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Alcatraz Island, San Francisco

Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area. Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area.

Close-up of a peacock who looks into the camera, and then goes out of the frame

Close-up of a peacock who looks into the camera, and then goes out of the frame

Secret Cabin on Secret Mountain Trail. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

A naughty English Springer Spaniel dog that has been swimming in a bog and then to finish the look has rolled in an old bonfire.

A naughty English Springer Spaniel dog that has been swimming in a bog and then to finish the look has rolled in an old bonfire.

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)

Pastel still life

Soft focus shot of Still life of craft items of artificial roses and multicolored fabrics shot soft focus in camera then freehand airbrush of some rose and material painted in; then art media paint, pastel applied; shot with reflected diffused strobe and reflector; pastel brush applied. Soft focus shot of Still life of craft items of artificial roses and multicolored fabrics shot soft focus in camera then freehand airbrush of some rose and material painted in; then art media paint, pastel applied; shot with reflected diffused strobe and reflector; pastel brush applied

Secret Cabin on Secret Mountain Trail. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

Platform in railway and sbahn or regional train then get on the train in Berlin, Germany.

Platform in railway and sbahn or regional train then get on the train in Berlin, Germany.

People in technician jobs. A broken built-in dishwasher in a white kitchen was removed from the kitchenette then turned upside

People in technician jobs. A broken built-in dishwasher in a white kitchen was removed from the kitchenette then turned upside

Alcatraz Island, San Francisco

Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area. Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area.

Beggars wrapped in cloth and then put on a hat and sat down beside the street and someone gave money

Beggars wrapped in cloth and then put on a hat and sat down beside the street and someone gave money

Young Caucasian Female Hands Lathering White Bar Hand Soap for Washing and Personal Hygiene, and Then Rinsing Hand Under Sink Wate

Young Caucasian Female Hands Lathering White Bar Hand Soap for Washing and Personal Hygiene, and Then Rinsing Hand Under Sink Wate

Secret Cabin. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

Alcatraz Island, San Francisco

Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area. Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area.

St. Ana Monastery is situated high on “Mosului Hill” above the Town of Orsova. The monastery was built in the style of wooden churches, between 1936-1939.
The church is located in the middle of the monastery and the cells of the nuns are on the sides. The inner paintings were covered during the year of communism. In the years of the dictatorship, the monastery was in turn a sanatorium for tuberculosis then a vacation camp for children and a tourist basis, whereas the church itself was a bar for a couple of years then a motel reception. The monastery was beatified in 1990 and restored between 1993-1997.

Secret Mountain Trail

Secret Mountain Trail. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

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)

Light Up Flower 2

This is a soft pink colored Cosmos flower that was laid into a shallow crystal dish with water, then photographed with a light shining underneath and then the surrounding area was digitally turned into a velvety deep blue. This is a soft pink colored Cosmos flower that was laid into a shallow crystal dish with water, then photographed with a light shining underneath and then the surrounding area was digitally turned into a velvety deep blue

SMOKY JUNGLE FROG

The smoky jungle frog, also known as the was discovered in 1824. This frog spends most of its time in the jungle away from ponds and streams. To keep eggs moist the female oozes a liquid from her body and then beats it into a frothy foam with her back legs. She then deposits the eggs into the foam. The outside of the foam nest hardens into a shell, which protects the eggs. It is a large frog, 5 t

NOW AND THEN, text on orange stamp sign

NOW AND THEN, text on orange stamp sign

Hand traced colourful splats

Paint splatters photographed, then the contour hand traced, then converted to , giving it a unique edge. Paint splatters photographed, then the contour hand traced, then converted to , giving it a unique edge

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)

