#kids swimwear online

[sanajames]

Buy Kids Swimwear Online in South Africa | Bash

Swimwear for Kids - Shop Kids Swimwear online in South Africa at Bash. Explore the wide range of kids swimwear for boys & girls like swim trunks & swim dresses from top brands at the best prices.

Types of Kids Swimwear Online available at Bash

At Bash, we provide a diverse selection of kids swimwear to cater to various preferences and activities. Our collection includes:

One-Piece Swimsuits: Discover classic and comfortable one-piece swimsuits suitable for both girls and boys, featuring various designs and patterns.

Two-Piece Swim Sets: For versatility and fun, explore our two-piece swim sets, which include playful tops and matching bottoms for a trendy look.

Rash Guards: Ensure your child's skin is protected from the sun and surf with our rash guards, designed with UV protection and stylish designs.

Swim Trunks: Find colourful swim trunks for boys that are perfect for beach trips and pool adventures.

Swim Dresses: Delight your little princess with our adorable swim dresses, offering comfort and charm in the water.

[imanibuhle12]

The Ultimate Guide to Choosing Kids Swimwear

Finding the perfect kids swimwear can be a delightful yet challenging task for parents. With a vast array of options available, it’s important to consider factors such as comfort, durability, style, and protection. This guide will help you navigate through the essential elements to ensure your child is ready for fun in the water, whether it's for swimming lessons, beach vacations, or backyard pool days.

Comfort and Fit

Comfort is key when it comes to kids swimwear. Ill-fitting swimwear can lead to discomfort and distraction, preventing your child from enjoying their time in the water. Look for designs that provide a snug yet comfortable fit. Elastic waistbands, adjustable straps, and stretchable fabrics can offer better comfort and flexibility. It’s crucial to ensure that the swimwear does not cause any chafing or restrict movement.

When trying on swimwear, make sure there’s enough room for growth, but not so much that the garment is baggy. A well-fitting suit will stay in place whether your child is swimming laps or playing on the beach. At Bash, we offer a variety of styles that cater to all body types and preferences, ensuring a perfect fit for every child.

Durability and Quality

Kids are often rough on their clothes, and swimwear is no exception. Chlorine from pools and salt from the sea can be harsh on fabrics, leading to wear and tear. Therefore, choosing high-quality, durable swimwear is essential. Look for materials that are chlorine-resistant and have a high UV protection rating. Fabrics like nylon and polyester blends tend to be more durable and retain their shape and color longer.

UV Protection

Protecting your child’s skin from harmful UV rays is paramount, especially during prolonged exposure to the sun. Many modern kids swimwear options come with built-in UV protection. Look for swimwear labeled with a UPF (Ultraviolet Protection Factor) rating of 50 or higher. This ensures that the fabric blocks out 98% of the sun’s harmful rays, providing an extra layer of protection alongside sunscreen.

Styles and Designs

Kids swimwear comes in a variety of styles and designs to suit different tastes and needs. For girls, options range from one-piece swimsuits to tankinis and bikinis. For boys, you can choose from swim trunks, jammers, or briefs. Rash guards are also an excellent choice for both boys and girls, offering added sun protection and preventing abrasions.

When selecting designs, involve your child in the process. Let them pick their favorite colors, patterns, and characters. This not only ensures they’ll be excited to wear their swimwear but also encourages them to be confident and expressive.

Practical Features

Consider swimwear with practical features that can make a big difference. Quick-drying fabrics can keep your child comfortable out of the water and reduce the chances of rashes. Swimwear with built-in flotation devices can be helpful for younger children who are still learning to swim. Additionally, some swimwear designs include pockets, which can be convenient for storing small items.

Sustainability

As awareness of environmental issues grows, many parents are looking for sustainable kids swimwear options. Brands like Bash are committed to offering eco-friendly swimwear made from recycled materials. Choosing sustainable swimwear helps reduce your environmental footprint and teaches your child the importance of making responsible choices.

Shopping at Bash

At Bash, we understand the importance of providing high-quality, stylish, and practical swimwear for kids. Our collection of kids swimwear features durable fabrics, UV protection, and a variety of fun designs. We prioritize comfort and fit, ensuring that every child can enjoy their time in the water without any distractions. Explore our range here to find the perfect swimwear for your child.

Conclusion

Selecting the right kids swimwear involves balancing comfort, durability, style, and protection. By considering these factors and choosing reputable brands like Bash, you can ensure your child is well-prepared for any water activity. Remember to prioritize fit and quality to provide the best swimming experience for your child.

[childrensterritory]

How to choose the right birthday dress for your daughter?

When it comes to choosing a birthday dress for your daughter, there are many factors to consider to ensure that you choose the perfect dress. From the fabric to the style, the color to the right fit, there are many things to ponder before making your purchase. Let’s discuss some key things to consider when shopping for a birthday dress for your daughter.

Comfort Looking for comfortable fabric is the most important thing when choosing a birthday dress for your daughter. As she will be wearing the outfit for a long time, make sure to buy soft and breathable stuff to let her enjoy the party with full confidence. Dresses made of harsh or rough material will only cause irritation and discomfort to your child, spoiling her party mood. Comfortable fabric will allow her to move freely and have fantastic experiences.

Size and Fit Keep in mind the right size and fit when buying an outfit for your little angel, as an ill-fitting dress can ruin the overall look. The too-tight or loose outfit will make your girl unattractive or sloppy. In some cases, wearing tight dresses can cause body pain. Make sure to do the correct measurements of your child before deciding on a dress, or you can also try a dress on her to check if it fits well.

Style and Design

The style and design of the dress are crucial considerations when looking for a birthday dress for your angel. The Party theme, venue, or ambiance will help you select the apt outfit. Giving preference to your child’s taste is also imperative before deciding on a dress. Go for sophisticated and classic designs for a big bash celebration, or you can choose fun prints or bright colors for small gatherings or casual parties.

