Usually the painter has full control over the placing and quality of every mark and element in their work. This instead was creation in a straight jacket. The artist's task was to arrange a piece that worked with the discarded offcuts that were available. Apart from the piece in the bottom left corner that didn't 'look right', there was no overpainting. Given the very unpromising source material, the result has a satisfying coherence as an aesthetic system, which is what paintings are fundamentally.

Forget What You Know

Speeding and roving light captured off the Chicago transit line.

 
 

Visual Poetry:



 
 Commute 

 by Cody Ryan Tippie 

 
 A web of winding rails,

interconnected they mind and weave.

Chancing distance afar cut short,

to commuters time and pace reprieved. 

 
 Of ease to traffics delight;

burden lessened of constructions millwright.

Fortuited cityscapes design overhauled;

to the release of stalled traffic appalled. 

 
 A stop afore; a platform change be it so;

dusked, dirted, stank, and rusted,

lay serviceable amenities in need of grow. 

 
 Persons of all walks standby to catch a ride;

from the disheveled homeless keep,

to the still morning drunken bar peep,

the stunning, but eclectic city thriver,

to the well-made suited office diver,

yet it be to the traveler skimming crown,

or the drugged despot stumbling round;

for mind of manner,

is thus skyway a diverse ubersetzer,

or translator from that of city to town. 

 
 Brown, Pink, Blue, Green, Red, Orange, Purple,

and Black run the lines thick and through; at intervals

unforgiving only frustration, worry, or anxiety might rue. 

 
 Albeit one of these lines is missing,

be it not present; nor exist it not at all.

For what should be the lies of the many;

shrouded within cages of pultrid walls. 

 
 Alas, long a’fore may I have read the station map a’rore,

mistaken be it were to relations that may n’ere have existed yet before.

A few minutes spat;

yet a carriage car arrives of late,

those waiting dashing and running,

to catch a place to sit of din from date. 

 
 Oh be the short commute underway;

of lights flicker and flutter zizzling by,

for lightscapade of the rushing boroughs,

washes away fraughted fret,

from daily endeavors to live or survive.

Commute

Part of a larger body of landscape activated artworks attempting to provide the landscape agency in its own form of communication through the work; and investigate the concept of nostos (νόστος), and my own fluctuating visions of "home."

Kleobis and Biton

The desert has always meant much to us as Arab and Bedouin societies. In this group, the desert was depicted as the silk that led us, despite the difficulties, to adapt to it to face the future and its challenges.

Silk

John Cage once said, "No two Coca Colas are the same." Strictly speaking, space and time are different, so even Coca-Cola, which looks the same, is in fact different from each other. All things are supposed to have unique properties, but commercial products have bugged our senses by making us perceive "different" things as "the same. This trend is further accelerated in the digital space, where we are communicating on a daily basis via social networking services (SNS) using text and visual bases, and the symbolic perception of things seems to be amplified. Recently, our perception of the world has moved to a new stage with the creation of a metaverse, a space that could never have existed before. Here, cyberspace expands and a sense of site-specificity rises digitally as well. The technology of NFT even allows us to treat perfectly "the same thing" as "different.

  
​This work questions the "same thing" and the "different thing" and the uncertainty of our perception. What would happen if we brought the two Coca-Colas described by John Cage into a digital space? Since the metaverse is a space, does it exist in the same way as the real world, depending on its environment? When digital objects are cut out as NFTs, can we say that they are \`really' different? Can we say that what we see now is the same as what we will see the next day? When you know that it is \`real' digital data that lives online, can you say that the data that existed offline was a fake? When you look at the real world again with that sense of being awake, does the Coca-Cola can look different than it did before? The expansion of the senses in the digital space reconfigures the two Coca-Cola cans in front of the viewer, making them multifaceted.

  

The Same ?

In "Whispering Petals," an air of enchantment and delicate beauty fills the scene as an elegant Asian girl dons a luxurious silk gown amidst a backdrop of blooming flowers. This fashion editorial piece transports viewers to a dreamy realm where fantasy and reality blend seamlessly.

  
The focal point of the artwork is the graceful Asian girl, exuding poise and elegance. She wears a delicate silk gown that drapes around her form, embracing her with its ethereal allure.

Against this backdrop, vibrant pink blooms come to life, their petals gently whispering secrets in the wind. The flowers create a sense of enchantment and add a touch of whimsy to the scene, infusing it with a romantic and otherworldly atmosphere.

  
The composition is bathed in a soft, ethereal light, enhancing the dreamlike quality of the artwork. It invites viewers to immerse themselves in a world where reality intertwines with fantasy. The delicate features of the Asian girl and the vibrant blooms evoke a sense of harmony and grace, creating a captivating visual narrative.

  
"Whispering Petals" invites viewers to step into a realm where dreams take flight and the beauty of nature intertwines with the elegance of fashion. It is a celebration of femininity, grace, and the magical power of imagination. Through this piece, one can experience a moment of escapism and be transported to a world of whispered secrets and blooming fantasies.

  
Breznanikova, 2023

  
https://gallery.manifold.xyz/petals (Referral link to earn commission) 

  

Whispering Petals

052421 - Crescent Beach, WA. (Language of the Earth)

Auferstehung

Martyr

This piece commemorates both the artist's mother and grandfather. The original photograph represented in this work was captured by her grandfather. This image is a portrait of Amadi's mother at the age of about 16 or 17, and is the muse for the entire piece. The overall color story is reflected directly from the original photograph, using physical features of her mother, such as skin tone, hair color, and eye color. Amadi invites the concepts of remembrance and healing, along with her ideas of pixelated memory in this woven image. With the use of transparency film and color brings a ghostly presence to the work. This piece was created to honor the 5th year anniversary of her mother's passing, while also keeping the existence of her mother's innocence remembered.

