemouth'. Archaeology The present town of Taormina occupies the ancient site, on a lofty hill which forms the last projecting point of the mountain ridge that extends along the coast from Cape Pelorus to this point. The site of the old town is about 300 m above the sea, while a very steep and almost isolated rock, crowned by a Saracen castle, rises about 150 m higher: this is undoubtedly the site of the ancient Arx or citadel, the inaccessible position of which is repeatedly alluded to by ancient writers. Portions of the ancient walls may be traced at intervals all round the brow of the hill, the whole of the summit of which was evidently occupied by the ancient city. Numerous fragments of ancient buildings are scattered over its whole surface, including extensive reservoirs of water, sepulchres, tesselated pavements, etc., and the remains of a spacious edifice, commonly called a Naumachia, but the real destination of which it is difficult to determine. The Teatro Greco ("Greek theatre"). But by far the most remarkable monument remaining at Taormina is the ancient theatre (the teatro greco, or "Greek theatre"), which is one of the most celebrated ruins in Sicily, on account both of its remarkable preservation and of the surpassing beauty of its situation. It is built for the most part of brick, and is therefore probably of Roman date, though the plan and arrangement are in accordance with those of Greek, rather than Roman, theatres; whence it is supposed that the present structure was rebuilt upon the foundations of an older theatre of the Greek period. With a diameter of 109 metres (after an expansion in the 2nd century), this theatre is the second largest of its kind in Sicily (after that of Syracuse); it is frequently used for operatic and theatrical performances and for concerts. The greater part of the original seats have disappeared, but the wall which surrounded the whole cavea is preserved, and the proscenium with the back wall of the scena and its appendages, of which only traces remain in most ancient theatres, are here preserved in singular integrity, and contribute much to the picturesque effect, as well as to the interest, of the ruin. From the fragments of architectural decorations still extant we learn that it was of the Corinthian order, and richly ornamented. Some portions of a temple are also visible, converted into the church of San Pancrazio, but the edifice is of small size. taormina rainbow messina bougainvillea basil basilico hotel san domenico giardini naxos etna volcano vulcano island isola sicilia sicily italia italy sea sun landscape free europe wallpaper michael micky castielli resolution vacation holiday travel flight creativecommons creative commons zero CC0 cc0 CC cc panoramio flickr googleearth maps geotagged gnu gimp wikimedia. www.meimanrensheng.com/ www.livingalifeincolour.com/ www.travelagenda.nl/ www.travelagenda.nl/nieuws/koffietijdkiekjes/koffietijd-k... To see more ... www.flickr.com/photos/gnuckx Taormina Taormina (Sicilian: Taurmina, Greek: Ταυρομένιον - Tauromenion, Latin Tauromenium) is a comune and small town on the east coast of the island of Sicily, Italy, in the Province of Messina, about midway between Messina and Catania. Taormina has been a very popular tourist destination since the 19th century. It has popular beaches (accessible via an aerial tramway) on the Ionian sea, which is remarkably warm and has a high salt content. Taormina can be reached via highways (autostrade) from Messina from the north and Catania from the south. Contemporary age In the late 19th century Taormina gained further prominence as the place where Wilhelm von Gloeden worked most of his life as a photographer of predominantly male nudes. Also credited for making Taormina popular was Otto Geleng, best known in his hometown of Berlin for his fine paintings, which he composed and painted in Italy but exhibited in Germany. What distinguishes Geleng, however, is his choice to depict the more southern regions where he captured the spectacular views and light of Sicily. He often painted the area's Greek colonial ruins, including Taormina. Taormina's first important tourist was Johann Wolfgang Goethe who dedicated exalting pages to the city in his book entitled "Journey to Italy," but perhaps it was Geleng’s views that made its beauty talked about throughout Europe and turned