Color

Pay attention to the color of the outfit. Choosing the color that complements the skin tone of your daughter will make her look beautiful and stand out from others. Make sure to consider the color preference of your child to let her grace the occasion confidently. Choose from hues like pink, blue, purple, or red, depending on your girl's taste.

Budget-friendly

Consider your budget when selecting a birthday dress for your princess, as you do not need to go out of the way to buy an expensive party outfit. You have several options to choose the right one that fits your pocket. Various brands nowadays offer you the most stylish and beautiful dresses within your budget. Let your girl have a lasting impression on others with her unique choices.

By considering these factors, you can choose a dress that will make your daughter feel comfortable, confident, and stylish on her special day. Children's Territory offers you an extensive collection of birthday dresses for girls. Visit our site as we provide you with the best.

[tonix3]

Larry 2024

(my recap of the most important moments plus a few comments here & there - for clothing stuff & everything music related I made separate categories & I tried to make the connections between some stuff obvious & also I included some of the things their familys/team/inner circle has done when I found it to be important/interesting - sources at the end)

Explanation: cursive = for other people,

{} = my thoughts/comments

January

- H is in Anguilla + pap shots on yacht (with Louis Shirt) + pics with stunt TR -> pap pic release 04.01.

- 06.01. Hs Mum on IG story writes on her pics 'This too shall pass..' + 'Force the smile take the photo ... Remind yourself you're ok'

- 06.01. Mirror posts article saying L and Eleanor are getting close again - Es actual boyfriend posts hot swimwear pic with her {lol}

- no mention of Fs birthday 21.01.

- 23.01. L tweets/answers his favorite snack is Chicken (and an ask about Fs bday 'it was lovely')

February

- H&L listed as partners on Google for the 3rd time

- 18.02 H doesn't attend TR stunts important event to watch football & it's a whole talk online about it

March

- 10.03. L likes post about Lime Bikes {LOL}

- 11.03 Lou Teasdale posts on IG story a meme of Ls Beatbox/Horsenoise Buzzcut interview {LOL LOL LOL}

- 17.03. Liam replies with heart to a comment on IG from @LarryStylinson_favtweets

- 19.03. L is in London with friends at John Mayer concert + H sighted at a flight to London

20.03. H (in L) papped with James Cordon/L MIA

21.03. L (in L) at sisters birthday party/H MIA

22.-25. both MIA

26./27. H in London (pap pics)

{-> TIME TOGETHER?! Pattern of one of them popping up while the other one goes MIA}

April

- 08.04. L non-denial interview using Total eclipse of the heart lyrics posted on Eclipse day -> Larry trends again, everyone falls down the Larry rabbithole, every news outlet reports about it {he also mentions for the first time in a denial that people are being unfair to his son F - OK}

- 10.04 Shania Twain posts TB from Hs Still The One (+ Anne reposts in her IG story)

- 10.04 Jack Whitehall (friend of H) posts a Tiktok in a teens room with H&L posters and says it 'looks like his bedroom at home'

- 10.04. Pleasing ad with white, orange, blue, green nails -> 'simple but effective' caption {baby boyfriends}

- 28.04. Anne on her IG story pic 'Kindness is my go to but fuck off is my wingman' {on the 28th how funny 😆}

May

- 13.05 Mark Tomlinson posts a pic 'My grandchildren' without F

- 15.05 Phoebe IG Story Chicken meal 'such a simple but effective meal' {OK GIRL WE SEE YOU}

- 19.05. after Tayrry BU articles drop Anne posts IG story pics with 'saturday night toast', 'off to the cinema' & happy sunday + H's photographer post champagne bottle in pool + Helen Seamons posts champagne & strawberries + Phoebe posts bathtub pic with 'End to a perfect sunday'

- 27.05 Anne on Podcast says 'my kid was happy as Larry' {what??? even if it's a saying in the UK}

June

- 11.06. Steve Aoki IG story selfie with streetmarket Art of queer legends/famous people H&L next to ea + tags L in the story

- 16.06 Daisy includes L in father's day collage + L posts about England & Jude Bellingham not even liking the post of Daisy

July

- 14.07 final of the euros in Berlin - both H&L attend -> pic with Ed, Lou & most likely H in the background photographed within reaching distance in the same room! For the first time in years! (+ Tumblr anon seeing them in VIP area talking about them meeting up, talking & splitting a few times!) -> media & fandom goes crazy {personally I find the pic of them a bit underwhelming because it's debatable if it's H}

August

- 03.08 L signs a fans midnight memories CD at a M&G on Harry {possessive much? Lol}

- 04.08 Charlie LeClerc (F1 driver) follows H on IG

- 09.08 in Lotties Book she talks about Lucky being her moms only grandchild wishing she could have met him (-> fandom & media goes nuts over excluding F/'confirming' F isn't a grandchild)

+ media article Lottie wrote herself confirms her wording

- Poster shows Homes Chapel 'Pride Street Party' is on 28 Sep🌈

- 28.08. 28clothing posts socks with 28 and a hand showing a rose ring on IG story

- 28.08 Team Ferrari posts Tiktok of Charles LeClerc with Harry's XFactor Audio 'I work in a bakery. I like .. serve'

- 29.08 L follows Charles LeClerc on IG {the following day of the Tiktok? LOL}

- 30.08 F1 makes Out Of My System Song of the weekend on their official Playlist

- 31.08 L attends F1 Grand Prix in Monza Italy & is photographed at Team Ferraris suite + commentator referred to L being in a band with H and mentions not being allowed to talk about Ls boyfriend {What the actual f#ck}

September

- 01.09. Charles LeClerc follows L on IG

- 01.09 L takes official pics with Author Tara Ramos whose book is named 'F1 Behind Closed Doors: Clown of the circus' {While smiling like a madman OK LOU}

