Monthly Archives: August 2016

Gilded cosmic gyrations of Lina Viktor


!--2-the-Golden-Mean-is-still-Perfection - Lina Viktor

‘1/2 the Golden Mean is still Perfection’ – Lina Viktor





‘Ancient, Modern, Future & The Golden Age’ – Lina Viktor



Interstellar mission of gold


Golden disks, orbs and triangles arranged with an array of sacred precision, iconography and Egyptian art deco geometries, boldly infused with electric blues, white and black to conjure a transcendent whole. The exotic mystique of her art is further enhanced with her own presence entwined with the photo documentation of her works or directly into her paintings, integrating her art seamlessly with her lush inner worlds as a vehicle for self elevation. Viktor’s work is reminiscent of Yayoi Kusama’s, the Japanese artist who consistently aims to dissolve the self via her artwork. Gilded gyrations of Klimt and Byzantine richness dance through the maze of patterns and ratios, inviting a sojourn into alternate dimensions blended with her decorated and painted body forms. Cruising a path traversed by other cosmic artists such as Afro Futurist Sun Ra and symbolist Odilon Redon, Lina Viktor touches on ancient symbolic themes and archetypes. She loves using gold for its beauty, resonance, otherworldliness and being a substance that has bewitched cultures around the world for centuries.


Regaining Regality – from an interview Lina Viktor did with Emma Gilhooly for CCQ Magazine

“My work speaks from a cosmological standpoint but it’s still with an Afrocentric vantage point. It explores historical happenings and understanding that existed in Egypt…Mali…I’m rechanneling the mind-space of ancient cultures for the contemporary audience. I think they were far more advanced, consciously, spiritually, typologically. The Dogon tribe in Mali, very akin to the ancient Egyptians — were speaking physics, cosmology, astronomy long before we established modern astrophysics. Psychology today is a watered down version of how they understood people on a sacred psychological level. Ancient architecture – we barley understand how they created these structures, we lack the tools to replicate their precision. All of these cultures have a divine understanding of the dimensions beyond our earthly plane.”
We look at art as self-expression, a political statement, a tool to shock. These cultures used art as a vehicle for illumination, a proponent of evolution as transcendent: art wasn’t just entertainment or something pretty. I’m tempering those lines: how do you put these philosophical, grandiose ideas and thought processes into your work and still make it something people want to consume? The black and gold works, where I’m completely blacked out – discuss the being and cosmos: we all share the same elemental makeup, from the smallest quantum mechanical blob to the largest galaxy. I’m bringing that back down to earth, so people can understand the oneness of it all.”


The-power-of-gold Constellation-I-Pure-24-Karat-Gold,-Acrylic,-Gouache,-Print-On-Matte--=Canvas

The Power Of Gold – ‘Constellation I’  – Lina Viktor





‘LV for Visionaire’  (video below)






Elemental-as-a-Circle-or-a-Dot--Lina-Viktor Geometrical art in gold, black and blue

‘Elemental as a Circle or a Dot’ — Lina Viktor



Golden-Ratio-II by Lina Viktor afro futurist art

‘Golden Ratio II’ by Lina Viktor




lina-iris-niktor-painting blue in her studio

Lina Iris Viktor




Lina Viktor




Lina-Viktor-body-paint-blue and gold background

Lina Viktor



Lina-Iris-Viktor egyptian art deco painting

Lina Viktor



Lina-Iris-Viktor face painting

Lina Viktor




Lina-Iris-Viktor-Paints-with-Gold, blue, black and white

Lina Viktor




Lina-Viktor-gilded-art----wearing a blue jump suit and holdiing a golden orb

Lina Viktor holding golden orb




lina-iris-viktor-studio contmeplation

Lina Viktor




Lina Viktor



lina-viktor-red and black body painting

They never said evolution would be easy.
they never said it would be pretty.
they only ever said it would be vital.
so against the odds we push, we grow, we transform.




