#Opheim

[jaigeye]

Mongo Opheim [mon-go o-feem] was rejected by her Master as a Padawan and could not graduate to Knighthood; the Council thought that he was far too passionate, ambitious and cutthroat, and they feared he would fall if Knighted. Seeking to give him purpose with less power, Mongo was sent to join the ExplorCorps. She quickly climbed the ranks and became Grand Admiral of the ExplorCorps, and lead them far past the Outer Rim. During that experience, Mongo was kidnapped by pirates. She quickly began climbing those ranks, too, infiltrating the group, and she fused his remaining ExplorCorps Not-Jedi and her new crew of pirates to form the Copperhead Syndicate. This faction of rogue force sensitives and ruthless Unknown Territory pirates was intimidatingly skilled. The Copperhead syndicate mostly attacked Imperial ships after the fall of the Republic; during the Clone Wars, they did however dabble in attacking the battleships of Separatist and Republic forces.

Mongo is a proud leader with an enormous sense of dignity, responsibility, and poise. Known by the titles "Splendid" and "Bedlam" by strangers. He loves himself very much, just as much as he loves the small but tight-knit and powerful faction he's built.

[scenesandscreens]

Caliphate [Kalifat] (2020)

Director - Goran Kapetanović

[longlistshort]

Peter Opheim has created a charming, colorful world for Cocoon at The Hole. It’s worth bending down to get a closer look at the little clay creatures that helped form the basis for the characters in his paintings.

From the press release-

After a 25-year career as an abstract painter, Opheim started anew; “since everything we see in the world around us has already been painted”, a family of imaginary creatures and Opheim’s career-defining style was born. His works are an intuitive manifestation of emergence: sculpting the figures first in clay, Opheim removes roadblocks to his imagination. Working intuitively with his hands, the creatures reveal themselves to him and he then paints “from life”.

Not focused on conveying a snapshot of our contemporary world or visual markers of the present day, the sculptural approach to making the subjects of the paintings results in works that exist out of time—the characters are transient yet grounded in subdued color fields, their bodies and borders ambiguous and hazy. In Meadow of My Heart, Holding You and others, multiple figures fill the canvas, an assortment of semi-recognizable parts from a few fuzzy friends fill the canvas, cat-like ears, skinny arms or blobby bodies, with many large eyeballs blinking. In paintings such as Thinking of You a lone figure presents themselves, staring right back at you.

Rather than conveying grandiosity, Opheim instead is in the pursuit of emotional impact. The exhibition includes smaller paintings than ever before, making viewers look closely and the textural brush strokes more prominent. In the large rear gallery, small sculptures are positioned on the floor, barely visible from the other side of the room and dwarfed by 17-foot ceilings. Above the paintings, large woven flowers climb the length of the wall, further figures revealing themselves at the base of the stems: a sense of coziness and protection settles in with clay figures nestled in a small wooden home carved by a fallen tree on his property in Taos, New Mexico.

For this recent body of work there is a shift to a different type of subtlety based on concepts of emergence, interconnectedness, and growth. The title Cocoon is a multifaceted metaphor for these themes, as when a caterpillar spins its body transforming into a chrysalis and cocoon, it is surrendering to transform. This emergence can’t be expedited; patience and independence are crucial, a butterfly must emerge on its own. In the work we see an emergence of form, skillful blurred brush marks of creatures in a softer, hazier palette than when we first showed Opheim in 2018 and an emergence of emotions, a warm joy, the sensation of standing in the sun. These new paintings were difficult to make, notes Opheim, with the figures only starting to reveal themself once the painting was close to completion. Opheim notes the importance of an intuitive organic emergence: “we can have preconceptions on how something is supposed to be, but that’s not how they are made”.

Standing In The Sun, I Feel Your Arms Around Me the title of one of the larger paintings in the show and one of the potential titles for the exhibition, evokes the physical warmth that you feel in these paintings. The hues and figures are inviting yet the asymmetric, spherical bodies have just enough wonkiness to not be classified as overly “cute”. Opheim has shown extensively in Asia where Kawaii culture is widely pervasive and appreciated: New York is known for many things, but cuteness would not be one of them. While foreign, Opheim’s visual language feels refreshing and necessary, inviting curiosity and play through imagery we don’t often see in Western art. Here, Opheim is deliberately moving on from a lot of what we see in galleries at the moment and instead gives us enough room to think on our own, leaving space for our own joy and pleasure.

This exhibition closes 5/25/24.

[thelovelygods]

“Draumkvedet” is a Norwegian visionary poem, probably dated from the late medieval age. It is one of the best known medieval ballads in Norway. The first written versions are from Lårdal and Kviteseid in Telemark in the 1840s.