- 17.09 Pleasing ad (with @elisasudara) same girl L was pictured in fanpic on beach in Spain {Wtf?}

October

- 12.10 Mark Tomlinson posts he misses Lucky and Olive no F

- 16.10 💔🕊️

- 27.10 Daisy includes F in a collage of Lucky's and Olives Halloweens

- 31.10. Mark Tomlinson posts only Lucky and Olive Trick or treating no F

November

- 01.11. Gemma posts a pic to her IG story with Lous 'It is what it is' (in the same font)

- 13.11. Harry Lambert/Helen Seamons (H stylist/L stylist) post the same Manet Shirt on IG storys

- 20.11 funeral ☁️ all boys attend, arrive separately & manage not being photographed together

December

- 05.12. Pleasing collab announcement ft. dick key chains (inverted colors are blue and green)

- H Fine Line anniversary video includes 3 clips of Harry's Kiwi performances (associated with bbg) Kiwi being a song on HS1 not fine line {🤔}

- 27.12. L in the background of Phoebes Snapchat

- 28.12. Daisy posts a pic from a bowling alley to her Snapchat including the name Freddi (people speculate if her and Phoebe babysit F because L isn't on the list of names) {is it even F? Where are the twins bowling - London? Doncaster?}

- 28.12. L is photographed + video in Doncaster restaurant/bar with different fans at least 5 times

~Clothing stuff 2024~

~ 03.01. H wears 'Louis' (Bode) Shirt in Anguilla

~ 25.01. H papped with LT Jacket and Tennis hat + 27.01. L attends Tennis event as a guest of queer friendly brand Piper Hideseick Champagne {supportive husbandsss}

~ L Melbourne Merch is babyblue advertised with pink background then merch color changes to green for BNE, SYD is pink & displayed on babyblue background {Fine Line is associated with pink&blue - supportive husbandsss 2.0}

(~ 02.02 L wears orange shirt with laurels to SYD FitF)

~ 29.02 L wears Boyfriend Jacket 🫶🏻 at F1 event and concert

~ 20.03 H & James Cordon pap pics - blue greening with their sneakers (+ H carries flower on 'national flower day')

~ 21.03 L wears Jeans Jacket with big lettering to Twins Birthday Party -> 'you can tell me what to do, I just probably won't do it' {so sassy Lou, love it}

(- 03.04. L wears Burberry Laurels Shirt)

~ 06.04. L says in interview 'Clothes tell his story'

~ 11.04. - (first sighting of) H (after Ls non denial) he wears a dark blue shirt with a little L 💙

~ 02.05. L wears Tanktop from gay brand BDXY called 'The Stunt'

~ 04.05 H Umbro shirt over a hoodie being papped on a lime bike in London (wearing Sneakers called Halo - coincidentally like the Shipname Halo which came before Larry Stylinson)

~ 12.05. L wears blue green (back)GAP/PAL(front) Hoodie at airport

~ 04.06. H pink Shirt with 'TOP' {okay Harold}

~ 08.06 + 29.06. L Casablanca Rainbow Outfit {best fit of the year!}

~ 12.07. H sings as surprise guest with Stevie Nicks at Hyde Park (first show after a whole year) & wears a green shirt & bluegreen birdie pin

~ 21.07 first gig L plays after Euros he wears blue green Casablanca Jacket {Come on Lou!}

~ 10.08 (after Lottie/F Book thingy) H being papped with hat 'I am the eldest boy' + L on stage with black and yellow fit {bee reference for larries associating bees with bbg?}

~ 04.09. H takes pics with fans wearing Grand Prix sunglasses while also bluegreening (also 28 days before AIMH tweet anniversary) {after L was at F1 Grand Prix - I see what you did there H}

~ 10.09 H pic with fan wearing LT Hoodie

~ 13.09. H wears white strawberries pin (white strawberries have sexual meanings ranging from c*mming on someones butthole to other things) {Harold, oh my god! LMAO 🤣}

~ 15.09. H papped and fan pics with cardigan in babyblue & shirt underneath looks like it says 'H L paradise' (Japanese designer)

~ 28.12 L pics/vids with fans out in Doncaster wearing his Pleasures Skull Cardigan (backside says 'What happend to you? What happend to me? Pleasures is PAIN' sentences divided by green lines {of course green 😂}

~ L&H are seen multiple times with the same adidas sneakers (on stunt/pap pics) for example camel Adidas sneakers (L's insides are green Hs blue) but also other matching adidas shoe modells

×Music stuff 2024×

× 02.02. WMYB is played after Ls concert

× L Love him/hate it during festivals/concerts:

*30.01 (and mouthed 'that's right'? after)

*22.06 (at pinkpop)

*several other clips/vids of mouthing 'him'

× 28.03. L Away from home festival poster drops (without dates)- with aqueduct like Homes Chapel

× 29.03. L Away from home festival poster looks like door with starry sky & starts on the day (8th of June) of the pride festival in Merida, Mexico (Merida as in the Disney princess from BRAVE)

× 30.03. L has a 1h set but decides to include 3 1D songs + covers 7 (during 7 all lights were red except one single green spotlight), rainbows on screen during JHO, pointed to 🏳️‍🌈 flag with 'Always You Larry' written on, during BTY big HIM on screen with the lyrics of the song

× April - hotspot puzzle for Ls Live Album promo were all Hospitals or Helipads = giant H's

× 12.04. {few days after non denial} Dylan is announced as opener for Ls festival (famous song 'You're not Harry Styles' & covers Kiwi)

× 15.05. during 'Silver Tongues' after 'no one understands me like you do' L says ✨oBviOusLy ✨ + during Saturdays one single green spot on him (again 3 days later)

× 24.05. L (first show after Trarry BU) on screens giant H and S + he sings Lucky Again (after 236days)

× 03.08. Ls big screen showing his 28 tattoo covered with a rainbow🌈 + during Silver Tongues after 'no one understands me like you do' he says 'no truer lyric.'

