While most of my pieces are usually fantasy and manga based, I do try to get outside that box. The same goes for mediums used as well. Here's a bit of still life of a ramen cup because I admit to having a bit of an obsession with ramen. I do like to cook myself but I tend to cut corners somedays as well...
The idea was to create a nice scene of the sun shining down on a house. The skies are showing off shades of blue, and brown, and yellow. I love the rustic style and I feel like I accomplished that look in this painting.
One of the other bits of art I'll sometimes do is collage building. I admit to recycling bits of everyday things from candy wrappers and ramen noodles lids to packaging information for later use. I do use a bit of my own artwork but that's not really the focal point and therefore, it's being excluded from tags.
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I highly recommend the book, Gender and Competition: How Men and Women Approach Work and Play Differently, by Kathleen J. DeBoer.
In it, among other things, she elucidates that those with a conceptually masculine perspective (regardless of sex) are drawn to thinking of the world in hierarchies, which I have represented here with a triangle in the mind of the spotter on the left. She elaborates that those with a conceptually feminine perspective (again, regardless of sex) are draw to thinking of the world in webs, which I have represented here with a circle.
Those that think more masculine-ly are more likely to expect beginners in a sport or field to prove themselves in the group. They will often not "hold their punches" (i.e. curb their ability) to make newcomers comfortable. All members of the group are expected to "earn their keep," in a sense. When a member of the group exceeds expectations, they move up in the hierarchy.
Contrary to that, those that think more feminine-ly likely show acceptance and approval to beginners in order to foster an environment in which they will perform. They will often adjust their skills so that newcomers can more readily "keep up." When a member of the group exceeds expectations, they are expected to raise the status of the group as a whole. The playing field is "flattened" in that sense.
I am not advocating for either perspective, but I will share that I have a more conceptually feminine perspective, and that I have previously left groups whose members have a more masculine perspective.
Kathleen's book really helped me personally to understand the motivations of people that I genuinely did not understand prior to reading the book. It put a lot into perspective for me, and I hold fewer grudges these days.
Cheers, fam~
Suppose that 'meaning' is a faint word scribbled on a wall in a dark room. The words that we use are often barriers that separate, then, our 'comprehension' from 'meaning.'
Let us suppose then that the light of the intention of a speaker is obscured by a 'word.' The angle and setup of that intention then, along with the angle and setup of the comprehension of the listener, can distort or disguise the true meaning of what the speaker is saying.
Of course, the angle and setup of these things can vary greatly, just as easily as the shadows that cover 'meaning' can vary. It would seem best, then, with this in mind, to communicate as transparently as possible and to avoid and/or to detect deceit whenever possible. Dishonesty and misdirection, whether deliberate or otherwise, in the speaker or in the listener, always risk shrouding 'meaning.'
When communicating earnestly, distraction can be dangerous. Shrewdness is recommended.
This is the first work conceptualized and created by Katrina Greidanus in the Anime character design project in the famous Anime Studio and I used PaintTool SAI to be able to create it and then I published it on Doodle Addicts on February 25, 2022 as a souvenir.
Contact Information:
Artist: Katrina Greidanus
Email: trungtriluao.vpbq@hotmail.com
NOTE: This work is exclusively posted on three platforms: Facebook, Artpal and Doodle Addicts. Works posted on other platforms or not under my name are all fake.
DO NOT COPY MY WORK!
Since the dawn of l’automatisme, the floating shapes of Miro and Klee were praised as musical suggestions. Unlike the Masters, my groundwork of flowing lines speaks melody and rhythm from a musical score perspective. The flow of lines ties the art elements into a composition. It also reflects a concept from Chinese paintings, which says, ` as a line moves into the invisible, the idea continues.’
