Posts tagged art

female100% (1)

How it’s been a while since my last interview took place, today I’ve reborn through an interview very feminine and very human.

Giselle Bolotin is her name, an Australian libra (sign) full of passion and joy inside and outside her spirit.

 

Interview by Simona Simionescu

Hello! Let’s talk about art! 

– Shall we begin?

How did you started to paint? It was a desire or a will?

It was in my blood. My father was an artist.

How it was in art university? Or where you studied?

Yes at art College. But I had to unlearn again when I finished.

Why?

I had to learn myself how to paint me.

To feel yourself.

Not rules and laws of art. Yes me. To feel me and to paint like me.

Do you paint a perfect woman after you or is a woman without a name ? I mean her identity..

It’s me. I paint me.

She is or them look like a inner  of  you.

Yes.

How Giselle’s world looks like? It is about a perfectible woman… always a discovery of her soul and feelings…  

It’s all about a woman. She is not running. Her love her life her lack of  passion. Her gentleness. Her strength. Her trusting too quickly. Her sense of justice.

Maybe her disappointness or her trust?

Yes.

Her soul. Her mind. Her desires.

Her believing too much.

Her reality in a fairy tale ending.

Her belief love is a temple. And it will overcome all obstacles.

When you follow the lines – the curves- you sent the touch? As if you.. touch her.

Yes. And only the very tuned in person can feel it .

When u paint yourself.. what part you like the most?

Breasts, hips, bottom and usually no face… The universal woman.

When u choose your colours ..you pick them after the mood or after the game of senses?

It just happens. I don’t think about colour it just happens. Outer with orange hair and inner with soul

Is your image of how you are beside skin. Sometimes that bleumarin looks like night sky and tooks me to a woman which is a fairy and ready to tell a story. 

Yes. Yes. I do.  And the sad the happy. The lost the strong.

The orange brings you peace and defines you – the warmth woman, full of joy and life. Who sees good. And cares about people more than sometimes gets back.

Yes. And the blue is the melancholy. When I am disappointed. Or dissullioned.

You have the night woman, the middle day woman and the morning woman. As if they are the cycle of the women’s life. Morning- birth. Middle-mature. And the night – old but wise. Who can wait to tell stories 

Yes it’s a life story and an everyday story . Yes all of that.

So you see you know it all.

14 15 16

What materials do you use?

Lots of collage from other torn up works and the simplicity comes after.

Or pieces I take my sadness or happiness out on. Paint bits and pieces of colour on them

Throw ink on it.

How do you want the non-artistic viewer to see your paintings? From distance or close enough to the mistery?

That’s up to their own interpretation.

Do you have any message for the viewer? To expect or see or…feel?

No I have no message I just want them to feel some sort of emotion when they look at my work.

20

Sometimes emotions are very hard to find when people are in rush of daily problems..

Emotions .. to feel is a danger path nowadaysAnd sometimes a weakness.

And a message for other painters?

Feel free and paint their heart and soul. They have only to paint them.

– Thanks so much Giselle!!

– You’re welcome, beautiful!



		
		

source: https://www.facebook.com/giselle.bolotin/photos

grotesque details and misteries

Ryunosuke Akutagawa este un scriitor japonez (1892 – 1927).
Viața lui este plină de meandre. La puțin timp după naștere, din cauza maladiei mamei (care suferea de delir mental), unchiul său matern, Akutagawa Michiaki, îl adoptă în 1904.
De o inteligență ieșită din comun, Ryunosuke este inițiat în cultura Japoniei și a Chinei. În același timp, se familiarizează cu literatura occidentală: E. A. Poe, Maupassant, Nietzsche, Dostoievski, Gogol, Ibsen, Baudelaire, Strindberg. Gustave Moreau şi Odilon Redon sunt pictorii săi preferaţi.
La 14 ani publică o povestire (Nasul). Este remarcat de Natsume Soseki, pe când studia literatura engleză la Universitatea din Tokyo.
Scrie scurte povestiri. Deși inspirat din culegerea Istorii care sunt acum trecut, universul închis al prozelor sale are treceri bruște, neașteptate, spre o lume stranie, fantastică: Porțile infernului, Câmpie moartă, În pădurea întunecată, Diavolul și tutunul,Martirul, Zâmbetele zeilor.
Încetul cu încetul, scriitorul abandonează recursul la trecut, reflectând viața din jur, dar mai ales viața personală: Mandarinii, Toamna. Extrase din carnetul de însemnări ale lui de Yasukichi. La jumătatea drumului vieții lui Shinsuke Daidoji este o evocare a anilor de copilărie, iar Villa este o relatare spectrală, în care planează umbra morții. În Iluminare creatoare (1917), Figuri infernale (1918), Firul de păianjen (1918), Miraj (1926) și Angrenaj (1927) întâlnim pasaje psihologice lucide, tulburătoare, prevestind propriul sfârșit. Sufer[ tot mai des de halucinații. Ultimele sale cuvinte: „o vagă neliniște”. (Akutagawa se sinucide în ziua de 24 iulie 1927.) Viața unui idiot este o scriere autobiografică, un testament. Autor a peste o sută cincizeci de povestiri, maestru incontestabil al prozei scurte, Akutagawa a exercitat o puternică influență asupra literaturii japoneze.