(× 18.08 L skips Walls but covers 7 nonetheless (&WDBHG))

× 06.09. L has giant H's on screen during 7 cover + L says 'Thats real' after 'Larry called a lot of smoke in' (fandom debates what he meant) {kings of plausible deniability}

- 16/19 festivals L has done he covered 7 - Catfish & The Bottlemen 🎶

{16 times? 1+6=7 we love a good 7 moment}

- L singing Where Do Broken Hearts Go (1D song written by H) at every festival {Why this song Lou?}

___

Many crossovers with their stylists, photographers, friends & family mentioning each other, liking/sharing each others posts or attending events together = same circles

___

SOURCES:

Twitter: @BKatie167 & her awesome GoogleDoc (which should include everything I mentioned & more!)

https://docs.google.com/spreadsheets/d/15mUV3fMuiBfz4zl1TziMeGQKmBYt7s6dyMneHA2c7RE/edit?usp=drivesdk

Also everything mentioned was/is discussed by @skepticalarrie @twopoppies and shout-out to my Larry friend @fookinhellcurly

Tumblr/Twitter: @hldailyupdate @fashionlouist

You should find vids/clips & discussions for everything I mentioned with a quick Tumblr or YT search 🔍

[phvntomess]

OK list time. This is gonna be long so hope you dont mind scrolling

Shoes: 

Anthony Wang - unique shoes. pretty sure they're somewhat anime inspired? sometimes at least.

YRUshoes - shoes. does collabs and has some nice shoes

Demonias - gothic shoe store. has that one super iconic boot

Irregular choice - personal favourite. does very unique shoes.

Virtualshoemuseum - not a brand or shop but does show off some unique shoes

strangecvlt - footwear brand. halloween themed. might be connected to yru shoes?

cityboots - focuses on cowboy style boots

fluevog - shoes! very cute and unique shoes 

Clothes: 

Demobaza - does kinda like… idk dune style stuff? apocalyptic? idk

cipoandbaxx - streetwear. focuses on jeans

Trippnyc - has the tripp pants that the scene kids have sometimes

oceanusthelabel - swimwear and some nice dresses

shopsolani - not a whole lot on display but what is on there is super cute

shoptrashqueen - plus sized clothing. says its inspired by harajuku styles.

minna.shop - does interesting and unique dresses that have a sheer element to them

teutamatoshi - does cute gowns. i think her and lirika are sisters? fun fact if im right.

lirikamatoshi - the person who did the strawberry dress! also has a lot of other stuff on her site.

workfrombeachbelike - site says they're not regular clothes. handmade stuff.

cyberdog - does clubwear and rave stuff

hagoromostyle - wheelchair accessible kimono!

maria rinaldi - does dresses and such. does mention plus-sized clothing

LOEWE - Luxury brand. does leather stuff plus perfumes turns out

nobody's child - responsible fashion brand. specialises in womens clothing

zadig and voltaire - another expensive brand. features knitwear on their website so

STACEES - Focuses on dresses for formal/fancy events

modakawa - labelled as doing kawaii fashion. also has that trendy twitter dress

fashionclosetclothing - another general womens store site. not sure what the style is called but it has a certain style

devilinspired - focuses on lolita and ouji style clothing but has other styles as well

kawaiibabe - another general kawaii style store.

aelfriceden - streetwear!

incerunmen - focuses on mens fashion though has quite a bit of variety. though is a little shady when it comes to shipping clothes out apparently.

Modcloth - vintage style or vintage inspired clothing

chotronette - mostly dresses. but very pretty dresses imo

spaceisland - very colourful rave/streetwear clothing. also a little on the sexy side.

ellenithelabel - does cool hats. focuses on berets but also has other styles of hats

lazyoaf - also a general streetwear brand. has a style that reminds me a bit of another thing listed here

yarnoverng - yarn clothing. handmade too!

prayingg - made that top charli xcx wore one time. very odd

altamontapparel - currently under rennovation it seems like. might be worth it looking it up on other clothes seller sites

deafmetal - hearing aid jewellery!

shopsoftcore - plus-sized focused clothing. cute styles.

agashishop - a clothing shop with a sewing and diy section!

incontrolclothing - streetstyle and maybe also kawaii styles.

arcteryx - just general outerwear tbh

apatico - gothic fashion harnesses and other accessories

violentdelights - does gothic, steampunk and apocalyptic style clothing.

blackout-techwear - does techwear. mostly black. self-explanatory

onlychildstore - handmade jewellery.

kodes - also handmade jewellery. has a geometric style

missoma - also another jewellery site. sustainability aspect. also lab grown diamonds! interesting

mokuyobi - does colourful clothing and accessories. like very colourful

liminalwork.shop - conceptual streetwear it calls itself. is the maker of that keyboard jacket. has some other stuff as well

snagtights - does tights n such. lots of different styles

shirtz.cool - sometimes see this as a youtube sponsorship. does very unique and very online shirts 

unjustjewelry - nostalgic jewellery and clothes. Made that one wii sports icon bracelet

studiocult.co - interesting jewellery. Mainly earrings and rings

vapor95 - vaporwave aesthetic style clothes

Sites that resell other brands clothes:

nordstrom - another one of those sites that resell other luxury clothes

julian fashion - sells luxury brand items from all sorts of brands

brandavenue.rakuten - another place that resells other brands clothes? think the original site is like. coupons.

fcmoto - focuses on motorcycle gear mainly from all sorts of places 

No genitalia but still general sexy styles. make sure you're not in any setting where it would be nsfw:

self-xpression - sexy cltohing!!! woah!

yihfoo - feaetures sexy clothing on the front page but has other non-sexy clothing styles as well if you look at the pages

fleetilya - lingere!!! sexy clothes!!!!

jivomirdomoustchiev - more avant garde. also along the sexy end

likeadrugg - bikinis on the front page!!! also has other stuff as well but they're not on the front page

honourclothing - latex and pvc stuff! also generally sexy

bluebella - lingere!!! 

technically not fashion-related but i like sharing links: siren-pearls - does fairy wings and mermaid tails

mermaidlucia - does mermaid tails as well as some cute corsets and apparently now mermaid style regular clothing

coolcrutches - does some cool colourful canes n crutches. just want others to be aware of this site ngl

halloweencostumes dot com - Halloween costumes!

cosplayshopper - sells cosplay stuff. also has a lolita selection but id be hesitant using it as refereces for the lolita style.

miccostumes - does cosplay costumes. though it also has some unique pieces.