‘Now And Forever More’ – Lina Viktor





‘The Power of 369’ – Lina Iris Viktor




Lina-Viktor-regality lina Viktor wearing a regal cape

Lina Viktor – ‘Syzygy’


“I’ve always done self-portraiture and a kind of iconization of one’s self. Not for egotistical reasons, but I guess a big impetus on what I do is trying to elevate one’s self or trying to remember our source of greatness as humans. So this painting was based on Elizabeth I’s coronation image, and I super-imposed myself in that kind of form that she took. I’m just very much influenced by people who have been very great throughout history. In placing myself in those situations I see that other people can place themselves in the situations, elevate themselves, and realize that there is no ceiling.”



Lina-Viktor---golden lady

Lina Viktor – “Well, I’ve always been obsessed with gold. I think humanity as a whole has always been obsessed with gold. It’s been valued and revered and is sacred.”




Trancsending-Time-and-the-Golden-Ratio Lina Victor posing with her art

‘Transcending Time and the Golden Ratio’ – Lina Victor





Lina Viktor





Lina Viktor— ‘A constant struggle The Body Black Iron, Gold, Ether’





‘The Incarceration’ – Lina Victor





‘The Power of 369’ – Lina Iris Viktor






 ‘The Signs and Symbols Appear’ –  Lina Iris Viktor




Lina-Viktor-cosmic-gold with black and white

Lina Viktor abstract gold, black and white




‘Through The Chrysalis’ – Lina Iris Viktor





Lina Viktor

Floating into 2016 a very new person. many lessons learned. much knowledge gained. much baggage dropped.


LINA-IRIS-VIKTOR---linairisviktor--standing with an abstract statue

Lina Viktor




Lina-Viktor---afro-futurist and gold sculpture

Lina Viktor




the light shines in the darkness
and the darkness comprehends it not.
tests dreamt in blue. – Lina Viktor




Evocation_Odilon_Redon painting in gold and blues

‘Evocation’ – Odilon Redon




Gustav Klimt—Portrait of Adele Bloch Bauer



NEXT POST  —  Shino glaze diversity – Adam Whatley


Street Cred visuals



“For me the camera is a sketchbook, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously.” – Henri Cartier-Bresson



125TH-STREET,-HARLEM,-NY.-May,-1993---This-fellow-calls-himself-Dancing-Harry by Ozier Muhammad

125th Street Harlem, NY. May, 1993 — ‘This fellow calls himself Dancing Harry’ – by Ozier Muhammad



Visual language captured on the streets:


The technology for taking images of moving objects was available in 1851, when Charles Negre mastered the technical sophistication to make this a possibility, and he used it on the streets of Paris. Around the 1900’s, Jean-Eugène Atget began documenting the architecture of Paris with photography and occasionally did images of people on the street.. It wasn’t until  later in the 50‘s that Henri Cartier-Bresson used a compact Leica camera for discreet, candid street photography and turned it into a serious art, releasing the genie of spontaneity and the ‘decisive moment’ – when form and content, vision and composition, motion and inertia, shadow and light merged into an instant, transcendent whole. He saw photography as the simultaneous recognition, in a fraction of a second, of the significance of an event. Paradoxically, the immobilization of time through capturing a finite moment by creating an eternal witness to an event, not only created a mirror of reality but also had the potential to be a flight from reality. Through interpretation of light, mood, circumstances and artistic input, an alternate consciousness was accessible to redefine the visual. Francoise Sagan said that “Art must take reality by surprise.” Photography defiantly had the immediacy to hijack a moment and reveal the unpredictable.



Jean Shrimpton, Paris, 1965  Photo Richard Avedon


It was also at this time in the 50‘s that Georges Dambier escaped the confines of the sterile Parisian fashion photography studios and took to the streets. Almost immediately his shoots became more impulsive and natural, where the models shed their look of emotionless indifference and instead were more active, smiling and less formal. Besides shooting assignments in his beloved Paris, he also pursued more exotic locations, where models were surrounded with local people, like in a Marrakesh market place, mediterranean villages or remote deserts. Their elegance and chic was more enhanced when juxtaposed against the outdoor surroundings.

