I’m Your Venus | I’m Your Fire | At Your Desire

The work: Venus and Anchises. Venus (Greek: Aphrodite), was the Roman goddess of beauty and love and considered as either sprung from the foam of the sea, or the daughter of Jupiter and Dione. Her husband was Vulcan but she had amours with other gods and demigods, including the shepherd Anchises, whom they had a son Aeneas. The Romans believed that they were descended from Aeneas, and therefore Venus was venerated as a guardian of the Roman people. Her chief festival is 1 April.

The Artist: English portrait painter and sculptor Sir William Blake Richmond was also the designer of stained glass and mosaic. He is best known for his portrait work and decorative mosaics in St Paul’s Cathedral in London. Richmond was born on 29 November 1842 in Marylebone and was named after a close friend of his father, the poet William Blake. As a child, Richmond was tutored at home due to health problems. In 1858, at the age of 14, he enrolled at the Royal Academy of Art where he studied drawing and painting for three years. He also spent time at John Ruskin’s house, where he was given private art lessons.

In 1859, Richmond painted his first picture and sold it for £20, spending the money to tour Italy for six weeks with a tutor. This tour had a major impact on his artistic development and career. By 1865, Richmond returned to Italy, where he lived in Rome, studying art for four years. During the 1880s, he travelled often to Italy, Greece, Spain and Egypt where he would spend a few months each year exploring new areas, absorbing the history and mythology of the region, and making numerous drawings and sketches.

Richmond became the Slade Professor of Fine Art at the University of Oxford (1878-1883), succeeding his friend and mentor Ruskin. In 1888, he resumed his relationship with the Royal Academy and was elected an Associate Member (ARA), and a Royal Academician (RA) in 1895. Richmond served as Professor of Painting at the Academy from (1895-1899 and 1909-1911), and continued to exhibit until 1916. He was elected Senior RA at the Academy in 1920.

  • Richmond was an early advocate for clean air in London. He founded the Coal Smoke Abatement Society (CSAS) in 1898 and was a member of CSAS for a number of years. The CSAS, is the oldest non-government environmental organization in the UK which later become Environmental Protection UK.
  • Richmond wrote magazine articles and gave public lectures on the danger of coal smoke and wrote to the London Times in 1898 requesting for action, stating that “the darkness was comparable to a total eclipse of the sun“.

Richmond died at his home, Beavor Lodge, in Hammersmith on 11 February, 1921.

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Wood, Christopher.  Dictionary of Victorian Painters. Baron Publishing: Woodbridge, (1971)
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Rat art has spread the plague everywhere

French street artist Blek le Rat, (Xavier Prou) was born in Boulogne-Billancourt, Paris in 1951. Blek was one of the first street artists in Paris, and the originator of stencil graffiti art. He began his artwork in 1981, painting stencils of rats on the street walls of Paris, describing the rat as “the only free animal in the city“, and one which “spreads the plague everywhere, just like street art“.

Blek’s name originates from a childhood cartoon “Blek le Roc“, using “rat” as an anagram for “art“. Initially influenced by the early graffiti art of New York City after a visit in 1971, Blek chose a style which he felt better suited Paris, due to the differing architecture of the two cities. He also stated the influence of New York’s Richard Hamilton, who painted large-scale human figures in the 1980s. Blek is credited with being the inventor of the life-sized stencil, as well as the first to transform  the stencil from basic lettering into pictorial art.

Blek’s identity was revealed to French authorities in 1991 when he was arrested while stenciling a replica of Caravaggio’s Madonna and Child. From that point on, he has worked mainly with pre-stenciled posters, citing the speedier application of the medium to walls, as well as lessened punishment should he be caught in the act.

He has had a great influence on today’s street art movement, with the main motivation of his work being social consciousness and the desire to bring art to the people. Many of his pieces are pictorials of solitary individuals in opposition to larger, oppressive groups. He has also been noted for his series of images representing the homeless, which depicts them standing, sitting or laying on sidewalks, in an attempt to bring attention to what he views as a global problem.

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What’s green and pink and hangs on the wall?

[Above image: Entitled 3: We all have a dream of a place we belong. (2013) synthetic polymer paint, marble dust and gold leaf on canvas and wood. Yvonne Pettengell Bequest,  National Gallery of Victoria (NGV)].

Australian artist Tomislav Nikolic was born in 1970 in Melbourne, Victoria. Nikolic, who still lives in Melbourne, is known for luminous abstract paintings built up from many layers of pigment mixed with marble dust. Colour is a primary concern for him. Nikolic’s aim is not to control or ‘illustrate’, but instead allow each painting to express a ‘chromatic potential’.

