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    “Reckless Actions Effects” by Gola Hundun in Bellaria-Igea Marina, Italy

    “Reckless actions effects” opens up to a new project by Gola Hundun located in Bellaria-Igea Marina (Italy). The mural is just completed and it is part of multiple actions which will take place in the next months thanks to the City Hall and VerdeBlu Foundation.

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    The project is conceived to be a series of thoughts about human beings actions and Mass Tourism policies of the last decades. The topic is both local – because of the negative impacts on local natural heritage – and global – since many areas on the Planet share the same destiny.

    A luxuriant Barrier Reef is depicted in the mural, full of many diverse flora and fauna species. Barrier Reef, considered to be the most diverse and complex forms of life, run the risk of losing their amazing colors because of the coral bleaching phenomenon.
    Like what happens in Natural environment, in Gola’s Façade the scenario becomes less and less visible towards the absolute white corner of the wall. The mentioned white means the absence, the emptiness, the lost caused by men into the ecosystem. Also the place where the artwork takes place has a double meaning: it is based where it used to be a coastal pine forest, later destroyed to build the Tourism Office of the town, according to the instant profit policy of that time.

    The artwork invites us to think about the lack of empathy towards the rest of the species and to the action/reaction process. The mural is a way to underline the link among the world itself, the forces within and the beings that inhabit it. In this case: deforestation, global warming, climate change, ice melting, ocean acidification, ocean bleaching.

    The awareness and understanding of human choices are the cornerstones of Gola’s work which aims to be a spotlight on human actions tailored on a short term vision. Human beings believe to be still on the top of the pyramid and to have the right to rule the world. The results of these thoughts – dated back to Platonic vision and monotheistic theories –  have brought to the present environmental crack and climate crisis which we are currently facing.

    Italian artist Gola Hundun’s work shows the relationship between human beings and the biosphere. This consideration combined with the conscious decision to live as a vegetarian since the age of 16, positions the artist and his work closer to both the animal and human spheres. He explores themes such as interspecies communication, shamanism, ecology, a return to the earth, vegetarianism and spirituality. Besides his work as a painter, Gola Hundun also creates public installations incorporating living plants, electronics, woods, music and live performances. 
    Check out below for more images of Gola Hundun’s stunning work. More

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    Catch a Fish in Paris. Post on Social Media. Release.