Manufacture of cylinders of carbon

This woman using her machine manufactures cylinder of coal which are used even in town to cook. The gas bottle is too expensive for many homes.
The manufacture involves mixing coal dust with poor quality water into a paste. Then this paste is introduced into the upper part of the machine. Then closed the lid and then actuates the piston rises by below for compacting the dough and make holes in the pavement of coal. It is dried in the sun. This woman using her machine manufactures cylinder of coal which are used even in town to cook. The gas bottle is too expensive for many homes.
The manufacture involves mixing coal dust with poor quality water into a paste. Then this paste is introduced into the upper part of the machine. Then closed the lid and then actuates the piston rises by below for compacting the dough and make holes in the pavement of coal. It is dried in the sun

Hand traced colourful splats

Paint splatters photographed, then the contour hand traced, then converted to , giving it a unique edge. Paint splatters photographed, then the contour hand traced, then converted to , giving it a unique edge

Alcatraz Island, San Francisco

Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area. Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area.

Alcatraz Island, San Francisco

Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area. Alcatraz Island (some times referred to as The Rock) is a small island located in the middle of San Francisco Bay in California, United States that served as a lighthouse, then a military fortification, and then a federal prison for the area until 1969, when it became a national recreation area.

St. Ana Monastery is situated high on “Mosului Hill” above the Town of Orsova. The monastery was built in the style of wooden churches, between 1936-1939.

The church is located in the middle of the monastery and the cells of the nuns are on the sides. The inner paintings were covered during the year of communism. In the years of the dictatorship, the monastery was in turn a sanatorium for tuberculosis then a vacation camp for children and a tourist basis, whereas the church itself was a bar for a couple of years then a motel reception. The monastery was beatified in 1990 and restored between 1993-1997.

A shepherd dog named Taiga will first eat food from cat`s bowls, and then will guard its bowl.

A shepherd dog named Taiga will first eat food from cat`s bowls, and then will guard its bowl.

Smoky Jungle Frog

The smoky jungle frog, also known as the was discovered in 1824. This frog spends most of its time in the jungle away from ponds and streams. To keep eggs moist the female oozes a liquid from her body and then beats it into a frothy foam with her back legs. She then deposits the eggs into the foam. The outside of the foam nest hardens into a shell, which protects the eggs. It is a large frog, 5 t

Secret Mountain Trail

Secret Mountain Trail. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

Coprinus comatus, the shaggy ink cap, lawyer's wig, or shaggy mane, is a common fungus often seen growing on lawns, along gravel roads and waste areas. The young fruit bodies first appear as white cylinders emerging from the ground, then the bell-shaped caps open out. The caps are white, and covered with scales—this is the origin of the common names of the fungus. The gills beneath the cap are white, then pink, then turn black and secrete a black liquid filled with spores (hence the “ink cap” name). This mushroom is unusual because it will turn black and dissolve itself in a matter of hours after being picked or depositing spores. Coprinus comatus, the shaggy ink cap, lawyer's wig, or shaggy mane, is a common fungus often seen growing on lawns, along gravel roads and waste areas. The young fruit bodies first appear as white cylinders emerging from the ground, then the bell-shaped caps open out. The caps are white, and covered with scales—this is the origin of the common names of the fungus. The gills beneath the cap are white, then pink, then turn black and secrete a black liquid filled with spores (hence the “ink cap” name). This mushroom is unusual because it will turn black and dissolve itself in a matter of hours after being picked or depositing spores.

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

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)

We are what we repeatedly do excellence then is not an act but a habit. Hand drawn typography poster design

We are what we repeatedly do excellence then is not an act but a habit. Hand drawn typography poster design