Robert Doisneau was also active on the streets of Paris at this time, introducing identifiable elements into his art with his visual essays on the mingling social classes, performers and eccentrics in contemporary Paris streets and cafes. His imagery touched on the vagaries of human frailty, survival and escapism with heartfelt intimacy and moments of humor.
The current Italian photographer, Paolo Roversi, also considers photography to be not only a reproduction of reality, but a revelation. He states “I think creativity needs spontaneity, it needs risk, accident, the ability to change your mind, and why be limited by rationalism and logic. For me creativity is never logic. An accident is sometimes a miracle and not an accident, something happens that you didn’t think of, and finally there is a surprise and you see something you never saw before and it becomes magic.” He also claimed that for himself, the process is mystical, where he has to apply his energy on a certain level and not just physically go through the motions of setting up and executing a shot. Conjuring the mood also matters. Compromise is also required including aesthetic compromise, lighting compromise and not being too attached to one’s creative ideals.
The Surrealists reveled in the unusual and seeing the bizarre in everyday reality and street photography unleashed this quality as their approach became less conceptualized and more spontaneous. Following a ‘right time right place’ expectation increased the probability of these moments and the visual language of the streets has been richer for it. A collection of staged and spontaneous street photos from a broad assortment of photographers is presented here.



‘Organ Grinder’ – Jean Eugène Atget




Hyper alert, incisive eyes
Waiting to snare
One fleeting moment
Just one more glimpse
But it never returns.
Just missed chance torment
It only appears
If you truly let go
All expectations abandoned
To avoid lament
And pierce the random
That elusive flow
Must be in tandem




di Rosa’s Courtyard featuring works by Robert Arneson and Viola Frey—Photo – Steven Rothfeld




Photographer-Roland de Vassal for Nina Ricci





Aamito Lagum photographed by Solve Sundsbo





Mongolian tribe – Jimmy Nelson




Editha Dussler, Goreme, Turkey 1966

Photo by Henry Clarke





Anja Karme by photographer Glen Luchford





'A-picture-is-the-expression-of-an-impression - Ernst Haas -- people on NY street

Ernst Haas photography

60’s NY




San Francisco art market





‘Off On My Own’ – Gordon Parks.

Harlem, New York, 1948.





‘Paris…the modern way’ – photo Sven Fennema




Jindrich-Streit-Olomouc-region-of-Czechoslovakia A couple moving a plank in opposite directions

‘C’mon this way…no lets go this way’ – Jindrich Streit

Olomouc region of Czechoslovakia




Henri Cartier-Bresson with camera

Henri Cartier-Bresson




Model Theo Graham, photographer Richard Avedon, 1951




Photographer Bruce-Gilden,-Fifth-Avenue-NY,-1975 Street photo

Fifth Avenue NY, 1975 – Photographer Bruce Gilden






Photography by Verena Knemeyer




DIMITRI-DANILOFF photography -- girl balancing on a chain sculpture

Photo – Dimitri Daniloff


DANIEL-RIERA-photography - man jumping over a railing

Daniel Riera




photo by dana-and-stephane-maitec

Curvaceous sculpture – Dana and Stephane Maitec





Veruschka von Lehndorff, Max Brunell, Carlo Ortiz and a Fiat Dino

photo – Franco Rubartelli, Vogue, 1969




Ellen-Von-Unwerth photo - A lady in a dress and hat wth her two dogs and chaueffer

photo – Ellen Von Unwerth



Ernest Haas 1945 A solitary man walking the street

Ernst Haas 1945



Buddhist-monk-China giving last rites

A Buddhist monk, who just happened to be at this location, administering last rites at a Chinese train station.



