#Dreamlike floral composition

[tootyjesus]

🌌 Step into the World of Surreal Beauty! 🌺✨

Introducing my latest artwork, "Ethereal Bloom" – where nature meets fantasy in a breathtaking dance of elegance and mystery. 🌿 This stunning composition showcases delicate white and red flowers intertwined with twisting organic roots, set against a dark, moody background that draws you into another realm.

Perfect for: 🌟 Art lovers seeking unique pieces 🌟 Interior decorators adding a touch of surreal elegance 🌟 Nature and fantasy enthusiasts

This piece isn't just art – it's an experience, a conversation starter, and a statement of bold creativity. Whether it graces your living room, bedroom, or workspace, "Ethereal Bloom" will captivate every soul that lays eyes on it.

✨ Available Now – Limited Edition! ✨ Don’t miss your chance to own this enchanting masterpiece. 🖼️

👉 Click the link to bring "Ethereal Bloom" into your home today! Or DM me for custom sizes and inquiries. 💌

💖 Transform your space into a world of surreal beauty – order now! 💖

[divinekingsley]

This enchanting image captures a mesmerizing blend of colors and shapes, creating a dreamlike visual experience. At the center, a flower circular shape radiates outward, seamlessly merging with delicate floral patterns that bloom across the canvas. The combination of deep blues, vibrant purples, and bright yellows creates a captivating contrast, evoking a sense of wonder and imagination.

The circular design draws the eye inward, while the flower shapes expand outward, suggesting a feeling of growth and movement. The fluidity of the shapes enhances the artwork’s organic feel, making it seem as if the flowers are gently swaying in a soft breeze.

The blue hues provide a calming backdrop, while the purples add depth and richness, and the pops of yellow inject warmth and energy into the composition. This color palette works harmoniously to create a sense of harmony and balance.

Overall, this artwork invites viewers to explore its layers and appreciate the beauty found in the interplay of shapes and colors, reminiscent of a surreal garden blooming with creativity.

[sandimexicola]

Divine Communion

Midjourney Prompt: https://s.mj.run/aOc-g-L0E8M This image features a vibrant and fantastical scene reminiscent of a magical, dreamlike world. At the center, there is a mystical figure with an ethereal presence. The figure has a serene face with a pale complexion, large expressive eyes, and delicate features adorned with intricate, ornate makeup and jewelry. The figure’s long, flowing hair is pink and cascades down, blending into the colorful surroundings. The figure is dressed in a detailed, exotic outfit with a conical, adorned headpiece, combining elements of fantasy and traditional design. The attire is decorated with elaborate patterns and bright colors, including turquoise, orange, and purple, complementing the overall vivid palette of the image. Surrounding the central figure is a swirling, kaleidoscopic background filled with intricate designs and patterns. The colors are bold and saturated, predominantly featuring shades of orange, pink, purple, and blue. The patterns include abstract floral motifs, spirals, and paisley shapes, all intricately interwoven to create a rich, tapestry-like effect. In the background, various whimsical elements such as stylized suns, stars, and waves are interspersed, enhancing the otherworldly atmosphere. The overall composition has a sense of motion and fluidity, as if the entire scene is alive with energy and magic, inviting viewers into a fantastical realm of imagination and wonder. --chaos 25 --weird 25 --p k4sbz7n --v 6.0 - Upscaled (Creative)

[jacobsclass]

 

Emily Sundblad, born in 1977 in Dalsjöfors, Sweden, currently resides and creates in New York. She received her BFA from Parsons the New School for Design in New York in 2003, before attending the Whitney Museum's Independent Study Program, which she completed in the spring of 2006. She also works as an artist, performer, curator, and co-founder of Reena Spaulings Fine Art. In her bodies of work, Sundblad weaves together references to advertisements, souvenirs, floral arrangements, and songs. Recent exhibitions of her work have been showcased at prestigious venues such as Galerie Neu in Berlin and House of Gaga in Mexico City.

Description of Sundblad's Work:

Sundblad's creations take viewers into a world where reality and imagination collide, causing an otherworldly feeling. Her compositions defy traditional spatial logic, having viewers explore dreamlike landscapes. One of the most striking aspects of her work is the use of florals, which give her pieces vibrancy and life. Additionally, Sundblad's manipulation of color combinations further enhances the atmosphere of her art, drawing the viewer's attention.

What Interests Me:

Personally, I'm fascinated by Sundblad's ability to create visual narratives that are different from conventional art. Her work challenges viewers to reconsider their perceptions of space and reality, offering a glimpse into an alternate universe. Furthermore, the use of everyday references like advertisements and souvenirs adds layers of complexity to her pieces, prompting reflection on themes such as nostalgia and childhood

Discussion Questions:

Sundblad frequently incorporates references to advertisements, souvenirs, and songs in her work. How does she use these elements to engage with broader societal themes, such as nostalgia or memory?

The use of florals and vivid color combinations is a signature aspect of Sundblad's artistry. How does she use these elements to evoke specific emotions or atmospheres within her pieces?

[duxiaomin-blog]

The Collisions and Mix-and-Match of Materials in Jewelry

The beauty of jewelry not only arises from clever design and vibrant colors but is also deeply rooted in the diverse fusion of materials, marking a fascinating intersection of art and culture. Materials, serving as the cornerstone of all design elements in jewelry, constitute a crucial part of the overall aesthetic appeal. When two or more materials are mixed and matched, they often collide, creating a tension of beauty derived from the cultural and aesthetic differences symbolized by the materials.

This kind of intensive collision of materials was once prevalent in the Art Deco movement of the last century. The Art Deco style itself emphasized a rich diversity of materials and adeptly incorporated exotic styles from Chinese, Japanese, Indian, Persian, ancient Egyptian, and Mayan cultures. Building upon this foundation, rare and precious materials like jade, jadeite, ebony, ivory, and others from the East were integrated into traditional jewelry and precious metals, creating a new context for an East-West dialogue driven by materials.

Van Cleef & Arpels Art Deco-style Vanity Case

In the 1920s, as women became increasingly independent, with societal acceptance of young ladies smoking and applying makeup in public, there emerged a new demand for vanity cases. Unlike their previous bulky counterparts, these new portable vanity cases were designed with a fashionable and sleek aesthetic in line with the Art Deco style. Manufactured by renowned jewelry houses such as Cartier and Van Cleef & Arpels, these cases featured elaborate decorations and a variety of materials including mother of pearl, tortoiseshell, jade, and gemstones.

