In our little potted gardens, sometimes our plants thrive, and sometimes they don't. But what remains constant are the pots still being a pot. This reminds me of the Bible verse, which served as the inspiration for this week's post: -Isaiah 40:8 NIV- The grass withers and the flowers fall, but the word of our God endures forever. //There are 6 Sundays leading up to Good Friday. In observation of Lent, I will be posting 6 works inspired by the theme. This is for the 5th Sunday of Lent.
Leo..wasnt the best at taking pictures for his school page. But at least the cat ones look good, right? No he just stole them from one of his favorite games. Dammit Leo! (still tired and sleepy..honk mimimimimimi but i have no clue what to draw next honsetly. IM THINKING OF STUFF I THINK, THE SIDE PHOTOS ARE CATTAIL FROM PLANTS VZ ZOMBIES. I LIKE CATTAIL!!!!) (just kill me already...............(again))
When I moved into my first apartment, I knew I wanted to create my own wall art. So like any Potterhead artist, I binged Harry Potter movies and painted for many hours straight. This painting is part of a three piece set featuring my favorite plants painted on a soft gradient background. This 8”x10” acrylic painting is made on pre-stretched canvas.
Continuing to look at the mysteries of plants used as bush medicine by Indigenous people in the East Kimberley of Western Australia. These two plants are common throughout the area. The one on the left is used for colds and the right for soap. How many of us would know what to look for?
Many people walk past plants either without noticing them or with just a glance. For the Walmajarri people in the Kimberley region of Western Australia, and many other Indigenous groups, plants provide a source of food and medicine. These outlines are of plants that are used by Walmajarri people as either food or medicine. For most people they remain a mystery, hence the outline only.
Taken from an instagram challenge. Done with markers and fineliner in my A4 sized sketchbook.
A new character for my Scribble universe. Species:Cucurbits Home: Gardens Likes: Plants, veggies, night time, he thinks the moon is friendly Dislikes: Fire, Ghoul (Ghoul is a big meanie)
I love the versatility of acrylic paint. You can change the consistency by adding water or acrylic mediums. These additions enable artists to create transparent glazes or thick impasto textures. The fast-drying nature of acrylics makes it easier to correct mistakes or make alterations during the painting process. This painting is part of a three piece set featuring my favorite plants painted on a soft gradient background.
J'adore cette période de l'année pour toutes ces jolies couleurs, les petites soirées blotties sous le plaide avec mon thé !
Doodling in a sketchbook is very stress-relieving and calming. I recommend it to everyone :) You don't need any artistic skills. All you need is paper and a pen :) Or a sketchbook and a fountain pen with purple ink, as in my case.
Take the Rymans, for instance. There is Robert Ryman (1930 – 2019), the patriarch whose paintings are indisputable icons of the modernist canon. Then there are his wives and children. Ethan Ryman (b. 1964) is the oldest of Robert’s three artist children. Though his mother was not an artist, Lucy Lippard (b. 1937) was still a scrappy and eloquent art critic, a feminist, a social activist, and an environmentalist. Ethan’s meticulously considered and crafted artworks might be characterized as somewhere between photography and sculpture, the abstract and the (f)actual. Though Lippard and Ryman divorced just six years after their 1961 marriage, their son is arguably the closest to his father’s methodologies if not his medium, and was certainly the last to become a visual artist. Robert Ryman went on to marry fellow artist Merrill Wagner (b. 1935) in 1969 and they had two sons. Though Wagner is more quietly acknowledged than Ryman, her boundless practice includes sculpture, painting, drawing, installation, and more. With an emphasis on materiality, her sites are indoors and out, her styles alternating. Will Ryman (b. 1969) is the elder son of Robert and Merrill. He started out as an actor and playwright though he too eventually assumed a visual art practice to become a sculptor. He is best known for his large-scale public artworks and theatrical installations that focus on the figurative and psychological, at times absurdist, narratives. Cordy Ryman (b. 1971) is the youngest, and the only one of the three who knew that he was going to be a visual artist early on. His work is abstract, the sophistication understated, and his output is prolific. With his mother’s DIY flair, his homely materials seem sourced from the overflow of construction projects, lumberyards, and Home Depot. Ethan Ryman said that, when he was young, he didn’t want to be a visual artist. Instead, he pursued music and acting, producing records for Wu-Tang Clan, among others, getting “my ears blown out.” But he was always surrounded by artists—Sol LeWitt, Carl Andre, Jan Dibbetts, William Anastasi, and countless others at his mother’s place on Prince Street in SoHo and at the Rymans’s 1847 Greek Revival brownstone on 16th Street in Manhattan, where everyone was often seated around the family dinner table. He would spend part of most weekends in the highly stimulating chaos that reigned there—birds, dogs, plants, toys, art, people, everywhere. “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” Ethan Ryman Lippard was “a powerhouse.” She took Ethan on her lecture tours, readings, conferences, galleries, studios, wherever she had to go. And while that almost always breeds rebellion, at some point, he began noticing all the art around them—both what it looked like and how it was made. He began to take photographs of buildings and realized that “abstract color fields were all around us.” He also began to notice his father and Wagner’s work more carefully—how sensitively it was executed and how reactive it was to its surroundings. “Once you’re interested, you notice. When I asked my dad questions, I would most likely get a one-word response. I had to go to his lectures for answers where he broke down modern art for