Frank-Gehry Guggenheim Museum, Bilbao, Spain

Frank Gehry designed Guggenheim Museum, Bilbao, Spain



Frank-Horvat photo of a girl dancing in the street

Frank Horvat photography, Dakar, Africa




Frank Horvat

Paris, 1961




Playing basketball at Martin Luther King Jr. Park – photo by Ozier Muhammad





Vintage Christian Dior Model in Christian Dior’s Y-Line dress called ‘Blue de Perse’ Photo Regina Relang

Paris, 1955


Leslie Alsheimer---Dignity Two girls laughing

‘Dignity’ – Leslie Alsheimer




Han Hye Jin modelling for Vogue Korea – photo Alexander Neumann



Henri-Cartier-Bresson Egypt 1950 a girl in black carrying a basket

Henri Cartier Bresson,  Egypt 1950





Givenchy and Balenciaga sack dress – 1957





Tippi Hedren and Alfred Hitchcock – Lawrence Schiller photography

LA, 1962



leaping_horse-ernst-haas on the set of the movie 'Misfits"

‘Wild Horse’– Ernst Haas

On the set of the movie ‘Misfits”



The Great Mosque of Djenne – the first mosque on this site was built in the 13th century, Timbuktu





Model Deborah Dixon, wearing Italian Haute Couture, with soccer fans, 1962, Rome Harper’s Bazaar – Frank Horvat




New York, c.1962. Photo–Ernst Haas





‘Zion Tribe’ by Maëlle André for Motel Magazine





Yohji Yamamoto dress, ’Rewind/Forward’ by Paolo Roversi.





Givenchy Hat B, For Jardin Des Modes, Paris – photo Frank Horvat, 1958

Holden Luntz Gallery





Paris- Moulin Rouge Rene Gruau can can girl poster1955

Moulin Rouge poster by Rene Gruau, 1955





photo-Marie-Bärsch--model-Julia-Otobo in Africa

Photo by Marie Bärsch — model Julia Otobo



Photographer-Rui-Palha, Portugal

Photographer Rui Palha, Portugal




Dior 2013 – Mark Shaw, New York




Prussian born Countess Vera Gottliebe von Lehndorff aka Veruschka, wearing a pink gypsy dress by Ken Scott

by Franco Rubartelli, Vogue Paris, 1969




Paris street photography-by-René-Maltête

Bardot poster – René Maltête





La Grande Arche, Paris, Photographer ?





Beatle fans at Buckingham Palace, 1965





I took this in 2007 with an Olympus C 7070 WZ




Robert Doisneau

‘The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street’




lady wearing hat shadow-mid-century

Helmut Newton ?




Shalom Harlow shot by Patrick Demarchelier, Venice




Sokolskys-Model in a Bubble-07

‘Lumiere Street, Paris’ – Melvin Sokolsky 1963

Bubble Series, Paris



Street-Cred Ruven Afanador

Ruven Afanador




The Templo Mayor Museum - Mexico stone statues on steps

Templo Mayor Museum, Mexico




TSF Crew street mural





“Aquila Degli Abruzzi”,  Henri Cartier-Bresson






‘Fountain of the Evening Star’ by sculptor Ettore Cadorin

Unknown photographer, 1940, Golden Gate International Exposition, Treasure Island, San Francisco






‘Isola Hommes Men’, Kurt Markus





‘Rain Town Middle East’—Yang Fuhua




Leap of faith – Penguins in Antarctica

Penguins on an iceberg between Paulet Island and the South Shetland Islands – Sebastião Salgado






NEXT POST  —  Gilded cosmic gyrations of Lina Viktor

 Lina-Viktor-gilded-painting art deco in blud
Lina Viktor with her gilded wall painting

Mix media ceramic – 2D and 3D




‘Findings#8’ – Nancy Selvin





‘Bottles’ – Catherine White



Still Life 3D


Nancy Selvin and Catherine White are both talented artists that fuse imagery of pottery, real pots and drawings into clever collages that blur the distinction between 2D and 3D, to present hybrid wholistic dimensions that could almost be described as 2.5D, presented in a still life tradition. The matt finishes they both favor with their pottery tends to support a flatter, non reflective appearance, that blends more naturally with their 2D backgrounds. Nancy uses historical and functional themes to pay homage to the diversity of pottery while Catherine draws on seasonal themes using fresh produce and flowers to embellish her pottery.