A Remmembrance Cross in Island Stroma, Caithness, Scotland, U.K

Memorial cross in Island Stroma, Caithness, Scotland, U.K Stroma was once a populous island in the Pentland Firth, finally deserted in 1962 now it's only inhabitants are a herd of sheep and various other wildlife. The people of Stroma were very close-knit and noted on several occasions for their striking manner and self-sufficiency. "From their political situation, and the simplicity, sobriety and industry, natural to them, there are perhaps few islanders on earth happier than those of Stroma." Most people lived in single-storey houses which had two main rooms, called the 'but' and 'ben'. In these houses, there was usually a small bedroom (called the 'closet') and a porch also. The 'but' was the living room where all everyday family life took place; the 'ben' however was only used on special occasions, like when visitors came. Each room had box-beds, these were often closed in by folding doors or curtains. Wooden boards were covered with a layer of straw and a chaff filled mattress, both were renewed every year. The pillows were stuffed with the feathers of the croft chickens which were killed, plucked then eaten (little went to waste), blankets made of sheep's fleece were made at the mill; together this made a very cosy bed. The 'but' held a stove and oven, along with a larder and crockery dresser. The stove and oven were the main means of heating in the croft house, all. Memorial cross in Island Stroma, Caithness, Scotland, U.K Stroma was once a populous island in the Pentland Firth, finally deserted in 1962 now it's only inhabitants are a herd of sheep and various other wildlife. The people of Stroma were very close-knit and noted on several occasions for their striking manner and self-sufficiency. "From their political situation, and the simplicity, sobriety and industry, natural to them, there are perhaps few islanders on earth happier than those of Stroma." Most people lived in single-storey houses which had two main rooms, called the 'but' and 'ben'. In these houses, there was usually a small bedroom (called the 'closet') and a porch also. The 'but' was the living room where all everyday family life took place; the 'ben' however was only used on special occasions, like when visitors came. Each room had box-beds, these were often closed in by folding doors or curtains. Wooden boards were covered with a layer of straw and a chaff filled mattress, both were renewed every year. The pillows were stuffed with the feathers of the croft chickens which were killed, plucked then eaten (little went to waste), blankets made of sheep's fleece were made at the mill; together this made a very cosy bed. The 'but' held a stove and oven, along with a larder and crockery dresser. The stove and oven were the main means of heating in the croft house, all

Young beautiful woman dances in the desert at sunset or sunrise and then sits on a motorcycle and ride away

Young beautiful woman dances in the desert at sunset or sunrise and then sits on a motorcycle and ride away

2009/265/279 Have Bowl, Need Dog

Yes, sadly, I remain dogless. It's not for lack of desire for canine company; it's that my schedule keeps getting more filled with travel that make it feel unfair to take in a dog and then be boarding him/her 50% of the time. It's hard to avoid the pleas from the Humane Society shelter in Payson, the stories of good dogs needing homes in the local papers, and the bulletin board photos outside the Ponderosa Market. But maybe its time to get more creative, or start saying "no" to travel, and get my priorities in order. How can the "CogDog" have no Dog? I would be just a Cog, and at that, I am not biking all that much, so then you can just call me ""!. Yes, sadly, I remain dogless. It's not for lack of desire for canine company; it's that my schedule keeps getting more filled with travel that make it feel unfair to take in a dog and then be boarding him/her 50% of the time. It's hard to avoid the pleas from the Humane Society shelter in Payson, the stories of good dogs needing homes in the local papers, and the bulletin board photos outside the Ponderosa Market. But maybe its time to get more creative, or start saying "no" to travel, and get my priorities in order. How can the "CogDog" have no Dog? I would be just a Cog, and at that, I am not biking all that much, so then you can just call me ""!

Black_Sea_ports_--_Odessa,_Sevastapol,_Novorrisk

One technique for carbon sequestration is to grow logs, and then sink then into the deep, anaerobic depths of the Black See. The "Black Pickle" is the name for this technique. One technique for carbon sequestration is to grow logs, and then sink then into the deep, anaerobic depths of the Black See. The "Black Pickle" is the name for this technique.

Portrait of asian asian boy children is meditating. to train the mind and consciousness to meditation Then came the peace.

Portrait of asian asian boy children is meditating. to train the mind and consciousness to meditation Then came the peace.

