The golden age of love And I, the sail of my soulbillowed with longing,look for you everywhere, and things comeever closer,crowding my chest, hurting me.Nichita Stanescu,
from the book "Bas-Relief with Heroes"
LEONARDO DA VINCI and WATER
"Water is sometimes sharp and sometimes strong, sometimes acid and sometimes bitter, sometimes sweet and sometimes thick or thin, sometimes it is seen bringing hurt or pestilence, sometime health-giving, sometimes poisonous. It suffers change into as many natures as are the different places through which it passes. And as the mirror changes with the colour of its subject, so it alters with the nature of the place, becoming noisome, laxative, astringent, sulfurous, salty, incarnadined, mournful, raging, angry, red, yellow, green, black, blue, greasy, fat or slim. Sometimes it starts a conflagration, sometimes it extinguishes one; is warm and is cold, carries away or sets down, hollows out or builds up, tears or establishes, fills or empties, raises itself or burrows down, speeds or is still; is the cause at times of life or death, or increase or privation, nourishes at times and at others does the contrary; at times has a tang, at times is without savor, sometimes submerging the valleys with great floods. In time and with water, everything changes"
If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry.
by Peter Goldsworthy
I believe in the infinite line,
the straight line between points
and the equality of all right angles.
Though many people are familiar with the notion that Jan Vermeer used a camera obscura to capture "photographic" effects in his Dutch interiors and cityscapes, few know exactly what the implement is. But even fewer would have ever considered the possibility that Ingres, Velazquez, Caravaggio, van Eyck or even Raphael may have had recourse to such a device as an aid to drawing and painting.
As we learn, camera obscuras were being produced in considerable variety by Vermeer's time; they were most commonly of the portable box type, in which light entering an enclosed chamber through a convex lens was projected onto a surface that could be viewed through an open hatch. But because such openings tended to dim the image, Steadman argues, Vermeer probably erected a room partition to create a larger booth-type camera which would allow the viewer to observe the image from within the apparatus, where scenes cast on a wall would appear much brighter and could be traced onto a prepared surface.
These photographs document several of the various types of mold which can be found growing on your average loaf of bread, given enough time and neglect. I am interested in the inherent contradiction of finding aesthetic beauty in something almost universally perceived as disgusting. I was also fascinated by the extraordinary structure and microscopic nature of these life forms, something that those of us not involved in the biological sciences are probably only vaguely aware of.