One notable example showcased in Sotheby's auction is a vanity case designed by Van Cleef & Arpels in 1926, exuding an exotic flair. Adorned with black and cobalt blue enamel, the lid is embellished with a floral motif carved from coral and jade, accented with rose-cut diamonds and round rubies. The incorporation of new materials brought luxury and vibrant colors to the vanity case, while the inclusion of jade and lapis lazuli imparted a subtle and calm quality to the piece. This dual influence reflects different facets of Eastern and Western cultures, creating a tension of beauty resonating through luxury, vibrancy, and tranquility.

ChuCui Palace Cloud Poetry Brooch

Another visual feast within the realm of jewelry is the fusion of French aesthetics and Chinese influence, known as Chinoiserie. In the mid-20th century, ChuCui Palace, a high-end jewelry brand born from an Italian Roman heritage, incorporated Western craftsmanship with a touch of Chinoiserie aesthetics to create the exquisite "Cloud Poetry" brooch under their premium jewelry line. The piece pays homage to the Chinese Year of the Dragon, a theme deeply rooted in both Chinese culture and the European interpretation within the realm of Chinoiserie aesthetics.

Through the collision of different gemstones and materials, the artwork presents a layered relationship of illusion and reality, precision and looseness, conveying a light and clear composition. The meticulous arrangement of blue gemstones in the form of a "dragon body" draws inspiration from the shading technique in traditional Chinese fine brushwork. The interplay between the translucent "auspicious clouds" and the intricate, realistic carving creates a progressively intricate and harmonious composition.

The piece embodies the subtle and flowing curves reminiscent of Rococo style within Chinoiserie aesthetics, along with the ornate and complex decorative elements, a pursuit of light and delicate textures, asymmetry in composition, and thorough attention to materials. Embracing the concept of important blank spaces in Eastern aesthetics, the ethereal and dreamlike quality of the "auspicious clouds" is juxtaposed with the exquisite delicacy and solidity of the "dragon body." This showcases the rich sense of rhythm in the artwork, the mysterious allure unique to the East captured in the poetic line "the cloud dragon frequently sends dreams," and the tension of beauty inherent in Eastern aesthetics.

New Art Nouveau Style Enamel with Pearl and Diamond Brooch

In addition to the Art Deco and Chinoiserie styles, the Art Nouveau style, which was widely popular in Europe and America from the late 19th to the mid-20th century, also exhibits a diverse expression of materials. Art Nouveau abandons three-dimensional structures in favor of a pursuit of flat aesthetics, characterized by dynamic, undulating lines. Featured in Sotheby's auction is an antique brooch showcasing the Art Nouveau style.

The enamel colors, diamonds, pearls, and gold in the artwork engage in a dialogue, utilizing jewelry as a medium to create flat, painting-like artworks. The vibrant colors of enamel break traditional concepts of jewelry design, resembling pigments that 'depict' nature or feminine themes. The richness of color in enamel, combined with the nobility of gold, the brilliance of diamonds, and the purity of pearls, collide within the graceful, natural, and noble themes encapsulated by soft lines. The piece epitomizes elegance and sophistication in the portrayal of nature and femininity.

These precious jewelry pieces, akin to historical records, bear witness to the changes of time. The jewelry in the Art Deco style emanates a unique radiance from the last century, showcasing the era's pursuit of material richness and luxury Chinoiserie aesthetic jewelry, in its fusion of Eastern and Western cultures, exhibits a distinctive artistic charm. The interplay of various materials creates a magnificent tableau. Meanwhile, the Art Nouveau style's flat aesthetics elevate jewelry to an artistic height. Using enamel, diamonds, and pearls as a medium, it paints a picturesque world of nature or feminine themes within the realm of jewelry. The collision and mix of materials are not just design techniques but also a unique presentation of diverse cultures and artistic expressions.

From the luxurious collisions of Art Deco to the harmonious blend of reality and illusion in Chinoiserie aesthetics, and further to the flat aesthetics of Art Nouveau, each style showcases a unique aesthetic vision in the selection of materials.

[rosa-salas-perfumes]

The Best Mood-Boosting Perfumes

A well-chosen fragrance can lift our spirits, boost confidence, and even transport us to different realms. Experimenting with different scents and finding the ones that resonate with you will help you create a fragrance wardrobe that enhances your mood and brings you joy. So go ahead, spritz on your favorite mood-boosting perfume, and let its enchanting aroma uplift your spirits throughout the day.

In this blog post, we will explore some of the best mood-boosting perfumes that will leave you feeling uplifted, refreshed, and ready to take on the world.

331- Costa Amalfi

Costa Amalfi opens with a burst of invigorating top notes. The zesty combination of mint, berries, grapefruit, lemon, and basil awakens the senses, like a gentle coastal breeze carrying the scents of wild herbs and citrus orchards. As the fragrance unfolds, the heart notes reveal a captivating composition.

TOP NOTES: Black pepper and coriander add a spicy and aromatic depth, while orange blossom and sage infuse a delicate floral touch.

MIDDLE NOTES: Jasmine and neroli lend a hint of sensuality, like blooming flowers adorning the terraced gardens overlooking the sea.

BASE NOTES: A grounding and lingering presence

332- Dream

Dream opens with a luscious and indulgent blend of top notes. Caramel, peach, and strawberry combine to create a delectable and sweet introduction, the whimsical delights of a dreamlike confectionery. Ginger and pink pepper intertwine, adding a vibrant and tantalizing kick. TOP NOTES: Geranium and labdanum lend a floral and resinous depth, reminiscent of a hidden garden blooming with secrets. MIDDLE NOTES: Intrigue and mystery, like the enigmatic pathways of a dream.

BASE NOTES: depth and sensuality to the composition.

004- Neroli Blossom

This is a truly wonderful scent, this scent lasts twice as long and costs half as much as most perfumes. Neroli Blossom is the perfect accessory for summer clothing whether it's formal or casual. Neroli is wonderfully balanced with a delightful refreshing citrus floral fragrance reminiscent of colognes of the past. Elements of bergamot, lemon and mandarin zest combine with a herbal whisper. The heart is full blooming Neroli blossoms, lavender sprigs and jasmine upon a gentle musky base forming this mesmerising perfume. This beautifully crafted Neroli scent leaves a lasting impression.

