farewell tumblr.

oh shit

I was both the spontaneous, playful child and the older, independent daughter. when i for instance decided only to eat bananas for three days, my mum let me do it: she presumably realised that I would grow tired of that anyway at some point. -bjork.

I was both the spontaneous, playful child and the older, independent daughter. when i for instance decided only to eat bananas for three days, my mum let me do it: she presumably realised that I would grow tired of that anyway at some point. -bjork.

headache. 

headache. 

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CHIC - I WANT YOUR LOVE (MOPLEN EDIT)

Jean-Honoré Fragonard (artist) French, 1732 - 1806 Young Girl Reading, c. 1770 Oil on canvas Fragonard painted several young girls in moments of quiet solitude. These works are not portraits but evocations, similar to the “fantasy portraits” Fragonard made of acquaintances as personifications of poetry and music. He painted these very quickly—in an hour, according to friends—using bold, energetic strokes. A Young Girl Reading is painted over such a fantasy portrait and shares its brilliant technique. The girl’s dress and cushion are painted with quick and fluid strokes, in broad unblended bands of startling color: saffron, lilac, and magenta. Her fingers are defined by mere swerves of the brush. Using the wooden tip of a brush, Fragonard scratched her ruffed collar into the surface of the paint. This is the “swordplay of the brush” that Fragonard’s contemporaries described, not always with universal approval. His spontaneous brushwork, rather than the subject, becomes the focus of the painting. Fragonard explored the point at which a simple trace of paint becomes a recognizable form, dissolving academic distinctions between a sketch and finished painting.

Jean-Honoré Fragonard (artist)

French, 1732 - 1806

Young Girl Reading, c. 1770

Oil on canvas

Fragonard painted several young girls in moments of quiet solitude. These works are not portraits but evocations, similar to the “fantasy portraits” Fragonard made of acquaintances as personifications of poetry and music. He painted these very quickly—in an hour, according to friends—using bold, energetic strokes. A Young Girl Reading is painted over such a fantasy portrait and shares its brilliant technique. The girl’s dress and cushion are painted with quick and fluid strokes, in broad unblended bands of startling color: saffron, lilac, and magenta. Her fingers are defined by mere swerves of the brush. Using the wooden tip of a brush, Fragonard scratched her ruffed collar into the surface of the paint. This is the “swordplay of the brush” that Fragonard’s contemporaries described, not always with universal approval. His spontaneous brushwork, rather than the subject, becomes the focus of the painting. Fragonard explored the point at which a simple trace of paint becomes a recognizable form, dissolving academic distinctions between a sketch and finished painting.

ming jeong seo tattoo 2006, porcelain I used moulds taken from professional ballet dancers arms and made casts of pocelain. The pocelain arms in dancing position are painted with japanese Yakuza-style tattoo patterns. In the combination the two contrasting cliches open each other up. Like a real tattoo that lies under the skin the painted patterns lie under the pocelain glaze.

ming jeong seo

tattoo

2006, porcelain

I used moulds taken from professional ballet dancers arms and made casts of pocelain. The pocelain arms in dancing position are painted with japanese Yakuza-style tattoo patterns. In the combination the two contrasting cliches open each other up. Like a real tattoo that lies under the skin the painted patterns lie under the pocelain glaze.