Zhang Huan - Free Tiger Returns to Mountains (2010)
This series demonstrates a painting technique the artist pioneered using ash gathered from incense burnt at Shanghai temples.
(Source: likeafieldmouse)
I COULD VERY CALMLY GO WILD
I could live two days in the den, curled, leaning on mouse fur, sniffing bird bones, blinking, licking, breathing musk, my hair tangled in the roots of grasses. Down is a good place to go, where the mind is single. Down is out, out of your ever-loving mind and back to your careless senses. I remember muteness as a prolonged and giddy fast, where every moment is a feast of utterance received. Time and events are merely poured, unremarked, and ingested directly, like blood pulsed into my gut through a jugular vein. Could two live that way? Could two live under the wild rose, and explore by the pond, so that the smooth mind of each is as everywhere present to the other, and as received and as unchallenged, as falling snow?
1977
(via chanel-fleur)
(via feminist-space)
(via foodfuck)
Laurence Demaison plays — delightfully — with film photography and with the idea of photography. Taking full advantage of showing what the camera sees (sometimes over long periods of exposure) compared to what the human eye cannot or does not see, she pre-visualizes each photograph up to a certain degree, and then lets chance and intuitive performance intervene.
As a result, her photographs seem to bend light and time, distort the appearance of her own human body, and hold secret coded messages in their multiple reflections, refractions, visual repetitions, and semaphore-like gestures that become smears of light in darkness.
(via tangerine-hands)
(via k4ilaxo)