076- Santal Lush

Santal Lush is a textured fusion of smooth creamy sandalwood with exotic eastern spices and aromatic floral, entwined with sumptuous woods to create a soft, naked glamour of fresh earthiness.The opening notes of Santal Lush is the tempting part of the scent with creamy yet fig-fruit richness, which gives you a metallic, dry, with viscous hints of incense and cardamom, iris, lilly and ambergris. Soon after the heart notes come to play with the harmony of firewood, juniper, and Indian sandalwood unfolds softly to transport you to a tropical beach dancing around the bonfire at sundown, giving you a hot loving energy.

074- Amethyst

Amethyst is a dynamic yet mysterious fragrance that creates an extremely attractive aura around you. Both in quality and composition, this fragrance offers a step-up for those who want a little sweeter tobacco and niche flair in their blend. It opens with a beautiful cinnamon and honey, sprinkled with pink pepper, the mid notes follow closely behind with an amazing gourmand tobacco, northern Brazil tonka beans and caramel, it ends with a stunning dry down of incense and Ambergris.

Perfumes Making Your Mood Good!

Perfumes have a remarkable ability to influence our moods and emotions. Just a spritz of the right fragrance can transport us to a state of tranquility, confidence, or sheer happiness. With an overwhelming array of perfumes available today, it can be challenging to find the ones that truly uplift and energize our spirits. In this blog, we will explore some of the best mood-boosting perfumes that have the power to enhance your mood and leave a lasting impression.

Have you joined the Rosa Salas Perfumes private member's Facebook group?

Business overview

Passionate about scent and the beautiful impact perfume has on those surrounding you, our fragrances are highly concentrated and long-lasting. Our products are Made in UK and our oils sourced from a leading perfume factory who have over 90 years industry experience and over 20 factories around the globe. As well as providing you with your perfect perfume, we feel it is extremely important to emphasise that we are a vegan, animal and environmentally friendly company.

We follow the Industry guidelines, regulations and promise our customers 100% satisfaction guaranty or full money back. Scent is at the heart of Rosa Salas Perfumes, as we understand the importance and impact perfume can have. Whether you choose a certain perfume to attract and impress by finishing off your outfit with one final spritz, or to remember and reminisce due to our scent sense being closely linked to memory, we offer a selection of different women’s, men’s and unisex fragrances for you to choose from.

Offering an affordable alternative choice to the expensive designer scents which our products are inspired by and providing also our own creations including our Oud Collection All our scents are a higher quality option over the lightly scented products seen on the high street, our aim is to provide you with the ultimate perfume, giving you that endearing feel-good confidence, day and night. The wide range of long-lasting perfumes on sale here at Rosa Salas Perfumes are all guaranteed to leave you smelling and feeling beautiful continuously throughout the day. Regardless of whatever scent you are drawn to, whether that be an energetic citrus, romantic floral, fruity sweet, oriental, spicy or woody, we are the experienced online perfume destination to provide you with your perfect scent to lift your spirit and leave you smelling mighty fine.

[ayushpapers]

Buy Watercolours Online: Expand your Creativity with the Beauty of Watercolours

Watercolours are a unique and versatile medium that can create a wide range of beautiful and expressive paintings. Buy watercolours online and get started with your creativity journey. Here are some types of paintings that can be created with watercolours.

Landscape Paintings:

The transparency and fluidity of watercolours make them well-suited for rendering skies, mountains, rivers, forests, and other outdoor scenes.

Botanical and Floral Paintings:

The delicate and translucent nature of watercolours allows for the precise rendering of flowers, leaves, and other plant details.

Portrait and Figure Paintings:

Watercolours are best suited suited for transparent washes, they can also be used for portraiture and figure painting.

Still Life Paintings:

Watercolours are suitable for creating still-life compositions featuring objects, fruits, flowers, and everyday items. 

Abstract and Non-Representational Art:

Artists can experiment with spontaneous techniques, such as wet-on-wet, splattering, and masking, to create vibrant and dynamic abstract compositions.

Illustrations and Book Illustrations

Watercolours are frequently used in illustrations for books, magazines, and children's literature.

Urban Sketching:

Urban sketching involves creating on-location sketches of cityscapes, architecture, and street scenes.

Whimsical and Fantasy Art:

Watercolours are often used to create whimsical and fantasy artwork, including illustrations of mythical creatures, fairy tales, and dreamlike landscapes

Experimental and Mixed Media Art:

Watercolours can be combined with other art mediums allowing artists to explore different textures and effects in their creations.

Miniature Paintings:

Watercolours are well-suited for miniature paintings, where precision and detail are essential. Artists can create intricate and highly detailed artworks on a small scale.

If you want to buy watercolours online, check out premium quality watercolours at Ayush Paper! 

[rozwhitlock]

local time: 30 october 2022. noon.  location: city center. leoran market.

While enjoying the festivities of the Food & Wine Festival, you begin to notice a distinctive change in your vision. Colors begin to gently shift and blur until you perceive the world in painted brushstrokes. You have been dosed with a large amount of the Collective drug Dorian.

Before the Collective, Roz might’ve avoided an event like this one. It isn’t the crowd, although it’s sometimes a shock to the system after their normally quiet days. It’s the way anything remotely alcoholic makes their own community look at them like they’re a child—it isn’t lost on them that it was easier to steal drinks when they were a child, and it was just school kids playing at adulthood. Their friends from back then grew into something new, though, and Roz didn’t.

But like so many things now, the promise of learning more about the other worlds beyond their own calls them to the first annual festival each weekend. They like the name too: first, like the council plans to do this each year, like Leora will continue to evolve around them. Roz is happy enough to focus on the stalls run by members of the Collective today, sampling from plates of unfamiliar foods and drinks. 

Their cell phone translator can’t keep up with the background noise and the side conversations, of course, leaving them lost half of the time. Last week, Roz remembers the frustration over that. Today, the distance makes the event feel almost dreamlike. 

It’s hard to feel bad, anyway, as they find themself a seat on a nearby bench, watching people from varying planets walk past. The slight breeze is warm as it blows past, causing the florals and greenery around them to rustle and shimmer slightly in the sunlight. Despite their fascination with the Collective and what they bring, Roz will never deny their love for their home planet. Leora is beautiful.

They trace the path of the breeze through the plants around them, eventually finding themself staring at the swirls of warm green, vivid yellow, and golden brown in a nearby tree. It stretches up tall above the market, nature intertwined with community in typical Leoran fashion. Roz watches a single point on the bark long enough that the edges of their vision go soft and indistinct. 