Forever Young 

Why I Need to be Strong

That night, he came back home after seeing his group of friends. Mostly white people. He remembers what they said that night. A lot of racist bullshits. It was more than usual, and he felt literally sick coming back home.

  
He entered the bathroom, it was dark. The light was broken… He couldn’t see his reflection in the mirror. The mirror was black. And for few seconds, he actually hoped he disappeared. He was afraid to see what was in the mirror. Someone he always tried to hide from others, but mostly from himself.

  
In the dark, the mirror was shattered. Revealing multiple reflections of himself, multiple truths about who he was. He always knew he was multiple, complex. This complexion that his environment never wanted to accept.

  
He never understood why people around him never wanted to see him entirely. See the black man, but also the indie rock fan, the soccer player, the artist, the friend, the lover, the immigrant, the clown, the ghost. He always wondered what they were seeing when looking at him.

  
He realized years after that what they wanted to see in him, was themselves. He turned into the mirror of their own limitations. He became their expansion. He became their strength and let them take his energy and vision away from him.

  
The only moment he was truly himself was in that dark bathroom, in front of the black mirror. Multiple faces, multiple realities, multiple outcomes.

  
He remembered his parents. When they moved to Belgium in the late 80’s. He remembered how they were acting different in front of white people… It was their way to survive a world that was openly violent with them.

  
Now that he is older, he tries to reclaim the past he never had to change his future. He tries to repopulate his memory with new memories and new experiences. But memory is a tricky one. There might be glitches and bugs, and digging in the past always brings unexpected things

  

Easier. Black Mirror - The Eraser, 2020.

"No Such Thing as Friends" dives into the fickle friends one experiences in Seattle. 

No Such Thing as Friends

“ Azure Blaze” reminds us to not be afraid to burn brightly as our true Self. To allow our blaze to destroy all the negative emotions and energies within us that have hindered and harmed us. Our mind has created a bondage that binds us. We are free.
  
  
Weight: 5 lbs.

Artwork info: Luiz’s Freedom Collection

Azure Blaze

This piece is an illustration of a scene in a story I’ve been writing for the past few years that follows a projected future of the world looking at how the issues we face today can affect our tomorrow. In this piece a group of children play in an abandoned jeep as the adults of their community return home from a hunt for Red Brocket Deer in Central Trinidad

The Old Jeep

Pressures of female existence come in many forms, keeping a comfortable home with a woman's touch, the duty of motherhood and the expectation to reproduce before you're considered geriatric, to be healthy, slim and to maintain beauty and elegance to your grave. An internal tragedy of suppressing anger and tenacity to maintain a youthful glow and exude sexuality. 

An Outstanding Way To Die

“Waterloo”, Hannah Jones, 2022, Berlin, 218x142cm (86x56”) Acrylic on canvas.

Waterloo

Sie sind klein und nuscheln ein bisschen. Anfangs dachte ich, sie sprechen eine Sprache, die ich nicht kenne, oder mein Gehör sei schlechter geworden. Auch sehen konnte ich sie nicht so gut. Anfangs waren sie so winzig, dass sie fürs bloße Auge nicht sichtbar waren, oder sie waren etwas verschwommen, in viele Teile verstreut oder hoben sich nicht ab von dem, was sie umgab.

Mitunter – vielleicht sind sie ein wenig schüchtern – versteckten sie sich hinter Farben und Pixeln. Es war nie so ganz deutlich, welchen Weg sie gehen wollten, mehr ins Blau oder mehr ins Ocker, vielleicht ein wenig Grau oder Beige? Sie schienen unschlüssig, wo sie sich wohler fühlten, oder vielleicht projiziere ich ein wenig und sie waren schlichtweg experimentierfreudig und hatten keine Lust, sich festzulegen. Tatsächlich wohl spielten sie mit Pantone und Strichen, zogen dort Linien und Kreise, wie sie es so freihändig vermochten und ihnen der Schnabel gewachsen war, und schwankten zwischen Farbräumen und Medien, probierten sich in Klecksen und Kleckern.

Und nun, geneigter Leser, geneigte Leserin, fragen Sie sich vielleicht und ich frage Sie, ob Sie sie sehen? ❤

Annäherung an kleine Gestalten

 50x40 cm
 acrylic, clay and paper on canvas 
2021

Art is tired
alone
without a public
stuggling
like you
she is still living

"Unknown Head No.2"

The work was part of my solo show TRANSITIONS.

TRANSITIONS features new works that explore the theme of culture and tradition in the modern age, creating a fusion between traditional elements from Eastern Europe, and a contemporary adaptation. 

Soft gradients and aura-like radiances contrast sharp edges and bold shapes, creating a hazy atmosphere that surrounds the subject with a reinvented tradition. 

Neo-folkloric costumes in vibrant colours correspond to the digital age and inner shifting of perception. Delicate threads construct the fabric of our world. Emerging from the past, their infinite weaving unfolds the present before our eyes and alters the future within ourselves first 

The transition carries the symbolism, mysticism and power of culture into the new form – narrating the reimagined tradition, embedded into the works, continues its existence with a stronger connection to the past and its forces.

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