Nancy Selvin


“For over four thousand years ceramic artists have made all manner of clay objects: ritual bowls, tiles covering vast palace walls, jars for oil, pots for tea, industrial toilets, bricks for construction, plates for dinner. My work acknowledges this historic tradition and pays tribute to the ceramic forms that surround us.” This statement by Nancy Selvin sums up her current direction in the clayarts where she focuses on the relationship of human beings to objects and the implied history contained in those forms. Below is an example where the composition has origins in the rows of canning jars that lined her mother’s pantry. She uses images of books, bottles, teapots and historical context in her ceramic sculptures by exploring the surface design and arrangement of various forms.The resulting vessels serve as a canvas for building up surface and information. Her forms are completed with simple screen printing techniques and underglaze applications.The text, screened on the surface, hints at the ideas contained within.

She also uses still life constructions that are metaphorical pots, ignoring function but built from traditional and authentic material. The seemingly casual arrangement, the architectural format and the brushwork on the surface directly address the painter’s still life tradition.
Nancy Selvin is an independent studio artist living and working in Berkeley, California. She has taught for more than 40 years at colleges and workshops internationally. Nancy trained as a sculptor at the University of California, Berkeley and studied with Ron Nagle and the late Peter Voulkos while earning her master’s degree at UC Berkeley. Here she grasped the lessons of scale, volume, compositional finesse and, most importantly, energy — how to channel and express it.







Nancy Selvin – ‘Findings#21′




Nancy Selvin— ‘Teabowl with Rim’




Ceramic bottles and wall shelf by Nancy Selvin

Nancy Selvin




NancySelvin_Ceramics_Side Portrait

Nancy Selvin




Is-Less-More-series-Nancy Selvin - ceramic bottle in wall display box

‘Is Less More’ series by Nancy Selvin – ceramic bottle in wall display box



nancyselvin_red bowl on ceramic support base

Red bowl and white base – Nancy Selvin




Rinsing,-Mix-Media-on-Paper-Nancy Selvin

‘Rinsing’, mixed media on paper by Nancy Selvin




Nancy-Selvin-four ceramic bottles on a shelf

Four ceramic bottles on a shelf    Nancy Selvin




Large coil and slab built vase – Nancy Selvin




Selvin-wall-art mixed media ceramic and wire

Nancy Selvin mixed media wall art






Nancy Selvin bowl

Forrest L. Merrill Collection



Works-—-Nancy-Selvin--checking-the-firing mixed media art

‘Checking the firing’ – Nancy Selvin



selvin_nancy-untitlled_2000_earthenware_square ceramic mix media art

Nancy Selvin



Works-—-Nancy-Selvin-Sifting-Glaze red pot with historical Chinese pottery panel

‘Sifting Glaze’ – pottery collage – Nancy Selvin



Works-—-Nancy-Selvin red tea bowl-w-Marbled-Napkin,-MixMedia-on-Paper,-10x11,-2009

Nancy Selvin – Tea bowl with Marbled Napkin, Mix Media on Paper




Large-Rutile-Pot,-26x18inch-diameter,-2014 Nancy Selvin

Large Rutile Pot, 2014 Nancy Selvin

26×18 inch diameter



Pareve-Nancy Selvin ceramic plate with vintage photo

‘Pareve’ -Nancy Selvin mixed media



Oxen-Mixing-Clay,-MixMedia-on-PaperNancy Selvin

‘Oxen Mixing Clay’ – Mix Media on Paper – Nancy Selvin



Catherine White


Catherine White uses hand drawn paper backgrounds to highlight the shape and textures of her pieces with contrast and perspective

“Using a poetic language of material, shape, and surface, my plates, bowls, cups and vases seek to translate life and landscape. I often collect local raw materials, transforming them by manipulating clay bodies, surface slips, and firing effects. Each object has markings and irregularities that intentionally reveal the touch of the hand. One recent focus, a series of landscape plates, reveals painterly transformations of shadow and contour, each set creating site-specific layerings of atmosphere, terrain, and light.