the site into a famous tourist center. The artist arrived in Sicily at the age of 20 in search of new subjects for his paintings. On his way through Taormina he was so enamoured by the landscape that he decided to stop for part of the winter. Geleng began to paint everything that Taormina offered: ruins, sea, mountains, none of which were familiar to the rest of Europe. When his paintings were later exhibited in Berlin and Paris, many critics accused Geleng of having an ‘unbridled imagination’. At that, Geleng challenged them all to go to Taormina with him, promising that he would pay everyone's expenses if he were not telling the truth. During the early 20th century the town became a colony of expatriate artists, writers, and intellectuals. D. H. Lawrence stayed here at the Fontana Vecchia from 1920 to 1922, and wrote a number of his poems, novels, short stories, and essays, and a travel book, Sea and Sardinia. Charles Webster Leadbeater, the theosophical author, found out that Taormina had the right magnetics fields for Jiddu Krishnamurti to develop his talents, so the young Krishnamurti dwelt here from time to time. Halldór Laxness, the Icelandic author, worked here on the first modern Icelandic novel, Vefarinn mikli frá Kasmír. By this time Taormina had become "a polite synonym for Sodom" as Harold Acton described it. Later, however, after the Second World War Acton was visiting Taormina with Evelyn Waugh and, coming upon a board advertising “Ye Olde English Teas” he sighed and commented that Taormina 'was now quite as boring as Bournemouth'. Archaeology The present town of Taormina occupies the ancient site, on a lofty hill which forms the last projecting point of the mountain ridge that extends along the coast from Cape Pelorus to this point. The site of the old town is about 300 m above the sea, while a very steep and almost isolated rock, crowned by a Saracen castle, rises about 150 m higher: this is undoubtedly the site of the ancient Arx or citadel, the inaccessible position of which is repeatedly alluded to by ancient writers. Portions of the ancient walls may be traced at intervals all round the brow of the hill, the whole of the summit of which was evidently occupied by the ancient city. Numerous fragments of ancient buildings are scattered over its whole surface, including extensive reservoirs of water, sepulchres, tesselated pavements, etc., and the remains of a spacious edifice, commonly called a Naumachia, but the real destination of which it is difficult to determine. The Teatro Greco ("Greek theatre"). But by far the most remarkable monument remaining at Taormina is the ancient theatre (the teatro greco, or "Greek theatre"), which is one of the most celebrated ruins in Sicily, on account both of its remarkable preservation and of the surpassing beauty of its situation. It is built for the most part of brick, and is therefore probably of Roman date, though the plan and arrangement are in accordance with those of Greek, rather than Roman, theatres; whence it is supposed that the present structure was rebuilt upon the foundations of an older theatre of the Greek period. With a diameter of 109 metres (after an expansion in the 2nd century), this theatre is the second largest of its kind in Sicily (after that of Syracuse); it is frequently used for operatic and theatrical performances and for concerts. The greater part of the original seats have disappeared, but the wall which surrounded the whole cavea is preserved, and the proscenium with the back wall of the scena and its appendages, of which only traces remain in most ancient theatres, are here preserved in singular integrity, and contribute much to the picturesque effect, as well as to the interest, of the ruin. From the fragments of architectural decorations still extant we learn that it was of the Corinthian order, and richly ornamented. Some portions of a temple are also visible, converted into the church of San Pancrazio, but the edifice is of small size. taormina rainbow messina bougainvillea basil basilico hotel san domenico giardini naxos etna volcano vulcano island isola sicilia sicily italia italy sea sun landscape free europe wallpaper michael micky castielli resolution vacation holiday travel flight creativecommons creative commons zero CC0 cc0 CC cc panoramio flickr googleearth maps geotagged gnu gimp wikimedia