OUUUGHH YESSS

IVE BEEN GIFTED THE KEY TO GOOD FASHION

ANYONE WHO WANTS TO FIND GOOD FITS TO PUT UR SILLY OCS IN CHECK THESE OUT !!! theyre rlly good :3

[wild-wombytch]

Their credit card code ???? That's a recipe for disaster ToT

Hi, anon, thank you for dropping by, I hope you had a nice weekend and are having a nice day 🌻✨

Unfortunately, yes, you read that right 💀

My mother really screams inside when she sees that, and it's multiple times a week, if not multiple times per days sometimes...

The disasters are already happening, but I kinda hope it gives these parents a reality check :

(for the Independent article below, the dad says he doesn't know whether he should be mad or laugh...moids will be moids, no matter the age, I guess)

(of course the parents blame FB rather than their own parenting. Like FB obviously needs to die but these specific events wouldn't have happened if the parents actually watched their kids and didn't give them access to credit cards' functioning)

...So yeah, some people really don't think about the logical consequences of things, as long as it keeps their kids busy and not crying or screaming or running rather than... you know...actually parenting them, playing with them, giving them plushies, going outdoor with them...etc I can't say I'm surprised, when the French gov literally had to make an ad for this specific kind of parents to stop posting pictures of theirs kids online and then making Pikatchu faces when they learn it's spread and sold in ped0 communities for some males to jerk off on the beach day where little Emily is in swimwear...

...tbh I don't get why so many people have kids if they hate spending time with them so much. Or more exactly, I guess they do so because The Straight Must Have Babies™ like they "must" have a big dumb house that leave them indebted and a big dumb car that gives them even more debts and a dog and must have a depressive breakdown after 8y of vety unhappy life together like it's no big deal because it's heterosexual culture and idea of success and fulfilled life and nobody questions it. And that's just one of the many criticisms I'd have about parents these days, because sometimes (often) I see things that make me want to nuke them and then myself.

For real, these neglected kids will grow up even more messed up than the average Tumblr population did. Then they'll vote. And will be our nurses when we'll be old. And they'll struggle a lot with empathy and resources saving with the climate crisis.

Anyway, that's bright mood Sunday for me apparently lmaooo Hope I didn't make you lose faith in humanity. It just sucks that I notice parents who raise their kids well and interact with them more than shitty to downright abusive parents when I go outside. But then again, Brittany might be an advanced case, because we're dealing with cultural traumas that created issues with alcoholism, violence, mental health issues, weird distance between kids and their parents, and so on.

[honeypiekidscom]

☀️ Shop our large selection of girls and boys swimwear. We have new markdowns! Stock up for the summer! Shop all the markdowns online at HONEYPIEKIDS.COM . . . . . . . . . . . . . . #kidsclothing #onlinekidsboutique #onlineboutiqueforkids #onlinechildrensboutique #bestdressedkids #kidsfashionbook #kidsfashion #kidsswimwear #girlsswimwear #girlsswimsuits #girlsboutique #kidsboutique #kidsboutiqueclothing #childrensswimwear #stellacove #disneytrip #disneypool #eastergifts #kidspoolparty #countryclub #poolparty #lastdayofschool #kidsblog #kidsblogger #mominfluencer #momofgirls #girlmom #toddlerstyle #swimlessons (at HoneyPie Kids Children's Clothing Boutique) https://www.instagram.com/p/CqLtj-oACHc/?igshid=NGJjMDIxMWI=

[lilplanet1]

Lil Planet

Lil Planet is an execlusive brand that provides kids comfortable frames, protective computer glasses, stylish swimwears and ideal monsoonwear through online store. Lil Planet provide quality products that are flexible, durable, stylish, and affordable.

[travelloverr]

Smooth Sailing: How to Make Cruise Boarding Easy with Kids

Pre-Cruise Prep: Laying the Foundation for a Stress-Free Start

The key to a smooth boarding experience lies in preparation. Don’t wait until the last minute to get organized. Start planning well in advance to avoid a frantic scramble.

Online Check-In: Your First Line of Defense: Most cruise lines offer online check-in, allowing you to complete all necessary paperwork, upload photos, and even select your boarding time from the comfort of your home. This is a game-changer, significantly reducing time spent at the terminal. Take advantage of this feature!

Documentation: The Essential Arsenal: Ensure everyone’s passports (or birth certificates and government-issued IDs for cruises within closed-loop systems) are valid and easily accessible. Make copies of these documents and store them separately from the originals. Consider keeping digital copies on your phone or in a secure cloud storage. Don’t forget any required visas or travel authorizations.

Luggage Logistics: Packing Smart, Packing Light: Overpacking is a common culprit of boarding stress. Be realistic about what you need. Utilize packing cubes to compress clothing and keep things organized. Consider using a luggage service to have your bags delivered directly to your cabin. This allows you to move freely through the terminal without the burden of heavy suitcases. Pack a carry-on bag with essentials like medications, swimwear, sunscreen, a change of clothes, snacks, entertainment for the kids, and any valuable items.