That doesn’t go away when Roz blinks, though. Nor does it go away when they reorient themself to the bench and their body, the slightly sweetened drink in their hands that was supposed to be some kind of juice. Even that looks softer, with the pale colors of the drink, the translucent glass, and their own hand holding it all melting together.

If they’d noticed it sooner, before the sensation settled in, maybe they would’ve been concerned. Instead, it’s fascinating—from the well-worn patterns on the soles of their shoes to the composition of blues in the sky above them, the shift in their vision grows more evident as the moments tick by.

Their cell phone is, for once, forgotten by their side. Roz still catches the announcement when it comes though, particularly as it echoes throughout tablets and phones throughout the festival. The word Dorian gives them language for what they’re seeing, although there doesn’t seem to be an explanation yet for why someone did this. Roz trusts the council, though. Anyway, the quiet calm they feel and the unique perspective of the world Dorian’s brought them don’t feel threatening. They’ve already found a comfortable spot on the bench, so Roz sits back, tilts their head up to the sky, and enjoys the view.

[allhallowsthemepark]

dream by WOMBO Draws the Park! Part 5

We're taking a look at how the AI interprets Goblin Woods today, and it's...fine. I mean, the individual images all look really good, but there isn't a lot of variety here, in either the palettes or the compositions. I think the software kept pulling from the same original images. But there are some fun details in some of these, so let's go!

I'm returning to my usual practice of starting with no filter:

This version seems to have interpreted the prompt to mean that some of the trees in the woods have goblin heads. Or something. But the more you look at it, the more you spot the subtler figures in the spaces between trunks. Not exactly what I have in mind for the visual aesthetic of Goblin Woods, but effective in its own way.

So let's try some appropriate filters. Dark Fantasy sounds promising for this material:

This one is heavy on the woods, but lighter on the goblins...unless those swollen boles are where they make their houses? I like the spider-webby bare branches in the upper right.

What about something related, like Arcane?

Here we go! This is exactly the kind of "dark fairy tale" vibe I'm going for. Huge trees, tangled undergrowth, hidden hollows, eerie lights with no readily identifiable source, and a suggestion of humanoid figures that never seem to be quite there when you look at them directly, all jumbled together in a dreamlike mishmash. Well done!

But can we top it with something like...oh...Provenance?

A little lighter in tone than the previous ones, but...dang, they ain't lyin', those woods can goblin! Here, the trees themselves are the goblins. I can almost see this as an actual sculpted piece in the theme park, for people to stop and take pictures of. Very...Jim Henson Creature Shop.

What can we get from the Psychic filter?

More goblins-as-trees, looking significantly more sinister than we got from Provenance, in both their features and the more lurid, magenta-splashed palette. Nice touches of autumnal foliage near the top there--this is still a Halloween theme park, after all.

Let's go darker still with Malevolent!

Now the magenta is shading to blood-red as the (increasingly spiky) goblins begin to emerge from the woods and come after us! I'm fascinated by that apparent floral light fixture in the top right quadrant; I would definitely adapt that into the lighting style of the area.

Let's wrap this up with a view of the Baroque filter's interpretation of the prompt:

Yeah, I knew this one would be good. We're back to the impressionistic not-quite-faces in the trees, and as usual, the brassy color wash seems to take us back in time a few centuries. Not bad!

For our bonus, I had real trouble getting anything too interesting out of the names of the rides in Goblin Woods--I guess the words are too generic--so I instead plugged the name of one of our fairy-tale NPCs into the Provenance filter. Everyone say hello to the Witch of the Woods!

This is just superb--it's the woods and the witch and her hut, all rolled into one figure. Shades of Baba Yaga!

[thirdworld-guy]

Ferenc Helbing (1870 – 1958) Hungarian "Scheherazade" in Keleti Mesék -Oriental Tales" 1914 His compositions are dreamlike, symbolic Art Noveau compositions, his style is similar to the great Austrian masters of the Sezession movement. Some works of him are highly erotic, showing the demonic ideal woman figure, a typical motive of the turn of the century art. His graphic works, illustrations, etchings, ex librises, etc. often use rich ornaments and floral motives. He started his teaching career in 1906. Between 1927 and 1936 he was the head of the Iparművészeti Iskola (School of Applied Arts), where he had great influence on generations of young Hungarian artists. He was one of the great masters of early Hungarian Art Nouveau poster art.

[annewithagee]

The Flowers I Like Least

"I don't like orchids. They seem exotic and proud, not to mention, for me they will always be the flowers Roy gave you. And you don't like them, either."

When Anne and Gil talk of flowers and friends, memories and dreams, of joy and hurt and uncertainty.

fanfiction.net / AO3

"Gilbert, is there a flower you like least?"

The young man in question looked up from his book and up to his fiancée as she tilted her head in the attempt to get a better perspective at the floral composition she had been working on for the past quarter.

He smiled to himself before answering, drinking in the beauty and peacefulness she brought with her every time she appeared in the room.

"Orchids," he said eventually, firmly enough to convince anyone of the truth behind his words, yet without the enthusiasm Anne had undoubtedly been expecting. "They seem exotic and proud, not to mention, for me they will always be the flowers Roy gave you. And you don't like them, either."

"Oh, I certainly don't," Anne admitted, frowning at her work one last time before she turned on her heel and walked towards the sofa he'd been occupying all along. She sat next to him and let him hold her in a loose embrace. "But that's not quite what I meant. You see, I'm not really interested in hearing which flowers you don't like; but I was wondering whether there are some you do like, just not as much as the other."

Gilbert put his book away and turned to look at her questioningly. "I'm not sure I follow, Anne-girl."

"It will probably seem rather silly to you, and surely more so than whatever you've been reading, but I still want to share this thought with you. It's easy to talk of flowers – or people, for that matter – that you do or do not like. But what about those you can't put into any of these categories? Don't you find it that, sometimes, it's difficult to admit that you like someone, yet still it would be unjust to say you don't care for them at all? And can't the same be said about flowers?"

"Well, first of all, I'd say you're getting a little lost in your own metaphors, sweetheart," Gilbert answered laughingly, pulling her just a few inches closer. "Was it arranging the flowers here at Green Gables that made you ponder over such ideas, or is it just a way for you to express your feelings towards your fellow women and men?"

Anne rolled her eyes at him. "You can tease all you like, Mr Blythe, you won't succeed in discouraging me. And as for your question, I can't answer it. I don't know what came first – I just know that it did and that I'd truly appreciate it if you cared to share your opinion of the subject at hand."

Her companion nodded in understanding, assuming the most solemn look he could muster at the serious age of twenty-six.