    AdvertisementContinue reading the main storySupported byContinue reading the main storyParis DispatchCatch a Fish in Paris. Post on Social Media. Release.A new, younger generation of fishers is taking over the banks of the Seine, transforming a centuries-old tradition into an underground culture.The Seine used to be the fishing playground of older, working-class men who whiled away their retirement days at the river. These days, a younger and more diverse generation is disrupting the scene.Credit…Andrea Mantovani for The New York TimesJan. 11, 2021, 12:01 a.m. ETLire en françaisPARIS — On a recent wintry afternoon along the Seine, a Parisian teenager took a fishing rod out of a narrow holster, stuck a glittery rubber fish on a hook and cast his line into the water.The fisherman, Eliot Malherbe, 19, was soon joined at the river’s edge by his friend Kacim Machline, 22, an art student. But first, Mr. Machline spray painted a greenish striped fish on the concrete walls by their spot on the river, in an renovated former industrial area near the Jardin des Plantes on the Left Bank.The Seine used to be the fishing playground of older, working-class men who whiled away their retirement days at the river. These days, a younger and more diverse generation is disrupting the scene.Many of the younger anglers were first drawn to the Seine by the promise of other adventures. The city’s quays offer some of the city’s prime skateboarding territory, and for graffiti artists, it provides areas with little traffic so they can discreetly spray their tags during the night.While fishing’s more sedate pleasures might seem to lack the same thrill, that’s not the case, said Manuel Obadia-Wills, 40, a former graffiti artist and skateboarder — and now a fisherman during his free time.Kacim Machline creating some art before fishing.Credit…Andrea Mantovani for The New York Times“There is a buzz, an addictive side, a repetition until you reach the moment of grace,” Mr. Obadia-Wills said. “In skateboarding, it’s the perfect trick. As for graffiti, it’s all about the adrenaline rush when you are in a forbidden place. When you fish, it’s about the most beautiful catch.”Like skateboarding and drawing graffiti, fishing in the Seine, too, sometimes flirts with legality. Many fishers go out after work or school — although France has officially forbidden fishing after sunset since 1669 even during wintertime.During the official fishing season from May to January, young fishers meet at certain spots — near barges stretching for miles along the river and under which fish shelter, or by the Canal Saint-Martin or Canal de l’Ourcq, where the water is calmer and warmer than in the Seine.Eager to find unexplored grounds, though, some venture to restricted areas like under the Bastille square at “the tunnel,” as it’s known, a mile-long underground canal covered by a stone vault. The city recently sealed off its entrance to try to prevent people from getting in.The “tunnel” is a mile-long underground canal under the Bastille square.Credit…Andrea Mantovani for The New York TimesAlthough they are carrying on a centuries-old tradition of fishing in the shadows of Notre-Dame or below the Eiffel Tower, younger fishers have brought with them updated rules and codes.Foremost among them: The ultimate aim of the day’s catch is no longer about sharing a meal with friends and family. Instead, the goal is to share on social media close-up images of the pikes, perches, zanders, wels catfish and other species — and then releasing them back in the river.“Fishing is a sport and fish are our game partners, that’s why we release them,” said Grégoire Auffert, 21, squatting on a parapet of the Quai Anatole France facing the Tuileries Garden across the river. “You would never ask a tennis player to eat the ball.”Also, the new generation uses plastic artificial baits to lure the fish, not the natural baits like the worms still favored by beret-wearing retirees. The fish don’t swallow the lures, and fishers can hook them by their mouth cartilage, causing the least possible harm.The new customs are aimed at protecting the increasing biodiversity in the Seine. In the 1970s, there were only three fish species left in the river, but after decades of water purification policies, there are now more than 30 — although plastic bags, industrial waste and, lately, electric scooters with lithium batteries keep contaminating the river.“The milieu has been constantly improving and the coronavirus pandemic intensified it” by offering a quieter environment to fish, said Bill François, a marine scientist. He pointed out that this past year there have been fewer tourist boats running on the Seine. During the summer, he said, “we observed a very good reproduction.”Mr. Machline displaying  a perch he caught in the area of the Seine that connects to the Canal Saint-Martin.Credit…Andrea Mantovani for The New York TimesThierry Paquot, who studies urban life and teaches at the Paris Urban Planning Institute, sees the urban anglers as part of a push by city dwellers across France to be more in tune with nature.“There is a whole new range of practices heading in the same direction, like urban agriculture,” he said.He said a generation of young adults, suffering from growing economic precariousness, find a sense of community in the tradition of fishing, which they have transformed by an ecological awareness and by sharing their passion through technology.The fishing federation of the Parisian region has 8,500 members, all of whom buy an annual license for about $120. Add in those who occasionally purchase a daily license for $15, and those who fish illegally, and the total number of people who fish in the capital could be over 30,000, according to fishing store owners.“The number of fishermen remains quite stable, but now young people clearly outnumber people of a certain age,” said Marcelo D’Amore, who has been selling fishing gear in Paris for the past 30 years, first at a sporting goods chain and now at “Giga-pêche” — which means something like “mega-fishing” — a store he opened in 2016 in eastern Paris.The growing appeal of Parisian fishing to the younger crowd has drawn the attention of entrepreneurs like Fred Miessner, who says he noticed the trend in the early 2000s and nicknamed it “street-fishing.” With a business partner, Mr. Miessner — who also fishes in the Seine — launched French Touch Fishing, a fishing items wholesale company, and Big Fish 1983, a streetwear collection for urban fishers including hats, printed T-shirts and polarized sunglasses.Fred Miessner, right, with his business partner, William Fichard, in front of the office of French Touch Fishing and Big Fish 1983.Credit…Andrea Mantovani for The New York Times“We didn’t recognize ourselves in the old codes,” Mr. Miessner said. “We didn’t wear plastic boots, military fatigues or closefitting jerseys. We fished, and after, we went to parties with our friends without changing clothes.”His brand and others like it sponsor young fishermen who have become social media influencers in the community. Mr. Machline, the art student, receives hundreds of dollars’ worth of goods from a company in exchange for posts mentioning the brand to his 4,000 followers on Instagram.Some fishing customs remain unchanged in the social media age. While sharing photos of the day’s trophy catch is essential, fishers tend to avoid making their exact locations obvious to protect them from “crabbers” — as they call those who identify good spots from pictures.And bragging about the size of one’s catch continues unabated.On a recent late afternoon, after a day roaming the banks, Mr. Machline caught a plump 15-inch perch in the Bassin de l’Arsenal, a barge port near the Place de la Bastille where the Canal Saint-Martin meets the Seine. Mr. Malherbe, his friend, captured the moment on his cellphone, then the fish was re-immersed in the water.“I always stretch out my arms in front of me,” Mr. Machline said with a proud smile. “That way, the fish looks bigger in the picture.”A lesson for children organized by the fishing school Naturlish on the Canal de Saint-Denis.Credit…Andrea Mantovani for The New York TimesAdvertisementContinue reading the main story More