me. After listening to him, it seemed to me we should all be painting, otherwise what were we doing with our lives?” Will Ryman, on the other hand, said that all his work has a narrative component. His background is in theatre and his interests have always been film and plays, his narratives about New York City and American culture and history. “It’s a city I love,” he said. “I try to observe culture in a bare-bones way and I’ve always been interested in telling stories—we’re the only species that tells stories to each other. It comes from an intuitive, cathartic place in me. I want to stay away from preconceived notions, although that’s not completely possible. I have no plan except to do something honest, with a little bit of a political bent and humor but I’m not an activist. I’m interested in exploring a culture and its flaws as an interaction between human beings.” His interests and his work are very different from his last name. There is no connection to minimalism. He didn’t go to art school, drawn instead to theatre workshops and theatre troupes. “I didn’t become involved with the visual arts until my mid-thirties. It’s easy to say what I make is a reaction, but I dismiss that. And I also wouldn’t say it’s rebellious after twenty years.” Of his family, he said, “we’re a normal family, a close family, with all the dynamics and complications that go along with that. And while everyone who came to 16th Street were artists, they were also just family friends. I have no other measure for how a family interacts. It was just the way it was.” Cordy Ryman was the only one of the three who went to art school, earning a BFA from the School of Visual Arts, but it was reportedly awkward for him, since all his teachers knew his parents. “When I started making abstract paintings, it was kind of push and pull but it became more interesting to me than my earlier figurative or narrative work. That’s when I started to know where I came from. I realized that I had a visual memory, and the language was there, a language I didn’t know I knew. We all had different ways of working; our processes are very different and it’s hard to compare us. Ethan and I use a similar inherited language but he thinks about what he does more. I work very fast, the ideas come from the process itself. I work in two or three modes simultaneously and bounce around.” At home, they were around Wagner’s work since her studio was there. “Will and I were always in her studio, helping her, going to her installation sites with her, adjusting her boulders or whatever the project was she was working on. That was special and made a deep impression, but I didn’t realize it then.” All five Rymans have in common an acute consciousness of space and of place as an integral component of their work. For the brothers, part of that consciousness might stem from their parents, but also from their attachment to their family home, which was a crucible of sorts for them, where everyone was an artist. To Cordy, the house was a “living, breathing thing, and the art in it felt alive, growing, and occupying any space that was available. It was the structure of our world. When I’m making work, it doesn’t need to be the most beautiful thing ever, but it needs to have its own life, its own space, like the art we grew up with.” And the next generation of Rymans, also all sons—what about them? Will said his son is still too young to know. Cordy thought the same about his two younger children; his oldest is in the art world, but not as an artist—so far. Ethan perhaps summed it up best: my two sons are artists; they just don’t know it yet.
From 2020, when I found Tombow markers. A pack of 5 was so expensive, but I liked using them.
Drawing of plants in a pots from the garden in colored pencils and acrylic paint. I made postal cards if anyone interested send me a message :)
Bee populations are rapidly declining around the world and there are many reasons to save the bees, but here are three of the most important: 1. Bees play a crucial role in our ecosystem. They help pollinate plants, which is necessary for us and other animals to survive. If there were no bees, we would lose many types of fruits and vegetables. 2. Bees also play an important role in our economy. Honey is a popular sweetener, and bee pollen is used as a dietary supplement. There are also many products that use beeswax as an ingredient. All of these products would be more expensive without the work of bees. 3. Finally, it’s simply important to protect all forms of life on Earth. We need to do everything we can to make sure that future generations will be able to enjoy nature’s beauty and bounty just as much as we do today.
Here is one of 3 illustrations I made for customizable postcards, available for purchase at @cava.galeria I wanted to make another silly #goose with a fun #hat
Hello!:) When my family and i were on our road trip in Portugal I was amazed by all the fantastic flowers and plants we saw. One of them, were these wonderful flowers. I was curious what they are called, but for now I just call them „sunshineflowers“ hihi. Wish youu a wonderful day!!
Here is one of 3 illustrations I made for customizable postcards, available for purchase at @cava.galeria. I wanted to make a silly #goose with a fun #hat
Here is one of 3 illustrations I made for customizable postcards, available for purchase at @cava.galeria I wanted to use this green/bluish colour, plants, and a very curious human in this case. What do you think the person is saying? *The size is 15,5 cm by 11 cm Limited number of postcards
The implementation of the project for the Akademos kindergarten in Poznań has ended. The idea behind the project was to create a jungle staircase in which children will be able to cover something new every day while walking down the corridor. Many animals, reptiles and insects are hidden in the thicket of plants. So that the number of details and small elements does not overwhelm the space, we used a black and white combination with small colorful accents, which are also to stimulate the imagination of children. Realistically painted birds are an additional decorative element, which can be a background for photo sessions.