  • The work featured above, is the third in a group of seven paintings that explore the Seven Rays; a concept that has its roots in ancient Greek philosophy and appeared in religious iconography throughout centuries before being popularized by theosophists.
  • It references the illusion of ‘Glamour’ – as outlined in the book Glamour: A World Problem by the 20th Century theosophist Alice Bailey (1880 – 1949).

Nikolic has exhibited regularly in Melbourne, Sydney and Auckland since 1996. Recent solo exhibitions include Edict, Greenwood Street Projects, Melbourne, 2009; Cardinal Mutable Fixed, Yuill/ Crowley, Sydney, 2010; Eidos, Yuill/Crowley, 2011; In Arcadia, Jensen Gallery, Sydney, 2012; and 7, Fox/Jensen, Auckland, 2012. Nikolic’s works have been included in group exhibitions including Artists of the Gallery, Yuill/Crowley, 2010; Points of Orientation, Jensen Gallery, 2012; and A Loose Harness for Time, Greenwood Street Projects, 2012.

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Beth Among the Marigolds


Australian artist Reginald Ward Sturgess was born on 18 June 1892, in the Melbourne suburb of Newport. Sturgess was the youngest child, and the only one born in Australia after the family migrated from Bath in England. Sturgess was educated at Williamstown South State School, before leaving school at the age of  12. In 1905, he enrolled in the art school at the National Gallery of Victoria, with the help of novelist and Williamstown local Ada Cambridge, who had noticed his artistic talents. There, Sturgess studied drawing under Frederick McCubbin in the School of Design, and from 1909, painting under Lindsay Hall. Sturgess won several prizes while at the Gallery, including First Prize for a drawing of a head from life in 1909; Second Prize for a painting of still life in 1910, and First Prize for landscape painting in 1911.

Sturgess spent much time at student camps at Mount Macedon and Malmsbury, in country Victoria, an area he would later visit frequently to paint. The female students would usually stay with the family of Meta Townsend, a Malmsbury local who was also a student at the Gallery from 1909 to 1914, while the male students would camp at the disused Coliban Flour Mill, the oldest mill in the district.

Sturgess supported his art by selling painted decorative lampshades and working in his father’s seed business in Williamstown, which he continued to manage following his father’s death in 1916. On 30 July 1917, Sturgess married Meta Townsend at the Anglican Church in Malmsbury. They had one daughter Elizabeth (“Beth”), born in 1919.

  • Sturgess joined the Victorian Artists’ Society in 1921. Nine of his paintings were included in the Society’s May exhibition, and another six in the September exhibition, with little buyer interest, despite offering them at relatively low prices.
  • However, he had more success from a joint exhibition with Granville Dunstan at the Athenaeum, Melbourne, in July 1922 and subsequent solo exhibitions in 1923 and 1924, also at the Athenaeum, where collectors and critics were impressed with his poetic approach, and his convincing depiction of atmospheric effects.

Sturgess was injured in a car accident in 1926, breaking his jaw, and although he recovered, his health was affected. He closed the seed business in 1926 to concentrate entirely on his painting, but by 1930 his fading eyesight forced him to retire. Sturgess eventually became ill and died at the age of 40, on 2 July, 1932 at his Williamstown home. Sturgess was buried in the Williamstown Cemetery, survived by Meta and Beth.

[Both images are from the Castlemaine Art Gallery and Historical Museum collection:

  • Among the Marigolds (1923)  watercolour 22.5cm x 29cm depicts the artist’s daughter “Beth” (later Beth Sinclair – first director of the Castlemaine Art Gallery and Historical Museum;
  • The Schooner (1930) watercolour 32cm x 40cm (Gift of Beth Sinclair)]

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Reko Rennie’s reverent Regalia

Reko Rennie | Regalia

Reko Rennie | Regalia

Interdisciplinary artist Reko Rennie is a Kamilaroi/Gamilaraay/Gummaroi man, born in Melbourne, Australia in 1974 and grew up in Melbourne’s western suburb of Footscray. As a teenager growing up in the mid 1980s, Rennie discovered hip-hop and break dancing. It was around this time that he stole a copy of the book Subway Art by Martha Cooper and Henry Chalfant from the local Footscray library.  This book became his inspiration to start writing and doing graffiti; expressing himself through spray paint and producing original art on the streets of Melbourne.