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    À Paris, on pêche, on poste, et on relâche

    AdvertisementContinue reading the main storySupported byContinue reading the main storyÀ Paris, on pêche, on poste, et on relâcheUne nouvelle génération de pêcheurs s’empare des berges de la Seine et une tradition centenaire se mue en véritable culture underground.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps sur les bords du fleuve. Mais aujourd’hui, une génération plus jeune et diverse vient bouleverser ce tableau.Credit…Andrea Mantovani pour The New York TimesJan. 11, 2021, 12:01 a.m. ETRead in EnglishPARIS – Une brise hivernale souffle sur la Seine. Eliot Malherbe, un jeune Parisien de 19 ans, tire une canne à pêche de son fourreau, plante un poisson en plastique pailleté sur son hameçon et jette la ligne à l’eau.Son ami Kacim Machline, un étudiant en art, 22 ans, ne tarde pas à le rejoindre. Mais avant, il ajoute la dernière touche au poisson vert zébré qu’il a peint à la bombe sur un mur en béton à quelques pas du spot de pêche, dans un ancien quartier industriel désormais rénové près du Jardin des Plantes sur la Rive Gauche.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps au bord du fleuve. Mais aujourd’hui, une génération plus jeune et diverse est venue bouleverser ce tableau.Nombre de ces jeunes pêcheurs ont été attirés sur les quais de la ville par la promesse qu’ils leur réservaient de nouvelles aventures. Les skateurs profitent déjà de cet espace dégagé, qui offre également aux graffeurs des coins avec peu de passage pour peindre leurs fresques, la nuit, à l’abri des regards.Pour un œil profane, la pêche ne semble pas pouvoir offrir une exaltation semblable. Pourtant, Manuel Obadia-Wills — un ancien graffeur et skateur désormais converti à la pêche pendant son temps libre — affirme le contraire.Kacim Machline peint un graffiti avant de se mettre à pêcher.Credit…Andrea Mantovani pour The New York Times“Il y a un ‘thrill’, un côté addictif, un côté répétitif pour arriver au moment de grâce”, explique l’homme de 40 ans. “En skateboard, c’est la figure parfaite. En graffiti, c’est la montée d’adrénaline dans un endroit où tu n’avais pas le droit d’aller. En pêche, c’est le plus beau poisson.”Comme le skateboard et le graffiti, la pêche en Seine outrepasse parfois la frontière de la légalité. Beaucoup de passionnés sortent pêcher après le travail ou les cours — même si la pêche de nuit est interdite en France depuis 1669, y compris pendant l’hiver.Pendant la période officielle d’ouverture de la pêche, de mai à janvier, les jeunes adeptes se retrouvent sur les spots incontournables — près des péniches amarrées sur des kilomètres le long du fleuve qui servent de refuge aux poissons, ou au bord du Canal Saint-Martin ou du Canal de l’Ourcq, là où l’eau est plus calme et plus chaude que celle de la Seine.À la recherche de coins inexplorés, certains s’aventurent dans des lieux interdits au public – comme le “tunnel”. C’est ainsi que les pêcheurs appellent le canal souterrain qui court sur plus d’un kilomètre sous une voûte de pierre depuis la place de la Bastille. La mairie en a récemment fermé l’entrée pour interdire tout passage aux piétons.Le “tunnel” est un canal souterrain de plus d’un kilomètre de long depuis la place de la Bastille.Credit…Andrea Mantovani pour The New York TimesCela fait des siècles qu’on trouve des Parisiens amateurs de pêche au pied de Notre-Dame ou de la Tour Eiffel. Ces jeunes-ci sont les héritiers de cette tradition, mais ils l’ont mise au goût du jour avec leurs propres règles et leurs codes.Désormais, une belle prise n’est plus synonyme de repas en famille ou entre amis. Au lieu de cela, les pêcheurs postent sur les réseaux sociaux des gros plans des perches, sandres, silures et autres espèces attrapées dans le fleuve — avant de les relâcher.“La pêche est un sport et les poissons sont nos partenaires de jeu, c’est pour ça qu’on les relâche”, explique Grégoire Auffret, accroupi sur un parapet du Quai Anatole France sur la berge opposée au Jardin des Tuileries. “On ne va jamais demander à un joueur de tennis de manger sa balle”, ajoute le jeune homme de 21 ans.Pour tromper le poisson, la jeune génération remplace les appâts naturels comme les vers — que les retraités coiffés de bérets privilégient encore — par des appâts artificiels en plastique. Le poisson n’avale pas le leurre, et les pêcheurs peuvent le ferrer par le cartilage de sa bouche, en le blessant le moins possible.Ces nouvelles pratiques visent à protéger la biodiversité de plus en plus importante de la Seine. Dans les années 1970, il ne restait que trois espèces de poissons dans le fleuve. Après des décennies de politiques d’assainissement de l’eau, on en compte désormais plus de trente – même si les sacs plastiques, les déchets industriels et, dernièrement, les trottinettes électriques avec des batteries au lithium polluent encore le fleuve.