Stroller Strategy: To Bring or Not to Bring? Strollers can be a lifesaver for tired little legs, but they can also be cumbersome in crowded terminals and narrow ship corridors. Consider your child’s age and walking stamina. If you do bring a stroller, opt for a lightweight, easily collapsible model. Alternatively, you might consider renting a stroller at your destination if your cruise involves extensive port days.

Medication Management: Preparedness is Paramount: If anyone in your family requires medication, ensure you have an ample supply for the duration of the cruise, plus a few extra days in case of unforeseen delays. Keep medications in their original containers and in your carry-on bag. Carry a doctor’s note explaining the need for any prescription medications.

Kid-Friendly Packing: Involve the Little Ones: Let your kids participate in packing their own bags. This gives them a sense of ownership and helps them understand what to expect. Pack their favorite toys, books, games, and comfort items. Consider themed outfits for special cruise nights or activities.

Snack Attack: Fueling the Troops: Pack a variety of non-perishable snacks and drinks for the journey to the port and for the initial hours onboard. Hungry kids can quickly become cranky kids. Having snacks on hand will help tide them over until you can access dining options on the ship.

More Read

Scenic Hot Springs: A Relaxing Escape to Nature

Things to Do in London with Teens

The Best Florida Souvenirs

Costa Rica Flowers: A Colorful Paradise

Things To Do in Monteverde, Costa Rica

Top 12 Fun Facts About Costa Rica

Top Places for Snorkeling in Costa Rica

Navigating the Terminal: Mastering the Art of Embarkation

Arriving at the cruise terminal can be overwhelming, but with a strategic approach, you can navigate it like a pro.

Timing is Everything: Arrive at Your Designated Time: Your online check-in should have provided you with a designated boarding time. Stick to this time slot as closely as possible. Arriving too early will only lead to unnecessary waiting, while arriving late could cause you to miss your embarkation window.

Parking Prowess: Planning Your Parking Strategy: If you’re driving to the port, research parking options in advance. Cruise line parking can be expensive, so consider alternative options like nearby parking garages or shuttle services.

Security Checkpoint: Streamlining the Process: Be prepared for security screenings similar to those at airports. Have your boarding documents and identification ready. Remove any metal objects from your pockets and be prepared to remove shoes or belts if required. Keep liquids in a separate bag for easy inspection.

Boarding Groups: Understanding the System: Cruise lines often use boarding groups to manage the flow of passengers. Pay attention to the announcements and wait for your group to be called. Don’t rush the process; everyone will eventually board the ship.

Kid-Friendly Waiting: Keeping Boredom at Bay: Bring entertainment for your kids while you wait. Pack books, games, tablets loaded with movies, or coloring books. Engage them in conversation or play simple games to keep them occupied.

Onboard Orientation: Setting Sail for Success

Once onboard, take advantage of the initial downtime to familiarize yourself with the ship and its amenities.

Explore and Discover: Getting Your Bearings: Take a walk around the ship to get a sense of its layout. Locate key areas like the kids’ clubs, dining venues, pools, and your cabin.

Safety First: Attending the Muster Drill: The mandatory muster drill is crucial for safety. Pay attention to the instructions and ensure everyone in your family understands the procedures. This drill is also a good opportunity to familiarize yourself with the ship’s emergency exits.

Kids’ Club Sign-Up: Setting Up for Fun: If your kids plan to participate in the kids’ club activities, sign them up as soon as possible. This will ensure they can participate in all the fun events and give you some much-needed downtime.

Cabin Comfort: Settling In and Organizing: Once you have access to your cabin, unpack your luggage and get organized. Set up your kids’ sleeping arrangements and make sure they have everything they need.

Dining Reservations: Planning Your Culinary Journey: If you have specific dining preferences, make reservations as soon as possible. Popular restaurants can fill up quickly, especially during peak season.

Tips for Specific Age Groups:

Infants and Toddlers: Pack plenty of diapers, wipes, formula or baby food, and any other essentials. Bring a carrier or stroller for easy mobility. Consider bringing a portable crib or bassinet if the ship doesn’t provide one.

Preschoolers: Pack snacks, drinks, toys, activities, and a change of clothes. A small backpack can be helpful for carrying their belongings. Talk to them about what to expect on the cruise and get them excited about the adventure.

School-Aged Children: Pack a backpack, snacks, drinks, toys, activities, and a book. Encourage them to participate in the kids’ club activities and make new friends.

Teenagers: Pack a backpack, snacks, drinks, activities, a book, and a phone charger. Give them some independence but also set clear expectations for behavior.

Additional Tips for a Smooth Boarding:

Be Patient and Flexible: Things may not always go according to plan. Be prepared to adapt and go with the flow. A positive attitude can go a long way in making the boarding process less stressful.

Communicate with Your Kids: Talk to your kids about what to expect during the boarding process. Explain the procedures in a way they can understand and address any concerns they may have.

Stay Hydrated and Nourished: Boarding can be a tiring process, especially for kids. Make sure everyone stays hydrated and nourished. Bring snacks and drinks for the journey and take advantage of dining options once onboard.

Embrace the Adventure: Boarding is just the beginning of your cruise adventure. Relax, enjoy the experience, and get ready for a fantastic vacation with your family.

By following these tips, you can transform the cruise boarding experience from a potential source of stress to a smooth and enjoyable start to your family vacation. With a little planning and preparation, you can set sail for a memorable cruise filled with fun, relaxation, and unforgettable moments.

Dear reader, do you want to know More information about How to Make Cruise Boarding Easy with Kids? Click here

Here are some FAQs about How to Make Cruise Boarding Easy with Kids:

Q: What’s the most important thing to do before boarding?

A: Complete online check-in and get a boarding time.

Q: What should I pack in my carry-on bag?

A: Medications, swimwear, sunscreen, change of clothes, snacks, entertainment, valuables.

Q: Should I use a luggage service?

A: Highly recommended, it makes things much easier.

