Wednesday, March 5, 2014
always the deep of winter makes me go into a kind of inner retreat. nothing feels firm or fixed or even real, though the promise of spring becomes a lure that flashes brilliantly in the endless sea of winter. artist andy goldsworthy's work speaks of this isolation; there is a poignant & disquieting solitude in his structures. paul introduced me to him last year (winter?) via his film 'rivers and tides' and i was absolutely snared watching the artist carefully form and stack and bend and arrange ice and sticks and leaves and rocks; all which bloomed beneath his patience and focus. this kind of impermanent making reminds me of the temporary nature of both winter and the murky feelings that i often couple with during its long tenure.
"I go into solitude so as not to drink out of everybody's cistern. When I am among the many I live as the many do, and I do not think I really think. After a time it always seems as if they want to banish my self from myself and rob me of my soul." - Nietzsche
(winter please be over.)
Saturday, March 1, 2014
* loved this post on the living apex blog on reasons to read more ( i agree with his theory of how we veg out on visual media) and its subsequent follow up with tips on how to read more ( i agree with his theory on keeping books in proximity, my/our homes are littered with books everywhere. i even sleep with them when i am in my loft. perfect bedfellows to fill the empty space.)
* les revenants is a french program that features the 'returned' dead, just as they were when they were alive ( an equally unsettling and complicatedly delightful notion.) they are neither zombies or ghosts (or at least at the point i'm at in the season anyway.) it is slow paced and creepy and has a beautifully haunting soundtrack as well by mogwai. i haven't finished watching it so won't say more, for now . . .
* dreaming of building new/olde bookshelves and other moods for melancholy/new rooms over on my pinterest.
*i've written on here before about my strange attraction to icebergs/ glaciers. lately i've slowly been writing again and these primordial giants are seeping into my thoughts . . .
* this is a bit belated but so many thanks for all the support and patience over the past holiday season. i am slowly working on streamlining things and building a tiny team as i navigate my growing pains while remaining as independent and community based as possible. <3 p="">
* i just listed high polish finish versions of a few of my most popular rings in the shop.
* as i mentioned recently on IG, i am working on creating wedding bands for both of the 'belonging' rings as well as a third sister version. i hope to have more news on these soon, but for now, they are being designed to specifically 'lock' around each ring but will also look equally as nice work alone. 3>
Friday, February 14, 2014
kiss of the damned
often times in the ice laden and melancholic depths of winter, i find comfort in crawling into my cocoon bed and escaping any way possible after work, via books or film. i love stories, whether printed or visual. the above 4 films are some of my current favorites. two of them are (guilty pleasure, though in terms of monsters, zombies will always win my heart) vampire films, but all seem to share that tumultuous dance on the fault line of right and wrong from the female pov, a kind of acceptance of fate and a coming of age. all four films share a focus on cinematic beauty juxtaposed with elements of the strange; a calculated eye is always employed, whether in the way a scene is composed, the way blood flows or how the female leads are fashioned.
stoker is one of those movies i find myself replaying at night before i go to sleep ( i have also done this with brothers quay and fight club) there is something about a quiet, darkly told tale that feels like a lullaby to me. this film is so beautifully shot, the carefully staged scenes and moments almost eclipse the tale at the heart of the film. it is well written and subtly poisonous, but this almost doesn't seem to matter. mia wasikowska has quickly become a favorite actress, and here, for me, she is like stepping into the sea. dangerous & quietly smooth.
we watched byzantium before the holidays and there were scenes that really snared me, specifically the moment when one is 'turned.' i don't want to give too much away but at the heart of this film, as in many vamp movies, the grappling with morality and guilt makes a bit of an existential mess. the twist here is that females are not "allowed" by some unseen group of male vampires to exist and are hunted down. again, this film has moments of startling beauty and is led by two great female leads.
kiss of the damned is another film we were able to catch pre-holiday season and though it felt a bit more shallow than the others, the costuming & strange beauty of the actors was worth the somewhat lacking narrative.
i am a real sucker for southern tales. i have these oddly romantic notions of the south, back woods living and spanish moss make my blood quicken when used as a literary or cinematic device. for me, a southern location is almost a character unto itself. jug face is an odd tale that explores the mythology of a small group of people who are governed by a supernatural, murderous 'pit' that exudes a potent power over the inhabitants. the narrative of this film felt stronger to me than the others and I almost wished it was a novel rather than a film.
what have you been watching lately ?
Friday, January 24, 2014
the last time i wrote about artist aron wiesenfeld was for an essay published in HF from back in 2011 (my goodness it really didn't seem that long ago.) i remember this being one of the more thrilling assignments, not only was i already a fan, but aron was incredibly kind, alarmingly humble and had a lot of thoughtful responses about his work during our interview. in the essay i related aron's work to joseph campbell's archetype of the hero's journey, in which a central figure, often from myth (& often male) sets out on a quest to retrieve/rescue a special object or person (think lord of the rings plot lines for a more modern use.) usually once the 'hero' crosses the threshold of his landscape/ home and into the realm of the journey, he has transcended a kind of supernatural boundary. upon the success of his quest, he returns home, (in some cases) but will never be the same. he will carry the mark of this transformation forever, sometimes emotionally, sometimes physically, often both.
i often feel that most of aron's work pin points the pulse of the moment when the 'hero' is making that first wary step into the 'supernatural' wild unknown. his figures read as adolescents to me, which also speaks of another transformative, inescapable occurrence. the above recent paintings certainly have a slightly different feeling than the ones i focused on in 2011, but retain that narrative tension of choice and the power of choosing; the cross- roads and veils that motivate and inform us.
the works always strike a strong cord with me no matter what my current emotional state may be, as their subtle melancholy feels like a darkly lit, yet tender homecoming.
Wednesday, January 22, 2014
Tuesday, October 29, 2013
Friday, October 25, 2013
Thursday, October 24, 2013
Tuesday, October 22, 2013
Monday, October 21, 2013
Thursday, September 26, 2013
Wednesday, September 18, 2013
Friday, July 19, 2013
Monday, July 8, 2013
Posted by bloodmilk. at 2:59 AM
Friday, June 28, 2013
what snares me most about these works from artist karen gunderson, aside from their subject matter of the night sky and the sea, is that they are entirely composed in black paint. it is the way this paint is built up & physically manipulated by the artist, that creates the composition; light hits the physical dimensions of the paint, giving form and life to something that would otherwise be a bleak void.
lately, as evidenced in recent posts, i've been wrestling with this balance between my naturally dark state and the brilliant light i have been letting into my life.
these paintings feel like talismans to me, maybe you will like them too.