“Le milieu s’améliore constamment et le coronavirus a accentué le phénomène” en offrant un environnement plus calme aux poissons, explique Bill François, un océanographe. Il ajoute que les bateaux pour touristes n’ont quasiment pas navigué sur la Seine cette année. Pendant l’été, “on a constaté une très bonne reproduction.”Kacine Machline exhibe la perche qu’il vient de pêcher dans le Bassin de l’Arsenal, l’embouchure du Canal Saint-Martin sur la Seine.Credit…Andrea Mantovani pour The New York TimesSelon Thierry Paquot, philosophe de la ville et enseignant à l’Institut d’urbanisme de Paris, les pêcheurs urbains s’inscrivent dans un élan général qui pousse les citadins partout en France à se rapprocher de la nature.“Il y a un faisceau de nouvelles pratiques qui vont dans le même sens, comme l’agriculture urbaine”, dit-il.Il ajoute qu’une génération de jeunes adultes, confrontés à la précarité économique grandissante, trouve un sens de la communauté dans la tradition de la pêche, désormais transformée par leur conscience écologique et le recours aux nouvelles technologies pour partager leur passion.La Fédération de Pêche de Paris et de sa région compte 8500 membres détenteurs d’une carte de pêche annuelle coûtant 100 euros. Si on y ajoute ceux qui achètent occasionnellement une carte journalière à 12 euros et ceux qui pêchent illégalement, il y aurait plus de 30 000 pêcheurs dans la capitale, d’après les propriétaires de magasins de pêche.“Le nombre de pêcheurs reste assez stable, mais maintenant on voit clairement qu’il y a plus de jeunes que de gens d’un certain âge”, explique Marcelo D’Amore, qui a commencé à vendre des articles de pêche à Paris il y a trente ans dans une chaîne de magasins de sports. Il est désormais propriétaire du magasin “Giga-pêche” — ouvert en 2016 dans le 12ème arrondissement.L’engouement du jeune public pour la pêche à Paris n’est pas passé inaperçu auprès des entrepreneurs. Fred Miessner a découvert cette tendance au début des années 2000 et l’a surnommée le “street-fishing”. Avec son associé, ce pêcheur passionné a lancé French Touch Fishing, une entreprise de distribution d’articles de pêche, et Big Fish 1983, une collection de vêtements pour pêcheurs urbains avec des bonnets, des T-shirt à imprimés et des lunettes de soleil polarisées.Fred Miessner, à droite, avec son associé William Fichard, devant les bureaux de French Touch Fishing et Big Fish 1983, leurs entreprises d’articles et de vêtements pour pêcheur urbains.Credit…Andrea Mantovani pour The New York Times“On ne se reconnaissait pas dans les anciens codes”, explique M. Miessner. “On n’était pas en bottes en plastique, en treillis militaire ou en maillot Tour de France. On pêchait, et puis on pouvait aller en soirée avec des potes sans changer d’habits.”French Touch Fishing et d’autres marques sponsorisent des jeunes pêcheurs, qui deviennent des influenceurs sur les réseaux sociaux pour leur communauté. M. Machline, l’étudiant en art, reçoit l’équivalent de plusieurs centaines d’euros par an de la part de son sponsor en échange de publications faisant mention de la marque à ses 4000 abonnés sur Instagram.Mais certaines traditions restent inchangées, même à l’ère des réseaux sociaux. S’il est devenu essentiel de publier une photo de son plus beau poisson de la journée, les pêcheurs cachent toujours la localisation exacte de leurs prises pour éloigner les “crabbers” — surnom donné à ceux qui repèrent les bons spots de pêche grâce aux photos.Et bien sûr, se vanter de la taille de sa prise reste aussi de rigueur.Après une journée à parcourir les berges dans le froid de décembre, M. Machline finit par attraper une perche potelée de quarante centimètres dans le Bassin de l’Arsenal, le port de plaisance à l’embouchure du Canal Saint-Martin sur la Seine, près de la Place de la Bastille. M. Malherbe, son ami, immortalise l’instant avec son téléphone portable, avant que le poisson ne soit rejeté à l’eau.“Je tends toujours les bras devant moi”, sourit fièrement M. Machline. “Comme ça, le poisson a l’air plus gros sur la photo.”Une leçon de pêche organisée pour les enfants par l’école Naturlish sur le Canal Saint-Denis.Credit…Andrea Mantovani pour The New York TimesAdvertisementContinue reading the main story More