Q: What about strollers?

Consider a lightweight, collapsible one, or rent one at your destination.

Q: What if my child gets restless while waiting?

A: Bring snacks, drinks, toys, and activities to keep them occupied.

Q: What should I do once I’m on board?

A: Explore the ship, attend the muster drill, and sign up for kids’ clubs.

Q: What if I have specific dining requests?

A: Make reservations as soon as possible.

Q: How can I make boarding less stressful for myself?

A: Be patient, flexible, and communicate with your kids.

Q: What documents do I need for cruising with kids?

A: Passports (or birth certificates/ID for closed-loop cruises) for everyone.

Q: Should I make copies of our travel documents?

A: Yes, keep copies separate from originals, and digital copies too.

Q: What’s the security process like?

A: Similar to airport security; be prepared to remove metal objects and liquids.

Q: What should I pack for my baby?

A: Diapers, wipes, formula/baby food, and any other essentials.

Q: What about teenagers?

A: Backpack, snacks, drinks, activities, a book, and a phone charger.

Q: How can I involve my kids in packing?

A: Let them pack their own bags with their favorite items.

[cleverhottubmiracle]

Photo: Rosemary Warren   We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection.   Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online.   Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence?   Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years.   Can you share a little bit about your background as an artist.   I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually  painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible.   Untitled, Dyed wool & thread, 16.5 x 31.1 x 1   We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas?   It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality.    The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would.      Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio     How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression?   I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet.    Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again.    To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me.    The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up.    This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again.     Photo: Sarra Fleur Abou-El-Haj     What prompted you to start designing towels?   A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel.   I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available.   Where are your towels are made, and can you share a little about the production process?   The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US.   Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe.     Where there challenges when transferring your artistic vision onto a functional object?   Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult.   The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon.       Who or what has had the biggest influence on you creatively?   Music, queer/feminist literature and theory, quilts, and my sensory life in nature.   One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12.       Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard.     What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine.   Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far   Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion.   Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out.   Dreaming? The wherewithal to make myself jeans   Giving? I give my friends clothes I've made and novels after I finish them   Thank you, Wilder! Follow Wilder @wilderalison Shop the towels.     Source link

[norajworld]

Photo: Rosemary Warren   We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection.   Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online.   Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence?   Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years.   Can you share a little bit about your background as an artist.   I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually  painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible.   Untitled, Dyed wool & thread, 16.5 x 31.1 x 1   We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas?   It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality.    The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would.      Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio     How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression?   I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet.    Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again.    To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me.    The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up.    This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again.     Photo: Sarra Fleur Abou-El-Haj     What prompted you to start designing towels?   A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel.   I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available.   Where are your towels are made, and can you share a little about the production process?   The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US.   Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe.     Where there challenges when transferring your artistic vision onto a functional object?   Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult.   The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon.       Who or what has had the biggest influence on you creatively?   Music, queer/feminist literature and theory, quilts, and my sensory life in nature.   One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12.       Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard.     What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine.   Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far   Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion.   Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out.   Dreaming? The wherewithal to make myself jeans   Giving? I give my friends clothes I've made and novels after I finish them   Thank you, Wilder! Follow Wilder @wilderalison Shop the towels.     Source link

[ellajme0]

Photo: Rosemary Warren   We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection.   Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online.   Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence?   Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years.   Can you share a little bit about your background as an artist.   I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually  painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible.   Untitled, Dyed wool & thread, 16.5 x 31.1 x 1   We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas?   It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality.    The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would.      Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio     How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression?   I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet.    Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again.    To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me.    The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up.    This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again.     Photo: Sarra Fleur Abou-El-Haj     What prompted you to start designing towels?   A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel.   I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available.   Where are your towels are made, and can you share a little about the production process?   The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US.   Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe.     Where there challenges when transferring your artistic vision onto a functional object?   Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult.   The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon.       Who or what has had the biggest influence on you creatively?   Music, queer/feminist literature and theory, quilts, and my sensory life in nature.   One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12.       Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard.     What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine.   Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far   Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion.   Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out.   Dreaming? The wherewithal to make myself jeans   Giving? I give my friends clothes I've made and novels after I finish them   Thank you, Wilder! Follow Wilder @wilderalison Shop the towels.     Source link

[chilimili212]

Photo: Rosemary Warren   We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection.   Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online.   Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence?   Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years.   Can you share a little bit about your background as an artist.   I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually  painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible.   Untitled, Dyed wool & thread, 16.5 x 31.1 x 1   We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas?   It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality.    The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would.      Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio     How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression?   I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet.    Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again.    To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me.    The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up.    This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again.     Photo: Sarra Fleur Abou-El-Haj     What prompted you to start designing towels?   A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel.   I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available.   Where are your towels are made, and can you share a little about the production process?   The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US.   Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe.     Where there challenges when transferring your artistic vision onto a functional object?   Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult.   The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon.       Who or what has had the biggest influence on you creatively?   Music, queer/feminist literature and theory, quilts, and my sensory life in nature.   One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12.       Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard.     What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine.   Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far   Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion.   Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out.   Dreaming? The wherewithal to make myself jeans   Giving? I give my friends clothes I've made and novels after I finish them   Thank you, Wilder! Follow Wilder @wilderalison Shop the towels.     Source link

[oliviajoyice21]

Photo: Rosemary Warren   We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection.   Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online.   Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence?   Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years.   Can you share a little bit about your background as an artist.   I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually  painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible.   Untitled, Dyed wool & thread, 16.5 x 31.1 x 1   We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas?   It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality.    The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would.      Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio     How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression?   I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet.    Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again.    To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me.    The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up.    This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again.     Photo: Sarra Fleur Abou-El-Haj     What prompted you to start designing towels?   A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel.   I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available.   Where are your towels are made, and can you share a little about the production process?   The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US.   Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe.     Where there challenges when transferring your artistic vision onto a functional object?   Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult.   The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon.       Who or what has had the biggest influence on you creatively?   Music, queer/feminist literature and theory, quilts, and my sensory life in nature.   One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12.       Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard.     What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine.   Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far   Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion.   Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out.   Dreaming? The wherewithal to make myself jeans   Giving? I give my friends clothes I've made and novels after I finish them   Thank you, Wilder! Follow Wilder @wilderalison Shop the towels.     Source link

[lilplanet1]

Lil Planet

Lil Planet is an execlusive brand that provides kids comfortable frames, protective computer glasses, stylish swimwears and ideal monsoonwear through online store. Lil Planet provide quality products that are flexible, durable, stylish, and affordable.