In the late 1990s Rennie had, in his words been, in ‘a little bit of trouble’ and needed a break. He began looking at his own identity and family history. It was through his family connection to the Kamilaroi people of New South Wales, that he was able to look at traditional designs related to his family and blend these designs with his urban upbringing and his creative expression in art.

Rennie knew that he could always draw and paint as a kid, but found it very boring painting landscapes. He is proud that he never went to art school. Instead, Rennie studied journalism and in 2009, quit his full-time position with The Age newspaper and became a full time artist.

Rennie’s art has evolved from spray painting, stencils, screen prints, bronze, neon and back again. His work is often characterised by vibrant colours, line work and intricate stencil imagery. Drawing inspiration from his Aboriginal heritage, he recreates traditional images in a contemporary context. His artistic influencers include the works of Howard Arkley, Andy Warhol and pop art, as well as Keith Haring and Jean-Michel Basquiat.

[Featured above: Regalia (2013) neon, transparent synthetic polymer resin]. It comprises: three hand drawn symbols: the crown, the diamond and the aboriginal flag presented as an emblematic statement about the original royalty of Australia.

  • The crown symbol pays homage to Rennie’s graffiti roots and also pays due respect to Jean-Michel Basquiat, but most importantly symbolises sovereign status.
  • The diamond symbol is emblematic of his connection to the Kamilaroi/Gamilaroi people. This symbol is similar to a family crest; it is a part of him.
  • The hand-drawn Aboriginal flag in the form of a graffiti tag, pays respect to all Aboriginal people from environments both urban and remote and anywhere in between.

In an article for ArtLink (March 2014) Rennie explains: “I’m very driven to make art, it’s my passion and as I have a lot to say and create, I’ve always been very determined. When someone says I can’t do something, then that just fuels my desire to create even more”… “As a teenager, I was a little disruptive in class and this one particular time always comes back to me, now that I’m making a living as an artist. It was in high school, around 1991 and an art teacher called my artwork “shit” in front of my class. It is something I’ve never forgotten … I wonder what he’s doing now?“… “These days the best feedback is always from my daughter – she will let me know if the work is good or bad!”

  • Discover more about Reko Rennie through Artlink’s interview article.

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Pan fine Art is Sure Fine Art

Chalk artists Pan fine Art is an artistic partnership between Wayne McMillan and Mark “Markos” Gage. They have been working together since 2006. Unlike most artists they do not survive on sales of work, but produce art on the street for donations.

The duo create public art inspired by mythology and personal spirituality. Gage identifies as an Hellenic polytheist, Dionysian artist, and Bacchic Orphic. Today Gage and his partner McMillan are a fixed presence in Melbourne, creating pavement art depictions of mythological stories, Renaissance paintings and pagan spirituality around Melbourne’s CBD, or Southbank promenade along the riverfront. They have also painted in other cities along the east coast of Australia.

Gage grew up in Frankston and was reared by his mother and grandmother. His first serious attempts at art came at around the age of 13. His sister was interested in New Age beliefs and practices; and the siblings attended drawing classes in “intuitive drawing;” an art style that is popular at New Age festivals. This style allows for a person’s subconscious or spirit to guide or control the art, which is usually planned out in abstract shapes then rendered over with pastels, eventually drawing animals or people. This was Gage’s introduction to spiritual art and pastel drawing.

  • This lead to Gage studying art at the Frankston College of TAFE. It was here that he met his life partner Wayne McMillan.
  • Coming from similar broken home backgrounds, McMillan (who is part Nauruan) is the clown and the more outspoken of the two; and the polar opposite of Gage.
  • At the age of 25, Gage and McMillan decided to become ascetic wanderers, with a desire to travel and live freely.  They discarded all of their possessions and walked away from their apartment with nothing but their backpacks with some clothes. It was during this period that Gage became a devotee of Dionysus.

In artistic terms, Pan fine Art have a preference for Renaissance, Pre-Raphaelite and Botticelli-styles of art. Gage concurs that there is no greater artist than Michelangelo. The entire Sistine Chapel, David, The Slaves, Moses, Christ Carrying the Cross, The Pieta and Bacchus being his favourite artworks.

Pan fine Art has been producing street art since 2008. Over the years they have completed hundreds of drawings of various subjects and themes including various levels of nudity. As a consequence they have found to have offended people by drawing fully clothed figures, characters dressed in fur clothing, images of women, images of men, images of children, images of nudes. However, they both agree that people will find anything to be offended by.  – C’est la vie!