Because pottery itself abstractly expresses—through clay, glaze and shape—nature’s landscape, it can be as spirited as a spring day or as barren as a raw and sullen winter afternoon, barely touched with color. I am aiming for distillations from nature, historically alive and poetically inspired. In my studio practice, throwing and hand-building are also intertwined with extensive drawing, painting, and collaging on paper. Firing ceramics in both a gas kiln and a woodfired anagama kiln, objects are often roughly layered with white slip and celadon glaze or stripped to essentials when woodfired. Choosing to exploit both surface and volume while remaining within the sphere of physical function, my forms range from intimate cups to large coiled jars  As depicted in my clay and paper works, images range from seasonal portraits to drawings of digested visions, quite specific yet not overly-literal.’






 ‘Water Reflections’ plate – Catherine White



Catherine-White_dogwood flower mix media on paper

 Dogwood flower mix media on paper – Catherine White




Catherine White - daffodils in ceramic contemporary vase

Catherine White




Catherine White – pottery brushing



Catherine-White_grape_tendril mix media on paper

Grape tendril mix media on paper – Catherine White



Catherine White---ceramic terracotta platters with red chillies on painted paper

Ceramic terracotta platters with red chillies on hand painted paper – Catherine White



Catherine-White_wild_onion on paper mix media

Wild onion on paper mix media – Catherine White




Catherine-White---2008-Winter-Solstice teapot and cup on hand painted paper

Winter Solstice – teapot and cup on hand painted paper – Catherine White



Catherine-White_sprouting_peas on hand painted paper

 Sprouting peas on hand painted paper – Catherine White



Catherine-White---2008-Winter-Solstice-Bottles two asymmetrical ceramic bottles on hand painted paper

‘Bottles’ two asymmetrical ceramic bottles on hand painted paper – Catherine White

Winter Solstice series




Anagama ‘Box Kite’ – Catherine White





Catherine White – ceramic cup





Catherine White – Winter Solstice Gourd




‘Boulder’ – Catherine White



Catherine-White---2009-Summer-Solstice--white flower in a vase

Catherine White



Catherine-White---2008-Winter-Solstice---Moon-Vase on hand paintd paper

‘Moon Vase’ – Catherine White




Catherine-White---2009-Summer-Solstice-Horizontally Ribbed-Vase

Ribbed Vase – Catherine White





‘Shell Bowl’ with hand painted background – Catherine White





Catherine White





‘Triangles’ – Catherine White



Catherine-White---2009-Winter-Solstice---Orange pumpkin on a ceramic platter

Catherine White – Pumpkin on a ceramic platter



Catherine-White---2009-Summer-Solstice 4 pottery bottles

Catherine White




Catherine-White---2009-Winter-Solstice---Chinese-Magnolia-Seed-Pod on a footed ceramic platter

Chinese Magnolia Seed Pod on a  footed ceramic platter – Catherine White





‘Monkey Balls’ – Catherine White




Catherine-White---2009-Winter-Solstice---Pepper-Line on elliptical dish

Catherine White – ‘Pepper Line’





‘Cycladic Shadow’ – Catherine White




Catherine-White---2011-Summer-Solstice-rotated-Cocoon vessel

Rotated Cocoon – Catherine White



Catherine White--Acorn-spoon-October-2014

‘Acorn spoon’  Catherine White

October 2014



Catherine- White----Bearded-iris-in-rockscape-vase

Catherine White — Bearded iris in rockscape vase



Catherine-White-square platter with small apples

Catherine White




‘Vines and Bottles’ – Catherine White




Rambutan-on-woodfired-plate - Catherine White

Rambutan on wood fired plate – Catherine White




Catherine White—Anterior aspect shadow

2010 Winter Solstice



Giorgio Morandi still life bottles

Giorgio Morandi still-life




NEXT POST — Street Cred visuals