"Are we still talking about plants?" he asked, again, most solemnly.

"We are," Anne responded with an amused, but warm smile. "You can of course pick more than one species if you wish, although I'd rather you -"

"Mayflowers," Gilbert cut her off without a second thought.

Anne's eyes widened at his admission and for a few seconds, she could do nothing but stare at him, amazed, while he smiled lopsidedly, apparently satisfied with the effect he had provoked.

"Mayflowers?" she managed to stutter eventually, her voice weak with disbelief. "But they are so beautiful and pure, so humble in their shy prettiness, so friendly and unassuming and fair..."

"Trust you to defend flowers from my wicked judgement," Gilbert laughed again. "I know you cherish them, Anne, and I can easily understand why. And I suppose your love for them is what stops me from detesting them entirely. But if I am to be honest, like you wanted me to be, I must admit they are probably my least favourite ones."

Anne didn't seem convinced by this explanation. She gazed at him questioningly, hungry for one she could understand. "Gil, but you gave me mayflowers yourself, and more than once."

"Oh, yes. And if I'm not wrong, you wouldn't have them."

Her heart gave a painful little quake, her thoughts flying directly to that dreadful evening in the orchard, when he had come to her with flowers in his hands and his heart on his sleeve, to ask for something she wasn't ready to give. Her cheeks flushed at the memory, in the same way they always did.

She looked away and shifted uncomfortably, increasing the distance between them.

"I did accept your flowers then, Gil," she said quietly, earning herself a somewhat curious, yet not particularly surprised glance from her fiancé. "I just... I couldn't accept you. Not then, not like this..."

"Now, isn't that reassuring,” he teased, but seeing the pained look on her face, he quickly changed his tactics. "Anne, for goodness' sake, don't look like that; I hate seeing you blame yourself for that night, when at least half, if not all, of the blame was really mine. Besides, that's not the event I was referring to."

Once again, Anne blinked at him, astonished.

"Which one, then? I can't remember refusing your flowers at any other time," she inquired.

"You certainly didn't during the Convocation, did you?" Gilbert grinned smugly at her. "In fact, you're right. I don't think you ever turned down any plant I decided to lay at your feet, including a certain apple tree in the Avonlea woods... That is, not since I so chivalrously gave up the school for you."

Despite her cheeks being warm still, Anne did not refrain from raising her eyebrow at him, although she chose to remain silent and let him go on with his speech.

Gilbert gazed down at her for a while, his features softening at the sight of this beloved girl, of whom he had dreamed for so long. She was his now, just like he had always been hers, and soon they would...

"It was the end of our first year at school together, and there were mayflowers blooming all around Mr Silas Sloane's place," he interrupted his own train of thoughts before he lost himself in his daydreams of the future that loomed before them. "Mr Phillips took us there, probably to get an excuse for gifting Prissy with some – how we laughed at the poor man then! One way or another, I remember you being quite excited about the idea as you sat there with the other girls, chattering and gathering flowers together. They had heaps of them, to be sure."

"But I didn't?" Anne smiled, once again amused with the story she could barely recall but which apparently was of a great importance of the man sitting by her side.

"No. I think you were too caught up with your own imagination to pay much attention to it and only had a few of them scattered on your lap. Lord above knows we weren't on speaking terms then, but it couldn't stop me from watching – and after less than a year, I still believed a nice and, mind you, romantic gesture could still win you over somehow. So in all of my arrogance of a boy nearly fifteen at the time, I walked right up to you and offered what I had managed to gather myself. Alas -"

"I rejected them with scorn," Anne laughed openly now, finally recalling the events of that afternoon as they truly were, as well as her own account of them at Green Gables later on. "Oh, yes – and how proud I was of myself! I think I told Marilla about the whole thing later that day, although I very much doubt I mentioned your name. Not after I had vowed 'not to ever let it cross my lips'."

"You vowed this?"

Anne nodded eagerly, though not without another smile. "With all the firmness my eleven year old self could muster. I'm afraid I haven't been very faithful to that particular oath; then again, I don't think any vow based on such animosity should be kept in the first place."

"I'm certainly glad you backed away from this one," Gilbert answered with the same zeal, and leaned down to kiss her hair, before sighing. "So you see, this is my first memory of ever trying to offer you any kind of flowers, and it's not a particularly pleasant one. I know it's not the mayflower's fault... But somehow, they began to represent my own fear of never being able to offer you anything you might be willing to accept. And let's just say that that disastrous proposal didn’t exactly help with that."

He tried to speak lightly, but fortunately for both of them, Anne Shirley knew her betrothed too well to fall for such a delicate facade. She could not miss the slight quavering of his voice at the very end of his statement; she could not miss the hurt that shadowed his eyes for the briefest of moments at the same time.

So she smiled and turned towards him, taking his face in her hands in the gesture so tender that Gilbert couldn't help but lean into her palm.

A year wasn't enough to get used to her love.

Gilbert suspected a lifetime wouldn't be.

"Gil, I want you to listen to me, carefully," she urged quietly, so close that he could feel her breath tingling on his skin. "I was a silly goose, a twelve year old child who was too stubborn to see how worthy of my forgiveness you were. And you know how much I regretted not giving it to you, if not at this particular moment, then at every single one after you rescued me at the pond. And Gil, ever since we made our peace at your gate, I have been so, so willing to take whatever you wanted to give, and I always, always felt honoured because of it – mostly because I didn't think I could ever repay you in kind. I hated the idea then; the idea of you caring for me in a way I couldn't imagine for myself, because that was so unfair. Unfair to you.".

She moved a little closer, resting her forehead against his, her delicate hands still framing his face.

"I want you to love mayflowers as I love them, Gil," she whispered with her eyes closed and her nose brushing against his cheek. "But not as a reminder of our foolish past, but of the wonderful, dreamlike presence it has brought us to. I want you to give me mayflowers, I want to have them in our home, so we never forget what we had to go through to reach this point. And most of all, so that we never, never think that there's no sun after the storm."

She kissed him then, sweetly and lingeringly, until she felt his hands on her waist as he drew her closer and kissed her back. It lasted longer than any of the stately matrons at Green Gables could have deemed proper, and yet not long enough at all – as it always was, and as it would be until the day there were finally one.

When they finally pulled away, Anne noted with no little satisfaction that Gilbert was smiling at her again, and that it was no artificial smile summoned to ease her mind.

In fact, it was a little too genuine and far too mischievous in contrast with her quite well-delivered and – let's not fret the word – perfectly romantic little speech.