Yin Xu

A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks.

Watch smile began working day to sign documents

Watch smile began working day to sign documents

Holme Ringvej 148 (under renovering) - DSC_2061_2_3_Enhancer

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

View from the road up Robinson Crater. A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks.

2014_01_31_Lido_Lifeguards-6.JPG

Boys practice their acrobatics on Lido beach in Mogadishu, Somalia, on January 31. The Mogadishu lifeguards, consisting entirely of a volunteer force of fisherman, began patrolling Lido beach in September 2013 after a spate of drownings. Mogadishu's beaches have become a popular destination for the city's residents since al Shabab withdrew the majority of its militants from the city in 2011. AU UN IST PHOTO / Tobin Jones. Boys practice their acrobatics on Lido beach in Mogadishu, Somalia, on January 31. The Mogadishu lifeguards, consisting entirely of a volunteer force of fisherman, began patrolling Lido beach in September 2013 after a spate of drownings. Mogadishu's beaches have become a popular destination for the city's residents since al Shabab withdrew the majority of its militants from the city in 2011. AU UN IST PHOTO / Tobin Jones

Holme Ringvej 148 (under renovering) - DSC_2064_Balancer

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

A colorful collage of vintage photo style

A colorful collage of vintage photo style

SHROPSHIRE UNION CANAL ELLESMERE PORT WIRRAL MARCH 2013 The Shropshire Union Canal was surveyed and engineered by Thomas Telford and construction began in 1827. There is a story that Thomas Jackson, in charge of the cutting of the canal, was lent £5 by a lady from Audlem when he ran short of funds. His luck turned and years later he had a stone erected and railings put round the grave of his benefactress in the old Churchyard. He himself was buried in the new Cemetery in 1885, aged 76. The 39 mile stretch from Autherley Junction near Wolverhampton to Nantwich was opened to traffic in 1835, with 15 locks at Audlem taking the water level down from the Shropshire heights to the Cheshire Plain, some 93 feet (30 metres). During the period up to 1920 the canal was the scene of great commercial activity. All the boats were horse-drawn with the exception of the stone barges which were often pulled by donkeys. The Shropshire Union Canal Company worked its own boats from the wharf each day and took goods from Audlem to Birmingham, London and Chester. Every Saturday morning a cheese boat was loaded and it was a common sight to see the roads to the wharf full of carts bringing cheese to be sent to Manchester. Twice a week fly-boats travelled between Birmingham, Audlem and Ellesmere Port. As speed was essential, they travelled on through the night, lit by huge oil lamps carrying up to 25 tons of butter, cheese, ham and grain, or coal, timber and limestone for road construction. See where this picture was taken. [?]. SHROPSHIRE UNION CANAL ELLESMERE PORT WIRRAL MARCH 2013 The Shropshire Union Canal was surveyed and engineered by Thomas Telford and construction began in 1827. There is a story that Thomas Jackson, in charge of the cutting of the canal, was lent £5 by a lady from Audlem when he ran short of funds. His luck turned and years later he had a stone erected and railings put round the grave of his benefactress in the old Churchyard. He himself was buried in the new Cemetery in 1885, aged 76. The 39 mile stretch from Autherley Junction near Wolverhampton to Nantwich was opened to traffic in 1835, with 15 locks at Audlem taking the water level down from the Shropshire heights to the Cheshire Plain, some 93 feet (30 metres). During the period up to 1920 the canal was the scene of great commercial activity. All the boats were horse-drawn with the exception of the stone barges which were often pulled by donkeys. The Shropshire Union Canal Company worked its own boats from the wharf each day and took goods from Audlem to Birmingham, London and Chester. Every Saturday morning a cheese boat was loaded and it was a common sight to see the roads to the wharf full of carts bringing cheese to be sent to Manchester. Twice a week fly-boats travelled between Birmingham, Audlem and Ellesmere Port. As speed was essential, they travelled on through the night, lit by huge oil lamps carrying up to 25 tons of butter, cheese, ham and grain, or coal, timber and limestone for road construction. See where this picture was taken. [?]

Yin Xu

Cuzco Cathedral

Cuzco Cathedral

2014_01_31_Lido_Lifeguards-7.JPG

A lifeguard sits watch on LIdo beach in Mogadishu, Somalia, on January 31. The Mogadishu lifeguards, consisting entirely of a volunteer force of fisherman, began patrolling Lido beach in September 2013 after a spate of drownings. Mogadishu's beaches have become a popular destination for the city's residents since al Shabab withdrew the majority of its militants from the city in 2011. AU UN IST PHOTO / Tobin Jones. A lifeguard sits watch on LIdo beach in Mogadishu, Somalia, on January 31. The Mogadishu lifeguards, consisting entirely of a volunteer force of fisherman, began patrolling Lido beach in September 2013 after a spate of drownings. Mogadishu's beaches have become a popular destination for the city's residents since al Shabab withdrew the majority of its militants from the city in 2011. AU UN IST PHOTO / Tobin Jones

Catedral de Santa Maria, Burgos ( Spain )

Catedral de Santa Maria, Burgos ( Spain )

Schultz Fire: Robinson Crater Panorama

View from the road up Robinson Crater. A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks. View from the road up Robinson Crater. A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

Holme Ringvej 148 (under renovering) - DSC_2070_1_2_Balancer

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. View from the backyard, showing the scars after the demolished stairwell. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. View from the backyard, showing the scars after the demolished stairwell. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

Yin Xu

A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks.

One of the many Bollards. Geelong Aust.

The Bollards form a narrative of the people and events associated through history with Geelong, Victoria. The painted figures represent a whole spectrum of local characters from native inhabitants and explorers to opera singers and lifesavers, as well as preserving and highlighting historic events. The inspiration for the Bollards came from the artist, Jan Mitchell. Work on the Bollards began in 1995 including nearly a year of extensive research with the last of the figures completed in 1999. The Bollards form a narrative of the people and events associated through history with Geelong, Victoria. The painted figures represent a whole spectrum of local characters from native inhabitants and explorers to opera singers and lifesavers, as well as preserving and highlighting historic events. The inspiration for the Bollards came from the artist, Jan Mitchell. Work on the Bollards began in 1995 including nearly a year of extensive research with the last of the figures completed in 1999.

George Washington Monument Boston Commons

George Washington Monument Boston Commons

Under the Christmas tree.