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    First Inventory of Damage to U.S. Capitol Building Released

    #masthead-section-label, #masthead-bar-one { display: none }The Presidential TransitionliveLatest UpdatesCalls for Impeachment25th Amendment ExplainedTrump Officials ResignHow Mob Stormed CapitolAdvertisementContinue reading the main storySupported byContinue reading the main storyFirst Inventory of Damage to U.S. Capitol Building ReleasedThe damage was largely limited to broken glass, busted doors and graffiti, the report said.Capitol Police surveyed the damage to an entrance to the U.S. Capitol building on Thursday, a day after a mob of Trump supporters broke in and vandalized the building.Credit…Jason Andrew for The New York TimesJan. 8, 2021, 6:07 p.m. ETThe office of the Architect of the Capitol in Washington, the office that preserves and maintains the building’s art and architecture, released Friday the first inventory of the damage sustained during Wednesday’s riot.Damage to the interior of the building was largely limited to broken glass, busted doors and graffiti, the report said, though it noted that statues, murals and historic benches displayed the residue of various pepper sprays, tear gas and fire extinguishers deployed by both rioters and law enforcement personnel. They will need to be carefully cleaned and conserved, the report said.Outside the building, two bronze light fixtures designed in the late 19th century by Frederick Law Olmsted, the American landscape architect, and that illuminate the grounds at night, were broken. The report also noted graffiti on the west side of the building near stands which are being constructed for the inauguration of Joseph R. Biden Jr. later this month.The Rotunda doors of the U.S. Capitol building sustained damage after rioters broke in on Wednesday. Credit…Jonathan Ernst/ReutersRioters who stormed the U.S. Capitol building on Wednesday afteroon overturned tables and smashed windows, but left the singular artwork intact.Credit…Andrew Harnik/Associated PressNo major artworks were reported damaged, despite the violent demonstrations inside the building by Trump supporters that took the Capitol Police nearly four hours to quell. A mob broke into rooms on the south side of the Capitol (including House Speaker Nancy Pelosi’s office), smashed windows and then marched through the National Statuary Hall, waving American, Confederate and “Trump Is My President” flags.Vandals in red “Make America Great Again” hats, many of whom photographed and recorded themselves, wreaked havoc in Congressional offices and the Rotunda. One man crammed a framed photo of the Dalai Lama into his backpack, while another smoked marijuana in a room with maps of Oregon on the wall. A 19th-century marble bust of former President Zachary Taylor was defaced with a red substance that looked like blood.Workers cleaned up broken glass and debris inside the U.S. Capitol building on Thursday.Credit…Brendan Smialowski/Agence France-Presse — Getty ImagesBut the large-scale, 18-foot paintings by Trumbull and other artists that depict scenes from the republic’s founding in the Rotunda, and the dozens of statues that fill the National Statuary Hall to the south that filled the background of many of the rioters’ photos, all appear to have escaped damage.The office noted on Thursday that many of its employees had worked through the night to clean up the trash, glass and other debris that littered the building and begin repair work.“Wednesday was a difficult day for our campus,” the architect of the Capitol, J. Brett Blanton, said in a statement. “As the Architect of the Capitol mission calls us to serve, preserve and inspire, it was particularly hard to watch the scene unfold.”AdvertisementContinue reading the main story More