[mint-moon25]

shopping in korea vlog 🇰🇷 daiso stationery haul 💕 unboxing compilation 🗓

Encore

Go puff - App - Los Angeles

Miami - more - Lying - about

Being Cheaper than Walmart

Ben and Jerry - Ice Cream

Go puff - $6.99

Walmart - $4.48 - Memory

Banana

Go puff - $0.49

Walmart - $0.27 - Forgot

Go puff - 20 min - Delivery

$7.99 - Fam20

They - Grocery - only

Walmart+ - Microwave

Small - Free Delivery

Toaster - also

Delivered within 1 hour

Instead of Overnight Ship

W+ - $12.95 - monthly

Asked - DeeDee - 2 - call

Jessica - No word - from

Both - Maybe - November

Dolphin Mall - Sundays

Luggage - Outlet

Small - Samsonite - +$500

I feel I will get High Paying

Part Time Job - Las Vegas

Afternoons

Classes - Cooking - Baking

Asian Foods - French

Bartending - Sewing Class

Buying - Cloth there

Most Beautiful Malls

My State ID - Checks

Already at my Mailbox

Gave - Dee Dee

New Hope C.O.R.P

New - Ultra Mobile

Tell No - Over 90 Countries

Free - sold by - Mint Mobile

Bad News -Mobile Data

No Hallmark - Outdoors

Las Vegas - Maybe in yes

Person - Samsung - Store

Larger - Miniso - Kawaii

Items - 12:30P - Bus 836

Exp - Wed - Shower Day

Tonight - 7:15P - Foods

Yesterday - Snacks and

Got - Beautiful - Nike

Sweats - Long Sleeved

No Sleeves with Hood

Lots of Wipes

Need - Trash Bags

Maybe - November

Dolphin Mall

Five Below

Foldable Push Chair

Small Bed - $20

Navy Sleeping Bag - Gray

Inside - $10

Huge - Pink Orbit Speaker

$7 - Round - Getting - that

2 kinds - Mauve - Blankets

One with Ears - $5.55 each

Larger - Longer - Woven

Rugs - Lighter than Rugs

At - Ross - Heavy when wet

Waking Early

Coin Laundry - Front of

Public Storage

Daily - 7A

Closes - 7P

Sundays - 6:30P

Coin Machine

Washers - More

$3 - 14 Coins - $3.50

15 Coins - $3.75

Dryers - $0.25 - Guessing

Per - 10 min - So - $0.75

Leaving - Main Library at

6A - instead - Earlier best

Exit College Bayside

Storage - Opens - 6A

Can Do Laundry - Ate - all

Not many at Coin Laundry

What its called - so Jessica

Is Bogus Teasing me about

Low Income Apts

Pre-meditated - Murder

Naturalized of Philippines

Medical Race

Blks - Prostitutes - illegal

Politicians - College - and

Public Jobs Transportation

Private Revenge on Foreign

Also - Least Visited Countries

Blk Countries

No 1 Criminals on Earth

Hispanic - No 3 and 4

Criminals on Earth

Koreans - Hispanics

Heights - decreasing

Population Rapid Decrease

Both - World Noticed

Americans - Age 75

Koreans - Age 82

Their - New - Longevity

Jesus is Lord

Travel Korea . pro

Namecheap - $2.79

$21.99 - Next years

Travel Korea . com

Over - $16,000 - first

Next years - cheap

Travel - Professionals

New Deals - Packages

LLC - 1 employee

Shop Korea

Florida

Zen Business - Online

Becomes

Shop Korea

Carmel - Indiana - snow

LLC - $39 - yearly

Late Fee - $10

Florida - $139

Late Fee - $400 - absurd

Shop Korea, LLC

shopkorea.co

travelkorea.pro

Domains - Namecheap

Travel Korea

Tax Free - Hong Kong

Island - Creating Wesites

For me plus Apps

Printed - Shirts

All Ages - Kids - Babies

Travel Korea

Shirts - Shorts - Sweats

Pajamas - Swimwear

Organic Cotton

100% - Wools - All Seasons

Travel Korea - My Designs

Luggage with wheels locks

Duffle Bags - wheels locks

Bags - Purses - Travel Tags

Animated - Travel Korea

Kawaii - Travel Korea

Travel Korea . pro

Everything - you - need

Travel Korea - Food bags

Tumblers Microwaveable

Incheon Airport - Store

Travel Korea - Luggage

Bags - Foods - Snacks

Travel Korea - Buffet and

Cafe - Bakery - Packaged

24/7 - Free 4 Kids Seniors

Travel Korea - Shirts

You will wear - Emblems

Travel Concierge - Future

2 Guide you - Come - with

You - Emblems

Front - Back

Left - and - Right

Our - App - Free

Detects - all of you

Register - Hands

Register - 2nd Finger

Kidnapping - So Lost

App - Supetnatural

We will find you

Smartphone stolen

Hands - Emblems

We will detect you

Travel Concierge - your

Best Travel - Package

All - Martial Arts ready

Weapons - Expert - all

Multi - Lingual - with

Retention - Vaccinated

Leaving - Library - Now

Jesus is Lord - Koreans