Why are you so perfect?
(via phenomenaaa)
Why are you so perfect?
(via phenomenaaa)
ambedo n. a kind of melancholic trance in which you become completely absorbed in vivid sensory details—raindrops skittering down a window, tall trees leaning in the wind, clouds of cream swirling in your coffee—which leads to a dawning awareness of the haunting fragility of life
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How gorgeous.done in holland at papanatos tattoo shop , den haag .
inspired from Thai design .
enjoy .
A reclining man - 1936 - Konstantin Andreevich Somov
(via malebeautyinart)
I believe giving friends, families, and strangers opportunities are what makes a good person. Success should be shared and should be handled amongst those who deem responsible to sharing that success. It pains me so much witnessing someone hide an opportunity from someone else simply because they want all the credit or they want to be the only one who stands successful.
If it’s a competition, that is understandable, but even competitions are superficial compared to life’s opportunities.
I would like to say almost half of my success comes from what people have given me. It is so humbling and appreciated. I can only do so much for them. Sometimes, when an opportunity rises and is able to shared, I try my best to get as many people to share it with me. While some appreciate it and reciprocate another event or position, others do not.
Here’s the thing, people do know when someone else is hiding an opportunity, and although it is bothersome, they do not want to impose. It is one’s choice to be selfish or kind. But that choice is karmic.
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“The morning wind forever blows, the poem of creation is uninterrupted; but few are the ears that hear it.” – Henry David Thoreau
My summers primarily included staying up to have the nightly wind as one of my visitors on my balcony. I live on the third story of what is a plain brown apartment complex. I believe everyone who lives in this apartment building are like bees – as what we do is try to be productive and manage to live in a compact area for a certain amount of years. The balconies create a difference between the bees and my neighbors. While bees and their hives are, also work and sleep, human beings who rent with the luxury of having a balcony can escape, for a moment, but never escape so far. For the summers, I would always stay on my balcony, watching the drunken slurs find their way to home – seeing women cry and men laugh. I like watching them, but sometimes humans are too much. When the sun rises, my irises becomes immersed in the pink blush that merge with the sky, and the sister Night wind carries off to the West while her brother Morning wind shares the salts from the Lynn Marsh. I am showered with the Earth’s cologne, and I am tempted on venturing beyond my balcony, beyond my hive, beyond myself.
The Lynn Marsh is what is called. It is what borders Revere and Lynn and it is a Marsh. Surprisingly enough, it used to be a trail until much of the Marsh became dehumanized and very few have visited since. I enjoy visiting rather than being the host to one of nature. I like intruding the Marsh the way the wind intrudes my ears, and the sun intrudes my eyes. It became a habit to bring books and pens as I visited during the early hours of the day. My rendezvous with this Marsh has become so common and yet so quiet. From what I had felt, we were one. It was all golden, it was all quiet besides the scratching of my pend and the dry kisses with my finger on the page. There were numerous birds that lived in the Marsh: Cranes, Crows, Ravens, Robins, Chickadees, Cardinals. Their languages were none of my own, but I have learned to identify them through the summers, and they were only such a flattering background to my stay.
One day, an unidentified bird disturbed the Marsh. Amongst us all, we peered somewhere—anywhere in all directions trying to find this bird. We were robbed from the morning’s peace, but not because this bird was loud and aggressive to the ear, but because it’s chirping—or rather gawking, was so horrifyingly foreign and strange. In the 1973 Exorcist film, Father Damian Karrass and Father Merrin discover Regan MacNeil, the thirteen-year-old child who has been possessed by the devil, would be speaking dead Latin in six different tones of voices all at once. From soft, to loud, to low and high, this bird’s chirp was equivalent to that of the possessed Regan MacNeil’s dead Latin. Nature is a way of showing God’s creation; but most importantly, proof of his existence, but this bird proves the devil’s existence as well.
I first heard it while (ironically) re-reading To Kill a Mockingbird. I was at the part of Atticus’s speech given in the courthouse when the bird squawked or maybe shrieked…or something around that term. My knuckles became whiter as my thin skin tightened due to my instinctual manner to close the book and “book it.” I wait again, to see if this bird was of my imagination. What frustrates me the most to this day is that I still never saw this bird, and though its voice is still apparent in my head, it’s image is absent. I heard it again. Somehow, the Marsh became colder – the floor was not as bright anymore. Eyes wide terrified, I left. With no regrets and with all due respect, not a sigh for my departure with the Marsh. To this day, I recount the unsoundly mount of horror this bird created, but no description will ever be able to surpass my imagination from a journal:
“I imagine this bird to be black, raven-like but not as elegant.
It’s eyes far larger than a generic bird and far more vulnerable.
The bird’s claws are dark blue, large, and dull.
But the scariest of my imagination was that it’s beak looks completely normal until it opens.
With a bird’s beak, there is that parting in both sides and front that can allow you to tell that when it separates, there is only a top beak and a bottom beak.
I imagine has four partings that come from the corners and down/up to the center.
When it opens its mouth, it opens wide to an almost circular opening, appearing it’s black tongue.
The bird would have a right, left, top, and bottom beak(s).
At one point, I would dream about this bird, and then sometimes, I would cry when the sun would rise. It has gotten to that point where I was enveloped into my own imagination and felt like a little girl seeing an inanimate object’s shadow in a dark room. It was the darkest spot of my summer, but I have only learned from it. Nature is one such versatile. It cannot be only butterflies and bunnies that spring with rainbows. It is unexplainable and imaginable horror that proves one’s worth on the Earth.
I used to always talk about the Lynn Marsh that I live near. It is so influential, so natural, and so curious. When I visited the Marsh today, I couldn’t help but notice how empty it was. It looked abandoned and dead with seldom evidence of life. At times I doubted if I was even at the Marsh I used to go to every morning during the Summer. I wouldn’t say I was disappointed, as I had a camera at the ready; but I was rather shocked. Somewhere between the first jump over the puddle to the marsh to the step that helped me turn back home, I realized something was different and I was intruding.
In the spring of 2011 I spent three and a half months in Morocco working with writer Sarah Dohrmann on a collaborative project about prostitution and the marginalization of women.
While in Morocco I began to work with collage, cutting up the photographs I was making and piecing them back together, layering and juxtaposing the images. I was spending time with and photographing women who were pushed to the edges of society – single mothers, divorcées, prostitutes. Many of these women did not feel safe having their faces photographed - some didn’t feel safe being photographed at all - but it was important for them to talk about their experiences. I began to use the collages as a way to protect the women’s identities (when necessary) while expressing what I understood about their lives and examining my own perceptions and experiences in the process.
Having worked for several years on long-term projects addressing the complicated and layered issues around prostitution, I had become frustrated with the limitations of straightforward documentary work or reportage. I felt compelled to take a more conceptual approach to exploring ideas around representation and perception, marginalization, sexuality, the idealization and/or demonization of women’s bodies and, specifically within the context of my work in Morocco, the legacy of colonization and the impact of Orientalist representations of North African women historically and currently. My goal with this work is to not only explore some of the perceptions and realities of women’s lives in Morocco, but to raise questions about the documentary process itself and the impact of visual imagery/representation on women’s relationships with power, choice and identity.
I titled this work Scènes et Types in reference to the colonial Orientalist postcards made primarily by French photographers in the early 1900’s. These postcards (often in series called Scènes et Types) featured staged portraits of nude or semi-nude North African women in highly exoticized postures, costumes and settings. It is documented that the models for these photographs were almost always prostitutes.
My collage work is comprised of photographs I made in Morocco in the spring of 2011.