Nuvela În pădurea întunecată (1922) este alcătuită din șapte monologuri dramatice. Această capodoperă, precum și povestirea Rashomon (1915), îi inspiră lui Akira Kurosawa scenariul filmului Rashomon, premiat la Veneția în 1951.
Subiectul este simplu: un samurai este omorât. Însă fiecare dintre martori relatează propria versiune a acestui fapt divers, astfel încât nu putem ști care este adevărul. Trei persoane pretind că l-au ucis pe samurai: banditul Tajomaru, soția samuraiului mort și… mortul însuși. la femme du samouraï mort et le mort lui-même
Tehnica narativă este absolut inovatoare, prin intersectarea vocilor. Arta suspensului este realizată printr-o adevărată alchimie între o inteligenţă analitică şi un temperament poetic. Fiecare personaj vorbește la persoana întâi, iar cele șapte mărturii se succed halucinant: tăietorul de lemne care a descoperit corpul, un călugăr budist, un denunțător, o bătrână, un tâlhar. Confesiunea soției samuraiului este contrazisă de aceea a bărbatului asasinat, povestită de către un medium.
Locotenentul nu judecă, nici nu analizează depozițiile martorilor. Fiecare mărturile dezvăluie și ascunde totodată adevărul. Nici măcar povestitorul nu știe exact ce se întâmplă. El urmărește cuvintele, faptele și gesturile protagoniștilor din exterior, fără a le putea ghici adevăratele gânduri. Fiecare dintre martori rămâne suspect. Comisarul de poliție care anchetează cazul nu află decât o parte a realității, deoarece diferitele versiuni ale crimei modifică mereu viziunea pe care o are cititorul despre acest eveniment. Întrebarea de la început rămâne fără răspuns: cine este ucigașul?

Ryunosuke Akutagawa est un écrivain japonais (1892-1927).
Sa vie est pleine de méandres. Peu de temps après la naissance, en raison de la maladie de sa mère (qui était atteinte de folie), son oncle maternel, Akutagawa Michiaki, l’adopte en 1904.
D’une intelligence hors de commun, Ryunosuke est initié dans la culture du Japon et de la Chine. Il connaît bien la littérature occidentale : E. A. Poe, Maupassant, Nietzsche, Dostoevsky, Gogol, Baudelaire, Ibsen, Strindberg. Gustave Moreau et Odilon Redon sont ses peintres préférés.
À 14 ans, il publie un récit (Le Nez). Il est remarqué par Natsume Soseki, alors qu’il étudie la littérature anglaise à l’Université de Tokyo.
Il écrit des récits. Bien qu’inspiré par la collection d’Histoires qui sont maintenant du passé, l’univers clos de sa prose a des passages brusques vers un monde étrange et fantastique : Les portes de l’enfer, Champs morts, Dans le fourré, Le diable et le tabac, Le martyr, Les sourires des dieux. Peu à peu, il abandonne l’appel vers le passé, reflétant la vie environnante, mais surtout la vie personnelle : les Mandarins, Automne. Extraits du carnet de notes de Yasukichi. À mi-chemin de la vie de Shinsuke Daidoji est une évocation des années de l’enfance, et la Villa est un spectre où plane l’ombre de la mort. Dans « L’illumination créatrice » (1917), Figures infernales (1918), Le fil de l’araignée (1918), Mirage (1926) et Engrenage (1927), on rencontre des passages psychologiques lucides, troublants, annonçant sa propre mort. Il souffre le plus souvent d’hallucinations. Ses derniers mots: « une vague inquiétude ». (Akutagawa s’est suicidé le 24 juillet 1927). La vie d’un idiot, c’est une écriture autobiographique, un testament. Auteur de plus de cent cinquante histoires, maître de la prose courte, Akutagawa a exercé une forte influence sur la littérature japonaise.