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    Artist Interview: TIDE

    TIDE is an emerging name in the art scene both in Japan and internationally. Since 2009, his palette consisted mostly of monochrome colours. Recently, TIDE had his first solo exhibition ‘DEBUT’ (2020) in Harajuku, Japan.

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    While his cat-inspired work has been gaining increasing popularity in the international art scene, I had the chance to interview TIDE to discuss his oeuvres and talk about it conceptually and technically, as well as getting an overview of the artistic influences behind his work.

    Rom Levy: To begin, can you tell me a little about yourself and your background?
    TIDE: My real name is TATSUHIRO IDE, but I work as TIDE by combining the first letter of my first name and my family name. I began to paint while I stayed in Australia at the age of 22, and when I was 24, I started my career as a painter based in Tokyo.
    Could you please describe your work process in terms of composing an image as well as a technical approach to creating the work.
    For the cat and bedroom series I’m mainly drawing at the moment, after deciding the position and posing of the character, I roughly decide the bedding, furniture, and background after which I compose a draft. I value the harmony of the curves, straight lines, and silhouettes of each part.
    The painting process is the reverse of the draft, starting with the background and finally finishing with the character. I change matiere in each part, and each layer has a change. For example, I spray the outside of the window to express abstract elements, and the window frame is represented by rough brush strokes to express wood grain. In addition, I use an airbrush for the bedding to create a delicate atmosphere.

    Let’s talk about your current subjects. What inspired them, and what are your source materials?
    The influence of the work covers a wide range of topics, but the heaviest inspiration is the works of Japanese manga artist Shigeru Mizuki. I have been familiar with the Yokai he drew since I was a child, and in particular, my encounter with his work “Nonnonba” inspired me to draw a picture. As for recent materials, I often refer to animations from the 30s to 50s, scenes from old Hollywood movies, manga magazines, and still life around me.
    How long have you been developing this visual language?
    It was 10 years ago that I started drawing and aspiring to be a painter. At first, I used pointillism to draw trees and imaginary landscapes, but about two years later, I started pencil drawing, and mainly produced imaginary seascapes for 5-6 years. During that time, I also tried a little watercolor painting, and I started the acrylic painting which is my current drawing style about two years ago.
    In the beginning, I painted the stuffed animal my daughter had very precisely on a monochromatic background, but reversing that relationship I got to my current style of letting a flat character juxtapose together in the elaborate background.

    About your color palette, can you tell me more about the reason you chose to paint in greyscale and would you consider anything else?
    I don’t even know the real reason myself.
    Maybe it is because I started drawing inspired by cartoons drawn in monochrome, or because using a lot of colors probably exceeds the capacity of my technique. However, I feel it is most beautiful to draw my work in grayscale. When the color scheme, density, area, and balance and rhythm of black, white, and grey are in harmony, the painting looks like it’s shining.
    One thing I can say for sure is that it becomes unclear blurry when other colors get in there.
    Speaking of art history, do you have a particular artist or art movement that influences or inspires you?
    One is Roy Lichtenstein. His flat works are an important element of my current style. On the contrary, Christopher Wool is also a significant figure to me. His attitude towards art is my mental support of my creative activities. In addition, it is because of Takashi Murakami’s concept of Superflat that I can draw a character as a Japanese artist and announce it as a piece of art.

    As a Tokyoite, how is your relation to the local street culture?
    There may not be much relation. I tried skateboarding, but it didn’t take root in my current life. However, I long for street culture that appears as an expression of emotions.
    Have you ever been intrigued to transfer your studio work onto a mural / public art ?
    I’m interested in any field of expression that I have never tried. Facing mural paintings would require a different kind of mental toughness from canvas. It would be an opportunity to provide feedback to canvas works by exploring new ways of drawing and new processes.
    I am interested in the ephemerity of paintings, do you view your own work as precious? If you are unhappy with a work, do you tend to desstroy it or would you rather put it in storage for a while and alter them at a later date?
    There is always a correct piece which will complete my artwork. I will continue to paint until I find it. I talked about how paintings ‘shine’, and I keep working on it until I feel that way.