The protagonist, Olav Åsteson, falls asleep on Christmas Eve and sleeps until the twelfth day of Christmas. Then he wakes, and rides to church to recount his dreams to the congregation, about his journey through the afterlife. The events are in part similar to other medieval ballads like the Lyke Wake Dirge: a moor of thorns, a tall bridge, and a black fire. After these, the protagonist is also allowed to see Hell and some of Heaven. The poem concludes with specific advice of charity and compassion, to avoid the various trials of the afterlife. - Wikipedia

[michael-massa-micon]

December 22, 8:00 am Christmas Lights - December 2002 When we moved to a parsonage in Opheim, Illinois, I brought my love of lights with me. Because it was a parsonage, I couldn’t install a special circuit so I used X10 computer-controlled switches to turn everything on. We were on a bluff and the house was visible from the highway below. MWM

[polkadotmotmot]

Peter Opheim - In Nature Mountain, 2024 - Oil on canvas

[bunad]

Costume study of married woman: Dønaat Anfinnsdatter Opheim

by Adolph Tidemand 26. June 1855

[edvinception]

Since we're on the Nord illusion train again, I just wanted to say that Linus and Zoey from Epilogen made me completely imagine Alex and Sofi.

That would be amazing, honestly! And we already know what they would look like in that kitchen environment!

I want Aliette Opheim as Alice(?!) her or Moa Gammel would be perfect.

[marcedrickirby]

Craziest s2000 build ever 🤯 (Built by: Joshua Opheim on IG) #shorts #car...

MARCEDRIC KIRBY FOUNDER CEO.

MARCEDRIC.KIRBY INC.

THE VALLEY OF THE VAMPIRES

[ambfurniture]

***Labor Day Sale Price Active Now*** Click Acima Leasing Easy Lease and Application Process at ambfurniture.com (via CM3496PT 7 pc Canora grey mel opheim black finish wood grey genuine marble top counter height dining table set)

[vfxexpress]

Black Crab VFX Breakdown by Nordisk Film Shortcut

Black Crab is a 2022 Swedish action thriller film directed by Adam Berg, written by Adam Berg and Pelle Rådström. It stars Noomi Rapace, Aliette Opheim and Dar Salim. It is about a speed skater (Rapace) conscripted to join a team of soldiers for a dangerous mission to skate across sea ice behind enemy lines. The team is tasked with delivering a secret package to an island research base, which…

[womens-knitwear]

[thatbitchsimone]

[adamwatchesmovies]

Black Crab (2022)

Black Crab is a different kind of apocalyptic film - and not only because its wastelands are icy rather than dusty and rusty. This makes it refreshing. It doesn’t quite reach the emotional depth it wants to but you won’t mind thanks to the many dangers along the way.

Years into a war in Europe, “the enemy” is about to win. Caroline Edh (Noomi Rapace) is selected for a mission that could end the conflict. To complete operation "Black Crab" she and other soldiers must skate across the winter ice surrounding Sweden and deliver a package deep behind enemy lines. With the location of her long-lost daughter as an incentive, there’s nothing Caroline won’t do to accomplish her goal.

Though it isn’t quite set in a world so ravaged by war that civilization has completely collapsed, things are bleak. The non-soldiers we see are hungry and desperate for news of their loved ones. There aren't bands of scavengers roaming the countryside, but only because the fighting hasn’t stopped. The government is gone but some high-up generals are keeping the battle going. There are rumors of what distant armies are doing, but everyone is running on fumes so it could be nothing more than hearsay. The large expanses of ice traversed by Caroline and her team - which includes Forsberg (Aliette Opheim), Malik (Dar Salim), Karimi (Ardalan Esmaili), and Lieutenant Nylund (Jakob Oftebro) - is beautiful, but lifeless. You know a bit of sunlight and warmth would bring all the green back, but spring seems impossibly far. Once they put on the skates, you realize just how dangerous this assignment is. There’s the cold, and the fact that they’re out in the open - easy targets for any enemy. Worse is the thin ice they’re on. One bullet, one wrong move and you’re diving into that frigid water below. With the inherent paranoia of a critical but desperate mission and a world prepared to do anything to survive, you’ve got plenty of reasons to sweat.

Director Adam Berg wisely dispenses with unnecessary details. We know hardly anything about the war. We know the conflict hasn’t spread outside of Europe, and that it's gone on for long. That’s it. Ultimately, it doesn’t matter because we’re not following generals or politicians. We’re following individuals who’ve been forced into becoming soldiers. We don’t really care which side wins. We care about Caroline reuniting with her daughter. Unfortunately, this is where the film misses its mark a bit. While there are many flashbacks or dreams of Caroline and Vanja (Stella Marcimain Klintberg) together, you don’t love Vanja the way Caroline does. All of the mission's dangers are lessened. Not by too much, thanks to a strong performance by Noomi Rapace, but something's missing.

Black Crab adequately illustrates that “War is Hell”, the setting offers something new to this type of story, and there are plenty of inherent thrills to keep you invested. It wants to be more emotional than it is but (and I feel like I’ve been saying this a lot) since you’re watching this at home “for free”, you won’t mind. Even if I had paid to see Black Crab, I would’ve been satisfied. (Original Swedish with English Subtitles, March 22, 2022)

[polkadotmotmot]

Peter Opheim - Matheo, 2023

[hydeordie]

Peter Opheim, Jax, oil on canvas, 2022