Masonry Tank. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

One man has diarrhea He then went to the bathroom to take numbers two. In his hand he had tissue paper to wash and clean

One man has diarrhea He then went to the bathroom to take numbers two. In his hand he had tissue paper to wash and clean

Close-up elderly male farmer sits in agricultural tractor, then starts driving to start working

Close-up elderly male farmer sits in agricultural tractor, then starts driving to start working

Grand Tetons landscape with prairie

Grand Tetons landscape with prairie in foreground, then forest, then mountain range in back

I have heard Eric Thomas. I have listened to Les Brown, Tony Robbins, Ray Lewis and so many others. The message is consistent about obstacles, fear and challenges. They all say some variations of go through and not around. I came across this obstacle on the trail in Short Hiils Provincial Park. I was fearless! I was determined! I was unstoppable! I went through... ...I went not under, not around but over, and then down. And then the pain arrived. And they were right. All of them said it would happen. I learned from my pain. I learned from my obstacle. There is a difference between figurative obstacles and physical ones. Some physical obstacles are better to go around than through. They told me that from my pain will come growth. They were correct, particularly the bump on my head.

Secret Cabin on Secret Mountain Trail. 2009-05-06: On the fourth day of our camping trip on the Mogollon Rim above Sedona, we headed to Secret Mountain Trail #109. The Mangums (authors of Flagstaff Hikes) list this as one of their favorite trails, mentioning they usually stop just past Secret Cabin on the edge of the mountain where there’s a nice view. The weather was unseasonably hot, and we chose this trail not only because it’s interesting, but because it stays at fairly high elevation (instead of diving down into a canyon like so many of the trails in this area). The trail starts off running along a bit of a ridge up to a knob where there are some fantastic views. Diving down to a narrow saddle, the trail meets the top of Loy Canyon Trail, then climbs up to a fairly flat run. Around 1.0 mile are the remains of an old dry tank and corral. It’s almost easy to miss the corral because there’s just a few posts left, as well as a rusty old dredge. Off to the left just past the corral is Johnson Tank. The tank wall reveals signs of masonry work where the dirt has eroded away. Past Johnson Tank, the trail runs above and to the left of a ravine, where two more tanks hold water. The first, Masonry Tank, is built using local stones to dam a narrow, rocky section of the creek bed. The dam creates a small, shallow pond. Below Masonry Tank is Cement Tank, created from three slabs of preformed concrete. This dam creates a rather large, long, and narrow pond which runs back almost to Masonry Tank. There is a rough footpath running from Cement Tank to above Masonry Tank, a lovely diversion from the main trail. According to the Mangums, this area of forest is virgin. Near Cement Tank, the trail descends to a bench along the creek bed where another, more complete corral and Secret Cabin are situated (1.8 miles from the trailhead). Secret Cabin is in fair shape, its walls standing but its roof has collapsed. According to the Mangums, the cabin was built as a failed homestead, and was later inhabited by a family of polygamous Latter Day Saints escaping persecution, then horse thieves who’d bring stolen horses up Loy Canyon from Sedona en route to Flagstaff and northern destinations. Heading uphill past the cabin, the trail leads up to a ridge with a nice view and more corrals. The main trail leads off to the left for another 2.8 miles. Since it was pretty hot weather, we decided to follow the Mangums' recommendation: we had lunch in the shade of a tree, then turned around and headed back to the trailhead, diverting down into the ravine to explore the tanks on the way back. Trip report and full gallery

Banana tree then after cut in japanese garden

Banana tree then after cut in japanese garden

Russia. Moscow. The Bolshoi theatre. The Christmas tree.

Every year, New year, around the Bolshoi theatre in Moscow is a big fir-tree decorated with colorful lights, which shimmer then red, then blue, then green. Every year, New year, around the Bolshoi theatre in Moscow is a big fir-tree decorated with colorful lights, which shimmer then red, then blue, then green.

The combed corn is mixed with eggs and flour and then fried. Perkedel jagung are one of the typical foods from Indonesia.

The combed corn is mixed with eggs and flour and then fried. Perkedel jagung are one of the typical foods from Indonesia.

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