    Let’s talk about the work you are making for 2021. What type of works are you preparing? Does it connect to previous works, or did you try something new?
    Every time I draw new work, I always try new things even if they are small. I will continue to make the CAT series, but at the same time, I will use trial and error to show the next stage.
    There are also ideas for other themes, so you can see a series of works that go one step further in 2021.
    Will you be showing your work somewhere any time soon? Any other plans for the foreseeable future?
    The schedule has already been roughly decided until 2022, but in the near future, it seems that there will be an opportunity to show my artwork next spring.

    How else will you be keeping yourself busy this Christmas Season?
    Everyday life will continue without anything in particular. However, it is my favorite season of the year. The atmosphere of the city is calm and I feel very comfortable just looking out the window. Happy Holidays. More

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    Shepard Fairey “AK-47 Lotus” & “AR-15 Lily” Print Release – January 7th

    American contemporary street artist Shepard Fairey will be releasing a new print edition entitled “AK-47 Lotus” & “AR-15 Lily” this January 7th.

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    “These images are inspired by Vietnam War protesters who would put flowers in the gun barrels of the National Guard who were brought in to suppress their protests for peace. I’m a pacifist, whether that means finding diplomatic solutions to prevent and avoid war internationally or finding diplomatic solutions to prevent and avoid gun violence at home. I’m not anti- Second Amendment, so trolls can calm down… I’m not interested in macho blathering, I just want fewer people to die unnecessarily. Brady United is doing good work preventing gun violence so they will receive a portion of proceeds from these two prints. Thanks for caring” Shepard stated.

    AK-47 Lotus & AR-15 Lily are screen prints on thick cream Speckletone paper and measures 18 x 24 inches. Both prints come in an edition of 550 (Signed and Numbered). The prints are priced at $55 and proceeds will go to Brady United.
    AK-47 Lotus & AR-15 Lily are available on Thursday, January 7th @ 10 AM PDT at More

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    New mural by Ludo in Paris, France

    Streetartist Ludo just sent us some images of one of his newest works for 2021 he just unveiled somewhere on the streets of Paris, France.

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    The mural features a skull warped into a pineaaple, with a nose similar to Pinocchio’s. The artwork shows an exchange of words below “2021?” “Everything’s gonna be alright”.
    Ludovic Vernhet, known by the name Ludo and sometimes even referred to as Nature’s Revenge, is an artist born and raised in Paris. As an ever-changing character of urban contemporary art, Ludo’s art is expressed through diverse mediums, from giant murals on streets, to canvases, installations, drawings, sculptures and photographs as gallery and museum exhibition pieces.

    Ludo utilizes a signature style of no other, the use of three colours in his work; black, white and neon green. Precise drawings of biotechnological occurrences, merged with our technological dimension. His shows have been exhibited across the world in cities such as London, Amsterdam, Zurich, Rome, Paris, San Francisco, New York, and Los Angeles.
    Scroll down to view more images of the mural. More

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    “GATES” Light Installation by Marina Zumi in Ostend, Belgium

    “GATES” is the latest site specific light installation by Argentinian native and Berlin based artist Marina Zumi. This geometric sculptural path, was presented in Oostende, Belgium for The Crystal Ship by Night, curated by All About Things, a local initiative that brought public art installations to be enjoy from the afternoon till night before the curfew in an ephemeral way.

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    Gates, is a subtle link to the ‘Pass Throw’ feeling so much need it in this actual times, from a positive abstract perspective. The artist brings an interactive installation where the public have a 1min calm walk, through a 50-meter long light path, composed by 11 white/silver pentagons pulsing softly, in a calm ‘light heart beat’, transmitting harmony and a positive overcome glimpse.

    Marina believes in natural wisdom, interconnectivity and the power of colour. Her favorite places are the streets and big walls, which she is re-visiting and transforming into colourful paintings. Through depictions of geometry and symmetry – the recognizable method of her creations – Marina emphasizes the importance of an equilibrium.
    Zumi combines idealized versions of animals, vegetation and nocturnal scenes for the creation of her very own natural bio-luminescent landscapes, with which Zumi aims to provide oases of serenity among the crowded and noisy city streets.
    Check out below for more images of the installation. More