Jour por jour Face a face d´ínconnus pret au massacre pour les interets d´hommes qui se connaissent et ne se massacrent pas!
Dia por dia, carra a carra de desconicidos que van a masacrarse mutuamente por satisfacer los interes de gentes que se conocen y no se masacran!
Day for day, unknowns soldiers ready for mutual massacre to the benefit of men who knows themselves and don´t killed each other!
“La guerre est un massacre de d´hommes qui ne se connaissent pas, au profit d´hommes qui se connaissent et ne se massacrent pas!” Paul Valery
It was just unbelivably awsome. For those who wasn t luckyest as I am with the the crisp clear night we had. I sHARE this shoot in full res, it s CC do what U want, just give some credit if use it. Best regards.
2015.09.27 SUNDAY. SUPERFULLMOON ECLIPSE. MIDTERM. CC.
Today it s a special day, it s the last full lunar eclipse of the TETRADA. I will be ready on the rooftop of my house to shoot this cosmic event.
Watch out this amazing FULLMOON RISING over Ibague city, Tolima, Colombia.
Super Fullmoon rising over Ibague, Digital photography. 500mn nikkor.
Hello, today I am proud to share the new method I have work on since two years teaching Perspectiv drawing at the Tolima University. The PERSPECTIVA ARTIFICIALIS INTEGRAL MATRIX It s a brand new original method that blend advantage of three others method, it s more accurate, more versatil for drawing manually complex set.
Thank´s for reading, best regards.
Today I have to add a category to my Artistic activities. I begun in Art with the practice of graffity in the mid 80´s in Paris France suburb. I was ten years old a friend show the classical and fatal artbook “Subway art” by Martha Cooper & Henry Chalfant. It was for me a revelation. Saddly I have very few pictures of the first pieces I did in this early stage. So will show a oldschool flavoured piece of my master and mentor in graffiti art.
It´s a kind of upwelling of past and unshowed works. Actually I am exploring other medium and process, but I still have in mind this stage in my life and works. It´s still present the spirit of this period. When and why I enter in matter with the Graffity and Zulu nation movement and why switch off. I grew up with this strong cultural influence, especially from the NYC scene. I lived with my hommies of the hood, this dream in our isolated popular neighbourhood in the outter suburb area of Paris city, very very far from the sunlight and the glamour appereance of the city of the light. We inmediatly recognize us in the Harlem & Bronx kids ways of identity expression, by tagging, painting walls, rapping and dancing. This mood is a state of mind that is screams the injustice, racism of the system. Screaming by the accesible ways of expression, the hanger that is generated to segregated in a ghetto.
In this first post, I am greating my old fellow friend and mentor SHAOLYN. TCB (The Cosmic Boyz), that around 1984 show the hooly book Subway art and iniate me to graffity art. 28 years have passed and still have the sweet memory, and fresh flavor of hard and gooddtime blended. Thnk´s Fred.
ELY1-JACKSN. 1987. by SHAOLYN. TCB. Graffity spraycan on wall. 4×2.7 m. Fosse Rouge 94. Paris suburb. France.
This watercolor is from 2003, it s an upwelling that match with the idea of the DULCE AMARGO ACIDO series, so get the serial number #00. This seria is part of the area WORK ON PAPER. LOW TECH. LOW COST.
Experiments I did during the painting of my desktop board. It was unexpected and the configuracion I install for protect me from the heavy sun rays, allowed shoot few pictures of some thematics I was interrested in, since I was student at the Lycee des metiers d´Arts du Gue a Tresmes, in the “Peinture publicitaire” dept, contrast between: MATT-GLOSSY . LIGHTNESS-DARKNESS. REFLECTIVITY-NON REFLECTIVITY.
In this series the ephemere is making it all, this hi glossynes state of the matter surface, just have few minuts duration, so the only way to make a trace, it s photography it, each medium in his own especificity. It´s a kind of feedback loop process where, painting and photography, inner and outter field of view , light and shade, are in a perpetual runaway.
Glycerosphatlyque paint on wood. 300×75 cm.