"In other words, I am to bring you mayflowers any time we quarrel," Gilbert summed up with all of the sensibleness a future country doctor should possess. "Although I'm afraid it may prove rather difficult during other seasons, and I don't believe we could make ourselves conduct our arguments solely in May."

"How awfully regular that would be," Anne chuckled lightly in response. Her hands dropped to his chest, while one of his was lifted to caress the queenly line of her jaw. "Although I suppose I'd rather have them in the room before you come to apologise, so I am reminded not to nurse my resentment and hopefully come to my senses as well."

"I'll give it a try, then," he assented readily, before pecking her pink lips again and rising to his feet, pulling her up with him. "Now come, let's not waste our afternoon in these walls, as lovely and dear as they are. There might be some mayflowers left behind Mr Sloane's place – I may as well start with my new resolution at once and try to offer you some before we part for the night. And dear Miss Shirley, I do hope you will not discourage me by rejecting them this time."

Anne laughed wholeheartedly and promised she would not. And then they left, her hand in the crook of his arm, as he lead her towards the place that, like so many others there, held the memory of their youth.

And so they walked, hand in hand all the way through life, with no memories behind them but those which belonged to each other.

[la-chronique]

THE POETIC FIGURE OF DOAN LY

Contemporary still life gender’s

Sunday, September 18th, 15 past 6. Dear reader, you ignore my impatient to reach sunday. Not to reach sunday but to talk to you about Doan Ly. Floral Designer and photographer, I discovered her between the few 335 other artists of the Fisheye Photo review 2021 by Fisheye Magazine. Trapped between the page 110 and 112 of the annual magazine, she caught my eye. And for a reason : how a still life could be seems so aerial and irealistic ?

Based in New York, Doan Ly pass the half of her time to imagine florals compositions for mariage and half of his time for shooting and television. Known for her Vogue and Rotari commission's, her artist signature be composed in a same way : a sweet and almost realistic gesture of light who draw a new face of her flowers. The still life, a big gender classic of painting is habitually treated full of allegoric figure. We all thinking of Vanity, the oil on canvas of the painter The Champiains who represent three objects on a table ; a human skull between a flower (to left) and a hourglass (to right). This painting symbolise the vacuity of human existence. 

Instead, still life of Doan Ly brings a part of contemporary on the gender. The plants, highlight down to the smallest detail, glorify the ephemera figure of vegetal. Doan Ly propose us dreamlike visual who let a big place to thought floral composition, balanced by sleek visuals. The diffused light she use, contribute to a refined and a brighter colored atmosphere. For her brand commissions, she brings together hight fashioned product, textiles and poor materials —like plastic— with her flowers. In a curious way, her photographies keeps always the same part of poetic. 

As you could understand, dear reader, I’m in loved with the pictural world of Doan Ly. I encourage you, to view her portfolio before to sleep, with an album of the pianist Sofiane Pamart in the ears : perfect medicine to sweet dreams. 

Julia Ducretet, 18/09/22

[lesliesacksgallery]

#StaffPicks | Bruce Cohen by Diana McNeill ⠀⠀⠀⠀⠀⠀⠀⠀⠀ This is the sole oil painting in our current exhibition of Bruce Cohen's work. The painting is surrounded by fifteen expressive pastel on paper studies. These preparatory drawings are an instrumental part of Cohen's process, providing rare insight into the development of his oil paintings. The 11x7 inch study for this painting hangs adjacent to it in the show. Seeing them side by side, I am amazed at the consistency with which Cohen carries through his imagery, composition and color choices from the loose, unstructured pastel study to the geometric construct of the oil. This canvas is truly captivating as its architecture and palette subtly echoes Richard Diebenkorn's iconic Ocean Park series. Cohen's mesmerizing paintings are unapologetically beautiful, toeing the line between pleasant and surreal. There is always something more than meets the eye as  he explores spiritual narratives and metaphors suggestive of human presence, but without a figure ever inhabiting the scene. Cohen's refined brushwork and his commitment to the illusion of three-dimensionality, accentuate the dreamlike quality of his interiors. He deliberately exaggerates and dramatizes a painting to affect an emotional response. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Artwork info: Bruce Cohen, Interior with Halved Peach, 2018, oil on canvas, 54 x 36 inches ⠀⠀⠀⠀⠀⠀⠀⠀⠀ #visitbergamot #santamonica #brucecohen #bergamot #diebenkorn #richarddiebenkorn #surrealism #realism #geometry #stilllife #naturemorte #seascape #florals #knife #peach #peach🍑 @dianalatigra (at Bergamot)

[amsterdamwhitney]

ANN GORES, known as "The Ambassador of Nature," uses Nature as her Muse with floral bouquet canvases, which offer a triumphant homage to the timeless appeal of the floral world.

Seattle-based artist Ann Gores oil canvases offer a triumphant homage to the timeless appeal of the floral world, creating visually rich transplendent floral bouquets. With Nature as her muse, Ann Gores is influenced by Monet's adage and taps into the art historical heritage of the Impressionists by offering a contemporary evanescent reinterpretation of classically inspired floral arrangements. Known as 'The Ambassador of the Floral Kingdom," Ms. Gores skillfully paints floral, still life and landscape scenes that hint to the world the magical, eternal qualities of our universe.

Translating a deep appreciation for Impressionist and Post-Impressionist art, Ms. Gores juxtaposes a unique interplay between movement, color, and perspective that veers her floral-still life oeuvre into masterful painterly realism. Infusing the mystique of nature into her unparalleled technique, Ms. Gores embraces the inherent textures and blossoming colors of each floral image resulting in pictures that combine a strong physical presence with a quiet, dreamlike tone. Capturing the spirit of her enchanted surroundings, she employs unexpected hues that curve into familiar patterns which take shape as dreamy, loosely defined garlands of color. Reflecting a pageantry of nature’s colors, her palette showcases a dazzling corsage of verdant greens, cerulean blues, sun-kissed yellows, rosy pinks intermingled with melon-ripe oranges.

Uniquely captivating, Ann Gores oil paintings blend an expressive interpretation of the telluric realm conveying a reverence to the eternity of the floral realm, Magnifying nature's blooming qualities, Ms. Gores' strong interest in capturing the language and visual syntax of the natural world springs forth in each of her composition with a voice and a soul as the viewer can almost inhale the aromatic fragrance of the bouquets Her personal floral vision reverberates with the inherent harmony of humanity’s relationship with nature, inspiring us to coexist in a counterpoint of wholeness with the natural terrain. Capitalizing on powerful visual communication strategies, she interprets flowing organic forms as well as a keen feeling for how light creates moods and transforms scenes.

