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These lovely glittering images are taken of a dancing clip of Carmencita which was created in 1864 by Thomas Edison. It is thought to be the first moving image of a woman on film.

I couldn’t embed the video, but do check out the clip…it is gorgeous!

See it here.


I have been feeling a strange urge to get back into etching lately…something I haven’t done for over a decade (my god! has it really been that long??).

I ran across these prints by Michael Mazur for Robert Pinsky’s translation of Dante’s Inferno and now feel the urgent need to get on it and find a print studio asap!

The deep velvety blackness and loose drippy marks are exactly the qualities I want for my own prints…a close translation of the paintings I have been working on to print.

Love the ethereal quality in the one below.

They remind me of Goya’s ‘Giant’ aquatint, printed in 1818:

Gorgeous. Now if only I could remember how to aquatint…!

Bubby and I found the best Bed & Breakfast in Canterbury a few weeks ago – the Arthouse B&B – a bright, quiet, comfortably converted fire station walking distance from the center of town.

Outfitted in midcentury modern, contemporary design pieces and original art work… with hand made rugs by one of the owners, Anna Deacon, the place was an aesthetic delight!

The beautiful flowered rug in the lounge below is one of hers.

The guest rooms are separate from the owners home at the back of the yard, and are situated in the old fire station, giving more privacy than the average B&B.

If you rented both the rooms in the station, you would have the whole place to yourself (and at £55-60/night per room, this would be totally manageable for a private weekend away) or you could take friends and share the whole pad!

Below was the cute front room we stayed in. Note the painted chair by Zoe Murphy, whose work has been featured everywhere lately.

The kitchen, lounge and dining area are completely for guest use, and a huge continental breakfast with fresh croissants was ready every morning.

The wire chandelier above the stairs is by the owners, textile artist Anna and graphic designer John Taylor, and the intriguing painting in the dining room is by Phil Wise.

We will definitely be heading back here for more relaxing away from the big city.

Book a room here on the Arthouse website…I highly recommend it!

Some more beautiful images from photographer Andrea Ferrari…this time on the light side of life!

Another installment showcasing work for next week’s  A Night — There Lay the Days Between show at the 242 Gallery, showing September 1st – 5th.

The beautiful pieces below belong to Irish artist Alice Peillon.

Do check out their website which gives more information on the artist’s work and links to their personal websites.

Below are some gorgeous images of dark rooms from photographer Andrea Ferrari.

This is the second installment referred to in my post on the four artist’s who have an upcoming show at the 242 Gallery in a few weeks called A Night — There Lay the Days Between.

The darkly beautiful work below is by London artist Michele Fletcher.

You can see more of Michele’s work online via her website, and if you are in London, in the flesh either at the private view Thursday Sept, 2nd at 6.30pm or from 12-6 September 1st – 5th.


Courtesy of the Design Files, some gorgeous snaps from Australian photographer Sharyn Cairns to start the week off with a sigh…

Covet the elephant letters!

Four of my absolute favourite London artists will be showing ‘A Night — There Lay the Days Between’, inspired by the poem of the same name by Emily Dickinson, at the 242 Gallery September 1st – 5th.

Over the next few weeks I plan to preview some of their work.

Here are some new paintings from UK based Canadian artist, Linda Lencovic.

You can get details of the show via A Night — There Lay the Days Between which gives more information on Linda‘s work and links to all the artist’s personal websites.

The private view is Thursday Sept, 2nd at 6.30pm, so if you are in the city drop on by. I will be perched in the corner, clutching a wine glass.

See you there!


Welcome to post number 102! As I have been super busy lately and haven’t had much time to really get into the posts, I thought breaching the hundred post mark a good opportunity to blather at will!

Now, I know I tend to be rather horribly opinionated for a little owl, but if there is one thing that always makes me cringe it is when people hang art too high in their homes. It is another one of those things that physically affects me as an inward, cringing tightening in the gut, and makes me immediately want to pull a hammer out and fix! (hard when you are watching H&G shows on tv!)

That said, here are some cringe-worthy examples from Apartment Therapy’s archives of how to and how NOT to hang work.

Miles above the bed- no.

At cozy viewing level whilst both standing and on bed – yes.

Dangling above sideboard – no.

Tucked in close to cabinet below, creating a grouping by proximity -yes.

Closer to ceiling than sofa -NO! Oh no…!

6-12 inches above -yes.

Now this one really saddens me! So close to being fabulous with the figure’s collar echoing the blue in the wallpaper, it becomes a no, as it is hung a touch too high for the objects to read as a group. The extra inch or two gives enough of a gap between objects to read as 2 things, making them compete for the eye.

So close, but still a – no.

I have Photoshop-ed the image above to demonstrate how much cooler (I think, obviously!) the hang would have looked off to one side and an inch or two lower.

It now feels cozier, and lets the eye flow around the objects comfortably, so you aren’t fighting to look at the picture and the objects below separately.

This next example is a great yes. Tucked in close enough to everything to make it work as a set. The eyes travel around these objects quite nicely -up the lamp in the corner, scanning to the right along the painting, then down to the coral, desk, and back again in a circle. Beauty.

Here are another  2 great examples of picture height.

This last one demonstrates a nice grasp of proportion. A more advanced grouping, everything here is well balanced, including the picture on the right hand wall, which at first seems off on it’s own, but as is exactly in the middle between the 2 on the adjacent wall- tying it into the grouping- it adds interest to the rest of the group.

When hanging work, start looking at what is below as something that is going to work WITH what is hung above. Have someone hold the picture a few inches above the sofa, cabinet, bed, etc. while you stand back to see the effect, then slowly raise it, inch by inch until it feels like it is far enough from the object below without being divorced from it as a grouping. Then stop.

The amount of wall above the picture doesn’t matter – it is the grouping that is most important and creates a sense of calm and comfort, as your eyes are flowing smoothly around the objects.

Also, try asymmetrical hangs.  Like the mock up with the blue wallpaper above, asymmetrical hung objects can be a bit higher, creating a quirky  grouping with the object/s below, and can add huge personality to a corner of a room. Just like in art, negative space is just as important in a composition as the objects occupying the space.

Winston


art, design and interiors obsessed

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