Expatriate illustrator Jessie Kanelos Weiner on art and life in Paris, France.
Yesterday, the last day of autumn … out in the city. And it’s a sunny afternoon. The camera doesn’t like being stuck in the bag; I can tell it wants to get out and play. So here – with a minimum of Photoshop time involved – are the results of my playing in the sunshine.
The orange flower spikes are sampled from the bed of Aloe vera just off Civic Square, behind the City Art Gallery, on the way down to Jack Ilott Green. “A member of the Liliacea family, Aloe vera is a succulent perennial, grows in a clump and has long, spiky, grey-green leaves. The yellow-orange tubular flowers bloom at the top of tall spikes that emerge from the center of the plant. There are approximately 400 species of Aloe, but it is the Aloe Barbadensis Miller, or “true aloe,” referred to as Aloe vera, that possesses the most remarkable healing properties” (from a web site called Way of the Wild Heart).
And the tall plant with the wonderfully curved blade-like leaves … is that some kind of Agave? (If you can identify it from my pix, please comment.)
The wooden wheel is part of the sculptural decoration on the City to Sea Bridge. I hadn’t been intending to stop on the bridge, but the silvery-blue light was just too appealing to ignore.
Back in the 1930s, the St John’s Bar and Restaurant used to be the home of the Wellington Free Ambulance. I mention it because the cabbage tree shown here is among a number outside the handsome Art Deco structure.
“Mementos that Bird has kept for years hold the past inside them, making it tangible and permanent: clippings of Mickey’s hair, peels of the first orange they shared, a bloody tissue. They stir nostalgia but reopen its wounds, like scabs asking to be tugged back so they can bleed.” (from Sarah Gerard’s NYT review of “Bird” by Noy Holland)
On page 59: a lovely sentence that seems like a found senryū …
A swell of things:
“It is here, in Holland’s subtly radiant details … that “Bird” shines brightest, since they so aptly mirror what’s happening beneath the domestic surface.” (another snippet from Sarah Gerard’s review)
This novel sings like
poetry; I’m obliged to
read between the lines.
(19 May 2016)
“The writing is hallucinatory, musical and intimate.” (Sarah Gerard)
Holland, Noy. 2015. Bird. Berkeley, CA: Counterpoint Press.
Can we? — quickly now!
— Can we just keep pretending
that nothing happened?
(07 May 2016)
The text here is something plucked indiscriminately, unresisted, out of my subconscious. “Reality is … a sum of all texts in various media, including action and thought” (Annette Lavers. 1982. Roland Barthes : Structuralism and After. London: Methuen & Co. [p171].
On Lambton Quay, Bach
for two violins; small boy
(16 May 2016)
On an autumn afternoon, unexpectedly, a vivacious counterpoint crosses Lambton Quay and stirs up in me both joy and nostalgia.
Courting danger, risk —
albeit measured, at least —
I open your book.
(14 May 2016)
To me, there’s always been something vaguely sinister about Wellington’s Opera House Lane. That feeling was pretty strong when I was walking through last Wednesday. But it wasn’t the tagging and graffiti grabbing my attention.
The sculptural bulk of the structure overhead – it must be a walkway, I think – the weathered brickwork, and the qualities of the light combined to make it more than usually impressive. And my camera thought so, too.
So here are my three shots. (Oh! you might notice there’s a bit of a photo-shoot happening in #607, by the way.)
“It is fair to say that there exists in our era a tragic discrepancy between the staggering richness of the visible world and the extreme poverty of our capacity to perceive it.”
” . . . world blindness, a disease described superbly by Robert Harrison in his book “Gardens: An Essay on the Human Condition”: “It is fair to say that there exists in our era a tragic discrepancy between the staggering richness of the visible world and the extreme poverty of our capacity to perceive it.” The cure, Barthes knew, can be found in the study of literature, photography, and other art forms, optimal training grounds for developing the kind of attention necessary to see what surrounds us.” – Christy Wampole
The Post-Photographic Condition | LensCulture
“Post-photography is not a style or a historical movement but a rerouting of visual culture
The shopping is done,
and the menu decided.
But which vase to use?
The prospect of dressing the table for dinner this evening sends me out to the front garden, where the camellias are beginning to flower. The weather has been showery and cold, but the wind has not yet burned the pink petals: there are enough good blooms for the vase … although it’s hard to hold the camera focus at close range.