#Kimberley

[roseverie]

KIMBERLEY; meaning from the meadow of the royal fortress

“You are a thousand flowers, you are a meadow full of them—”

requested by anon

[slocgupdates]

BTS of SLOCG filming with Reneé Rapp!

[mei-youmeworld]

VVUP

[kpop-girlsworld]

VVUP

[mrtheengie]

The Pride of Africa

South African Railways 25NC

This is a peak into my imagination. In my mind’s eye, I often picture wheels screaming round and round, crossheads pounding back and forth, and cab rides at high speed. Thoughts of steam fill my mind at all hours of the day, and my dreams at night. These things aren't just machines. They are so much more.

Steam inspires me, but the people who worked it inspire me even more. That's why I've chosen the 25NC. I've read a bunch of stories and watched videos put out by this old South African railway man. He was there until the end of steam in the 1990s. The stories he tells provide a wonderful insight into railway life, and the strong friendships the railway men formed with one another.

Now, about the picture. This was very fun and experimental. I'm not good and conveying motion, so I want to get better at it. I think I did alright with the wheels and rods. At first, I wanted to do the front end (the "business end," some might say), but I decided to take it easy on myself and do the back end. If I had colors at my disposal, I would set the picture during the night, and have the rods barely lit by the orange glow from the firebox. Maybe another time.

[saramencken]

Robert Mapplethorpe in front of his cover for Horses

[ozer1497]

wanted to take a better photo but we were in a rush

[outta-my-mind2018]

[drrockclub]

Cuesta landscape

Cuesta is an asymmetric ridge or a hill, where the angle of its slope on one side is different to the other. The formation of cuestas is controlled by an erosion-resistant layer within stack of rocks. The slope angles are controlled by the tilt of the rock layers and their degree of resistance to erosion.

The aerial photo above was taken from helicopter and shows an example of cuesta ridge dominated landscape where underlying geology of a region controls the shape of the land surface. Here many layers of sedimentary rocks with different degrees of susceptibility to erosion were tilted by tectonic forces and eroded to form present topography.

Kimberley Group, Western Australia

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[gumnut-logic]

So many hugs to our Californian Thunderfam and those affected by the storms.

Meanwhile the top of Western Australia has received more rain in the last couple of weeks than it has in the past twenty years. Remote communities are in the middle of an inland sea.

Somewhat closer to home, South Australia is coping with the fallout of the eastern Australian floods as the waters make their way down our biggest river system. The Murray-Darling river system finds its way to the sea about 100kms south-east of Adelaide. The entire length of the river is n massive flood drowning homes and businesses. Fortunately we could see it coming and it is much gentler than any of the above and is more of a natural process. But it still makes a mess. Currently the turquoise Southern Ocean beyond the Murray Mouth is full of brown and murky water, which is washing up n our southern beaches.

Climate change is definitely a thing.

Everyone, please stay safe ::so many hugs::

Nutty

(I have never seen so much water)

[nando161mando]

Child acquitted of attempting to ram police car | ABC News

[slocgupdates]

[mei-youmeworld]

VVUP

[kpop-girlsworld]

VVUP

[optikes]

1 Alec Mingelmanganu, Wunambal people, Western Australia (1905–1981) Wandjina (c1980) natural earth pigments and oil paint on canvas 159x139.5cm

2 Jack Karadada, Wunambal people, Western Australia (1918 /1922–2003) Untitled(Wandjina) (c1971) natural earth pigments and binder on eucalyptus bark 145.5x67cm

3 Lily Karadada, Wunambal people, Western Australia (1935 /1939)Wandjina (1991) Kalumburu, Kimberley, Western Australia, natural pigments on canvas 80x60cm         

A    kimberleyfoundation.org.au    

Aboriginal people in northern and central Kimberley continue to identify with Wanjina, a continuous tradition dating to the last 4000 years. As figurations of supernatural power, images of Wanjina are characterised by halo-like headdresses and mouthless faces with large round eyes, set either side of an ovate nose. These ‘Creator Beings’ and the ‘Wunggurr Creator Snake’ are painted in many forms and can be repainted to ensure annual renewal of the seasonal cycle and the associated periods of natural fertility. The actual Wanjina is believed to either reside in the rock where it is painted or to have left its body there. Also called: Regular Infill Period, Polychrome Art Period.

 B   nga.gov.au

In many parts of the Kimberley in Western Australia, the Wandjina ancestral beings established the laws of social behaviour. The Wandjina are associated with the life-giving properties of water. They bring the monsoonal rains and distribute the spirits of the unborn to their eventual parents. Mingelmanganu was the first artist in the region to continue the tradition on canvas. To convey the scale of the rock paintings, he used the possibilities presented by the size of canvas as opposed to the smaller sheets of eucalyptus bark which artists in the area were used to painting on.

 C   Kim Akerman nga.gov.au

Unlike most Wanjina images that seem to stare far into the distance, those painted by Alec Mingelmanganu appear to be the audience gazing at the viewer, rather than being the subject of a painting. The close-set eyes lend a disconcerting air of questioning to the image. In turn, the broad hunched shoulders suggest that the Wanjina may not be all that comfortable with the world of humans.

Like most Wanjina painted in rock shelters, Alec’s figures possess a sense of enigmatic magnitude, a massiveness that projects far beyond the edges of the canvas. Mingelmanganu’s Wanjina paintings, executed in ochres on bark, were first exhibited publicly in mid 1975. As well as producing paintings for the (then) very limited market, Alec also engraved Wanjina figures, either singly or in groups, on tablets of stone or wood that had first been covered with a wash of ochre and gum.

In 1979 he was introduced to canvas as a more stable surface on which to paint, and in 1980 he had his first solo exhibition in Perth. Inspired by large non-Aboriginal paintings he had seen in Perth, Alec then embarked on painting a series of large canvases, completing at least four superb works before his death in 1981. The larger size offered him the opportunity to render his images of Wanjina on a scale similar to that found in the rock art of the Kimberley. The monumental strength and character in these works ensures that Alec Mingelmanganu will be recognised as the greatest of the contemporary Wanjina artists of the Kimberley.