A contemporary master, Ms. Gores offers a modern perspective to an old world tradition of floral still life painting and places herself in the pantheon of artists who have achieved great success in this special genre. Translating onto canvas the ephemeral moment, award-winning painter Ann Gores has participated in a lifetime of immersion in the arts, culminating in a wonderful body of work and has embarked on a painting career which has catapulted her into a meaningful position in the contemporary art arena.

[rosa-salas-perfumes]

The Best Mood-Boosting Perfumes

A well-chosen fragrance can lift our spirits, boost confidence, and even transport us to different realms. Experimenting with different scents and finding the ones that resonate with you will help you create a fragrance wardrobe that enhances your mood and brings you joy. So go ahead, spritz on your favorite mood-boosting perfume, and let its enchanting aroma uplift your spirits throughout the day.

In this blog post, we will explore some of the best mood-boosting perfumes that will leave you feeling uplifted, refreshed, and ready to take on the world.

331- Costa Amalfi  Costa Amalfi opens with a burst of invigorating top notes. The zesty combination of mint, berries, grapefruit, lemon, and basil awakens the senses, like a gentle coastal breeze carrying the scents of wild herbs and citrus orchards. As the fragrance unfolds, the heart notes reveal a captivating composition.

TOP NOTES: Black pepper and coriander add a spicy and aromatic depth, while orange blossom and sage infuse a delicate floral touch.

MIDDLE NOTES: Jasmine and neroli lend a hint of sensuality, like blooming flowers adorning the terraced gardens overlooking the sea.

BASE NOTES: A grounding and lingering presence

332- Dream  Dream opens with a luscious and indulgent blend of top notes. Caramel, peach, and strawberry combine to create a delectable and sweet introduction, the whimsical delights of a dreamlike confectionery. Ginger and pink pepper intertwine, adding a vibrant and tantalizing kick.  TOP NOTES: Geranium and labdanum lend a floral and resinous depth, reminiscent of a hidden garden blooming with secrets.  MIDDLE NOTES: Intrigue and mystery, like the enigmatic pathways of a dream. 

BASE NOTES: depth and sensuality to the composition.

004- Neroli Blossom  This is a truly wonderful scent, this scent lasts twice as long and costs half as much as most perfumes. Neroli Blossom is the perfect accessory for summer clothing whether it's formal or casual. Neroli is wonderfully balanced with a delightful refreshing citrus floral fragrance reminiscent of colognes of the past. Elements of bergamot, lemon and mandarin zest combine with a herbal whisper. The heart is full blooming Neroli blossoms, lavender sprigs and jasmine upon a gentle musky base forming this mesmerising perfume. This beautifully crafted Neroli scent leaves a lasting impression.

076- Santal Lush  Santal Lush is a textured fusion of smooth creamy sandalwood with exotic eastern spices and aromatic floral, entwined with sumptuous woods to create a soft, naked glamour of fresh earthiness.The opening notes of Santal Lush is the tempting part of the scent with creamy yet fig-fruit richness, which gives you a metallic, dry, with viscous hints of incense and cardamom, iris, lilly and ambergris. Soon after the heart notes come to play with the harmony of firewood, juniper, and Indian sandalwood unfolds softly to transport you to a tropical beach dancing around the bonfire at sundown, giving you a hot loving energy.

101- Cairo Cairo is your One Thousand & One Nights - Scheherazade fantasy! Mysterious woody - floral - oud leather dreams! Completely addictive and totally unisex. Wonderful scent with Class, Charisma, Intellect & Presence! Day or night , hot or cold ,formal or informal, simply a beautiful all year round well blended fragrance. If you haven't tried it you are missing out! TOP NOTES: Bergamot, Grapefruit, Cardamom, Saffron, Cypress & Wormwood. MIDDLE NOTES: Jasmine, Rose & Nutmeg. BASE NOTES: Cedar, Leather, Oud, Sandalwood, Amber, Tonka Bean, Vanilla & Musk.

074- Amethyst  Amethyst is a dynamic yet mysterious fragrance that creates an extremely attractive aura around you. Both in quality and composition, this fragrance offers a step-up for those who want a little sweeter tobacco and niche flair in their blend. It opens with a beautiful cinnamon and honey, sprinkled with pink pepper, the mid notes follow closely behind with an amazing gourmand tobacco, northern Brazil tonka beans and caramel, it ends with a stunning dry down of incense and Ambergris.

Perfumes Making Your Mood Good! Perfumes have a remarkable ability to influence our moods and emotions. Just a spritz of the right fragrance can transport us to a state of tranquility, confidence, or sheer happiness. With an overwhelming array of perfumes available today, it can be challenging to find the ones that truly uplift and energize our spirits. In this blog, we will explore some of the best mood-boosting perfumes that have the power to enhance your mood and leave a lasting impression.

Have you joined the Rosa Salas Perfumes private member's Facebook group?  

There you will be able to discuss and get recommendations from other Rosa Salas customers and fragrance enthusiasts that already tried their fragrances.

[heavenlygirlhood]

Photographic essay:

An investigation into different techniques used by artists to introduce colour into black and white photography:

The first accounts of adding colour to black and white images were during the 19th century, before the invention of colour photography, through the process of colourisation .The only process available to images more realistic was to hand colour monochromatic photographs. This could be done by using a range of materials such as watercolours, oils, crayons or pastels or dyes. More modern techniques of adding colour to monochrome photography include hand manipulation processes such as collage, embroidery, and drawing, along with digital processes such as Photoshop effects and camera filters. And so, I understand that there are two fundamental aspects to my investigation: one is the physical process of adding colour and the other is more conventional; exploring the reasons for certain affects that colour causes. I intend to consider both as I am interested in seeing how the process may also affect the outcome and ultimately how colour creates a desired mood or atmosphere when imposed into photographs.