Why do we have a decorated Christmas Tree? In the 7th century a monk from Crediton, Devonshire, went to Germany to teach the Word of God. He did many good works there, and spent much time in Thuringia, an area which was to become the cradle of the Christmas Decoration Industry. Legend has it that he used the triangular shape of the Fir Tree to describe the Holy Trinity of God the Father, Son and Holy Spirit. The converted people began to revere the Fir tree as God's Tree, as they had previously revered the Oak. By the 12th century it was being hung, upside-down, from ceilings at Christmastime in Central Europe, as a symbol of Christianity. The first decorated tree was at Riga in Latvia, in 1510. In the early 16th century, Martin Luther is said to have decorated a small Christmas Tree with candles, to show his children how the stars twinkled through the dark night. Why do we have a decorated Christmas Tree? In the 7th century a monk from Crediton, Devonshire, went to Germany to teach the Word of God. He did many good works there, and spent much time in Thuringia, an area which was to become the cradle of the Christmas Decoration Industry. Legend has it that he used the triangular shape of the Fir Tree to describe the Holy Trinity of God the Father, Son and Holy Spirit. The converted people began to revere the Fir tree as God's Tree, as they had previously revered the Oak. By the 12th century it was being hung, upside-down, from ceilings at Christmastime in Central Europe, as a symbol of Christianity. The first decorated tree was at Riga in Latvia, in 1510. In the early 16th century, Martin Luther is said to have decorated a small Christmas Tree with candles, to show his children how the stars twinkled through the dark night.

Styx Mill Reserve.Christchurch.

The Styx Mill Conservation Reserve is approximately 57 hectares, extending along the Styx River for nearly 1.6km. The reserve forms part of the natural river corridor associated with the Styx River and provides a diversity of site conditions and opportunities.The Styx Mill Conservation Reserve area came into public ownership in the 1970s. Development began in the 1980s. Today the community plays an important role in the future developments of the reserve. This is to ensure that this natural resource provides enjoyment for our community and its ecological values are retained and further enhanced. The Styx Mill Conservation Reserve is approximately 57 hectares, extending along the Styx River for nearly 1.6km. The reserve forms part of the natural river corridor associated with the Styx River and provides a diversity of site conditions and opportunities.The Styx Mill Conservation Reserve area came into public ownership in the 1970s. Development began in the 1980s. Today the community plays an important role in the future developments of the reserve. This is to ensure that this natural resource provides enjoyment for our community and its ecological values are retained and further enhanced.

View from Bonito Park, west of Sunset Crater. The Park itself was burned when the fire jumped Hwy 89, and burned through the forest and park. A week after the Schultz Fire began, the wildfire is mostly contained. Clear skies and little smoke provided excellent visibility of the damage to the eastern face of the San Francisco Peaks.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a « Reverso » translation)

Holme Ringvej 148 (under renovering) - DSC_2073_4_5_Balancer

Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. View from the backyard, showing the scars after the demolished stairwell. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy. Holme Ringvej 148, built 1917. In late 2013 began an extensive restoration and conversion of this building. The ground-floor restaurant/café was turned into an apartment, most of the building's interior walls torn down and an exterior, backside stairwell completely demolished. Windows, doors and roof all replaced. The project ran into severe delays, including the bankrupcy of one of the main companies involved. Due to all the problems, it ended up taking around two years to complete the transformation. View from the backyard, showing the scars after the demolished stairwell. From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations. Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite. I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matériaux, procédés : Lignes parallèles au pinceau (le même pinceau pour toute la série – je l'ai gardé), la souplesse étant dans la quantité d'eau associée à la gouache noire, la vitesse d’exécution pour une ligne (le pinceau ne décollait la feuille qu'après l'avoir traversé de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de séchage entre deux lignes parallèles juxtaposées. J'ai ensuite complété ce dispositif en ajoutant des empreintes façon monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales – comme le portrait est l'expression de la verticalité (le paysage et la ligne courbe seraient plutôt de l'ordre du féminin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thème des « barreaux », que j'exploiterai vraiment en 2007 parce qu'il était devenu vital que je digère ma mise en examen... Barreaux déjà présents précédemment dans mon travail sur la « feuille » puis dans mes « rollerballs », enfin dans mes vidéos. Ces traits parallèles m'intéressent d'abord pour leur coté archaïque, de la naissance de l'écriture (décompte de bœufs) jusqu'aux graffitis sur les murs des prisons pour marquer le décompte des jours (autant de barreaux barrés en fin de semaine – c'est un aspect sur lequel je me suis penché dans la série des « marques » que j'ai amorcé -comme les « barreaux »- lors de ma mise en examen en 2006). M'intéresse aussi la multiplicité des interprétations possibles et leur réversibilité suivant le sens exposé, la forêt de bouleaux quand le support est exposé à la verticale devient une « marine » à l'horizontale. Ce travail, tout comme les autres, fait la part belle à ma grande névrose qui consiste à vouloir trouver le maximum dans le minimum, mais que je définis aussi comme une recherche de profondeur plutôt que de superficie. Une dernière précision : le papier photo donne une brillance argentée du plus bel effet qui n'est pas visible sur l'image scannée. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a « Reverso » translation)

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