La nouvelle Dans le fourré (1922) est composée de sept monologues dramatiques. Ce chef-d’œuvre, ainsi que le récit Rashōmon (1915), inspirent le film d’Akira Kurosawa Rashomon, décerné à Venise en 1951.
Le sujet est simple : un samouraï est tué. Toutefois, chaque témoin raconte sa propre version de ce fait divers, donc nous ne pouvons pas savoir quelle est la vérité. Trois personnes prétendent avoir tué le samouraï : le bandit Tajomaru, la femme du samouraï mort et… le mort lui-même.
La technique narrative est absolument innovatrice, en croisant les voix. L’art du suspense est réalisé par une vraie alchimie entre une intelligence analytique et un tempérament poétique. Chaque personnage parle à la première personne, et les sept témoignages se succèdent de façon hallucinée : le bûcheron qui a découvert le corps, un moine bouddhiste, un indic, une vieille femme, un brigand. La confession de la femme du samouraï est contredite par celle de l’homme assassiné, racontée par un médium.
Le narrateur ne juge pas les dépositions des témoins. Chaque témoignage révèle et cache en même temps la vérité. Même le narrateur ne sait pas exactement ce qui se passe. Il suit les mots des protagonistes, les actes et les gestes du dehors, sans être en mesure de deviner leurs vraies pensées. Chacun des témoins reste suspect. Le commissaire de police qui enquête le cas ne voit qu’une partie de la réalité, car les différentes versions du crime modifient à tout moment la vision du lecteur sur cet événement. La question reste sans réponse : qui est le meurtrier ?

Ryunosuke Akutagawa is a Japanese writer (1892-1927).
His life is full of twists and turns. Shortly after birth, due to the illness of his mother (who was reached of madness), his maternal uncle, Akutagawa Michiaki, adopts him in 1904.
Very intelligent, Ryunosuke is initiated into the culture of the Japan and China. He knows well the Western literature: E. A. Poe, Maupassant, Nietzsche, Dostoevsky, Gogol, Baudelaire, Ibsen and Strindberg. Gustave Moreau and Odilon Redon are his favorite painters.

At the age of 14, he publishes a short story (The Nose). He is noticed by Natsume Soseki, while studying English literature at the University of Tokyo.
He writes narratives. Although inspired by the collection of Stories which are now past, the closed universe of his prose has abrupt passages towards a strange and fantastic world: Hell Screen, Gleanings from a Withered Field, In a Grove, Tobacco and the Devil, The Martyr, The Smiles of the Gods.

Little by little, he abandoned the appeal to the past, reflecting the surrounding life, but especially his own life: Mandarin Oranges, Autumn. From Yasukichi’s notebook. The Early Life of Daidoji Shinsuke is an evocation of the years of childhood, and the Villa is a spectrum where hovers the shadow of death. In “Creative illumination” (1917), Figures infernal (1918), The Spider’s Thread (1918), Mirage (1926) and Spinning Gears (1927), we encounter lucid psychological disturbing passages, announcing his own death. He is suffering from visual hallucinations. His last words: “a vague insecurity”. (Akutagawa committed suicide on July 24, 1927). Fool’s Life is an autobiographical work, a testament. Author of over one hundred and fifty stories, a master of the short prose, Akutagawa exerted a strong influence on Japanese literature.

In the Grover (1922) is composed of seven dramatic monologues. This masterpiece, as well as the story Rashōmon (1915), inspired the film Rashomon by Akira Kurosawa, awarded at Venice in 1951.
The subject is simple: a Samurai is killed. However, every witness tells his own version of this fact, so we cannot know the truth. Three people claim to have killed the Samurai: the bandit Tajomaru, the wife of the dead Samurai and… the dead man himself. The narrative technique is absolutely innovative, by crossing the voices. The art of the suspense is realized by the real alchemy between an analytical intelligence and a poetic temperament. Every character speaks in the first person, and seven testimonies follow one another in a hallucinated way: the woodcutter who has found the body, a Buddhist monk, an informer, an old woman, a bandit. The confession of the woman of the samurai is contradicted by that of the murdered man, told by a medium.
The narrator does not judge the testimonies of witnesses. Every testimony reveals and hides at the same time the truth. Even the narrator does not know exactly what is happening. He follows the words of the protagonists, the acts and the gestures from the outside, without being capable of guessing their real thoughts. Each of the witnesses remains suspect. A police captain who investigates the case sees only a part of the reality, because the various versions of the crime modify at any time the vision of the reader on this event. The question remains unanswered: who is the murderer?

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