Researching the history of photography enabled me to better understand the transition into using colour in photographs.  After the revolutionary discovery of early photographic processes that resulted in the first photograph taken in 1826 by Nicéphore Niépce known as View from the Window at Le Gras, black and white photography has been the dominant format for decades.  This was until further experiments were carried out and early records of the first examples of “colour photography” were made by artist such as Louis Ducos du Hauron – the first pioneer of colour photographs –who’s breakthrough colour landscape shot of a cathedral in France, changed the once dull perspective of photography immensely. More and more experiments were conducted to enable colour photography to the masses and understand more about how to capture vivid colour. The development of coloured film was first successful in 1935 with the production of Kodacrome courtesy of the Eastman Kodak Company. This alllowed colour photography to become obtainable by the public and gave a first insight into the newly tested processes, venturing away from traditional black and white photography. Further improvements during the 1940s enabled the creation of Kodak print paper, introducing the use of a negative image meaning complementary colours could be recorded.

Black and white photography remained a respected medium of art, whereas this introduction of coloured film was used more commercially and for public use rather than professional artists who still cherished the harshness and quality of black and white film. Polaroid invented Instant colour film, which created a new movement into “snapshot” photography as consumers could instantly capture scenes of lively colour onto pocket sized prints. Colour photography therefore became widely more popular during the late 60s. I am keen to explore the variety of ways colour can be used to alter photos and the different processes both traditional and modern.

William Eggleston is a highly significant artist that represents the iconic shift towards colour photography as he Eggleston proved colour is a vital factor to photography as his works pushed the boundaries of past popular black and white film as his photographs so effortlessly captures the joy, light, boldness and emotion colour creates even within simplistic, mundane scenes of 1970’s America. His one-shot compositions excited me as he focused on expressing the vibrancy and beauty in colours seen in the everyday, making these scenes much more captivating simply by this use of colour. Interesting contrasting colours are predominantly used as he explores the striking intensity two colours together form, as shown in figure 5’s contrast of red and white. This image is Eggleston’s most rewarded, expressing a sort of unfamiliarity and disturbance through the harshness of the red, overpowering the image with connotations of energy, danger and desire. Eggleston demonstrated how different processes of colour influenced ones work as he adopted the dye transfer process, to enhance the saturation of colours in order to produce such vivid looking shots of the casual world around him. This made me curious in studying exactly how photographers use photographic techniques to embed colour such as this printing process. Eggleston’s work ultimately influenced the movement in colour photography as his photos first drew attention to the essence of emotions different colours could create and inspired many others to venture into colour, away from only using black and white film. The appearance of his stunning shots at the MoMA marked a beginning to modern colour photography.

Another significant artist who contributed to making colour popular was Andy Warhol who is notorious for his genius use of inventive colour processes and production in making history during the modern movement of “pop art”. Warhol’s work focuses on utilising vintage black and white photographs and then physically imposing colour onto them through screen-printing: a medium Warhol, like Eggleston, had helped become more recognised and used after producing unique and exciting screen printed photographs. I had viewed his work in my previous studies also and had been attracted to his superb colour sense and representation of fame, conspicuous consumption and modern identity through using drastically bold colour schemes and imagery.  However, now starting my investigation I’m more interested in finding out the ways in which he reproduced colour and why this process made such effective, striking and iconic art pieces that challenged the traditions of fine art during his time and provoked questions against the modernist perspective of what could be considered “art.” Warhol’s was a leading artist of the 1960s’s and  found power in creating his coloured art through a unique industrial style of painting, in which he mass produced work using almost a random combination of vibrant colours that, unlike Eggleston evoked no set emotion or sensation of a single colour, instead created a psychedelic scenes of complementary colours for an aesthetical appeal, rather than colour having a purpose and mood. Warhol’s work was mainly based off black and white portraits of celebrities which he used to create rather large series of the same repeated image, each exploding with a variety of colours. As for example, the vivid, various colour schemes in this image accentuate the shining glamour and boldness of Hollywood associated with Marilyn Monroe.

Ellen Rogers is an influential photographer whose work relates to the technical basis of this investigation as her literal process of adding colour into analogue film best represents the physical manipulation of colour I am interested in studying. I would like to further investigate photographic processes, traditional and modern to extend my project ideas. Rogers uses her upbringing on original photo printing techniques, focusing on using only analogue photography as medium with no means of digital manipulation: rather she encloses herself in the darkroom to experiment with different techniques of physically adding colour during the development stages of photographic film. I find her work incredibly fascinating as instead of taking simplistic colour photos she skilfully colourises her own images by hand, still using traditional methods and processes in the darkroom: Rogers states that her work is “ A result of hours of darkroom work, ranging from straight silver gelatine to varying alternative processes,”. To inject colour into these, what I find, enchanting photographs she hand tints each frame with colour, linking back to the first early process of colour photography: colour filters would be used in front of the lens which provided the three basic channels of colour, red, green and blue. Key themes of religion, spirituality and sexuality are shown in her work through religious iconography, church and cathedral settings and a key focus on using elaborate floral imagery surrounding her subjects. Nature and beauty are also key aspects to her work as she utilises women as her muse, surrounded by natural imagery, often in props of flowers embedded in her hair or simply within the background in a field or forests. In many of her works the model is naked; flowers almost engulf the scene which creates a sense of femininity and elegance to the image. I think her work is very poetic, certainly a piece of art rather than a simple photo as much effort has gone into painting key aspects of the image with each injection of colour that creates a stunning and captivating portrait. Her work has a very grainy, hazy effect due to the printing processes she uses, that reincorporate this idea of the traditional values to photography and give the image a vintage, antique feel. I find the  colours in her work are simply magical, they are often dreamlike colour schemes of pinks, purples and greens.

Tyler Spangler is another influential artist whose projection of colour against black and white photos captures the photographic journey into modern day technology. His work represents the more technical side of colour editing and is inspiring in his direct approach to using colour theory to hand manipulate found images into extremely ambitious and inventive explosions of colour. Spangler is a very current graphic designer who uses new techniques on Photoshop and other creative editing programs to completely manipulate vintage photographs into these bizarre and bold collections of shapes, patterns and colour. I really like how Spangler doesn’t have one simple process of imposing colour to these vintage photos, but instead experiments with a huge range such as creating imaginative backdrops, photo filters, montaging interesting patterns and painting. Spangler uses a range of manipulation processes which creates a special uniqueness to his work. I was instantly captivated by his certain style of colour and pattern as he makes simple black and white portraits almost unrecognizable under layers of psychedelic backgrounds, drawings and wild colour schemes. The aim of Spangler’s work is to remove the once dull monochromatic portraits from their context and create exciting new scenes and feelings within the image through this simple placement of colour. The colours used are very bright an often do not match, rather contrasting together against a collection of crazy colour and pattern. Ideas about identity and mystery are seen in his work as old portraits are manipulated with new personalities and emotions.