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The Archer and the Shamisen Player | Waiting for the Rickshaw

Painter and etcher Mortimer Menpes was born in Port Adelaide, South Australia in 1855. Menpes studied art at the School of Design, Adelaide. He went to London at the age of 19 and became a pupil and close friend of artist James McNeill Whistler, who was a central figure of the English Aesthetic Movement, which flourished in late Victorian and Edwardian eras. Menpes died in London in 1938.

Menpes became interested in Japanese art and design and made two extensive trips to Japan; his second visit in 1897, when he painted numerous portraits of children, geisha’s and archers in ceremonial garments. Menpes’ application of gouache and watercolour is influenced by Japanese techniques.

  • An inveterate traveller he held more one-man exhibitions in London than any other painter of his day.

Back in March 2015, there was an exhibition of Menpes’ work  “An Artist’s Utopia: Mortimer Menpes in Japan” at the Grainger Museum at the University of Melbourne.  The exhibition included works lent from the Art Gallery of South Australia and private collections.

  • The Archer (c 1897) watercolour and gouache. The frame was made according to Menpes’ specifications and features a Japanese chrysanthemum motif in the corners. Now part of the National Gallery of Victoria- Australia collection.
  • The Shamisen Player (details) oil on board 11x15cm and Waiting for the Rickshaw.

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Source: McCulloch, Alan. Encyclopedia of Australian Art. Hutchinson: Richmond, 1977.
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Some of Reka’s Eureka Moments

Self-taught Australian born street artist, Reka (James Reka, born 1983) is a young contemporary  artist now based in Berlin, Germany. Reka’s street art origins began in the alleyways and train lines of Melbourne’s inner-suburbs where he spent over a decade refining his now-distinctive art.

Reka’s art includes murals, graphics, photography and working with found objects, often sourced from walking the train lines at night or exploring abandoned warehouses. His work spans the laneways of three continents and contains influences from pop culture, cartoons and illustration, with hints of pop art in logo and symbol design, learned during his studies for Bachelor of Arts  (Visual Communication & Design) RMIT University, Melbourne (2002-2006).

  • This is Reka’s art: a paradox between sharp design and graffiti, held together with a fuse of passion and spray paint.

Reka has held solo shows in Melbourne, London, San Francisco, and in Denmark; and exhibited at the Royal West of England Academy in Bristol; as well as pieces appearing in New York, Denver, Munich and Cologne.

  • On the streets, his characters adorn the walls of cities from Milan, Paris, Berlin, Brooklyn, Montreal and in Japan.

Reka’s works have been acquisitioned by the National Gallery of Australia, Canberra, for their permanent collection, cementing his place as one of Australia’s most respected contemporary street artists.

  • Discover more about Reka at his Website, Insta Account or email reka@rekaone.com

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The Lesson by Sant is Sure to Enchant

James Sant | The Lesson[James Sant (1820-1916) The Lesson oil on canvas 89 cm Royal Academy]

British portrait painter and Royal Academy member James Sant (1820–1916) was born in Croydon, Surrey. His main tutors were John Varley and Augustus Wall Callcott.

Sant was elected to the Royal Academy in 1870 at the age of 50, and in 1872 he was appointed Principal Painter in Ordinary (official portraitist) to Queen Victoria and the Royal Family. Sant resigned from the Academy in 1914 at the age of 94, two years before his death, to “make room for younger men.

  • During his career, Sant produced an astonishing 250 canvases for exhibition at the Academy and his work can be found at the Tate Gallery, London.

His brother George Sant (1821–1877) was a landscape painter; and they were among the notable artist acquaintances of Charles Dodgson (Lewis Carroll). In fact, James Sant’s son Jemmy was the subject of one of Dodgson’s famous portrait photographs.

  • James Sant died at the age of 96 in 1916.

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Hera + Akut = Herakut


Herakut is a contemporary German street artist duo who began painting in 2004. Both members of Herakut live and work in Schmalkalden, Germany.”Hera“, is a painter and “Akut“, a graffiti artist, who together combine traditional techniques and spray painting to depict mythological creatures and darkly comedic scenes.

  • Jasmin Siddiqui (Hera) was born in Frankfurt in 1981 and is of German-Pakistani origin. She studied Visual Communication/Graphic Design at the University of Applied Sciences in Wiesbaden and began her graffiti art in 2000.
  • Siddiqui’s partner Falk Lehmann, (Akut) was born in Schmalkalden, Germany in 1977.  He studied Visual Communication/Graphic Design at the Bauhaus University in Weimar and started out with graffiti in 1991.

Herakut’s first collaboration was in 2004 at the Urban Art Festival in Sevilla, Spain. The duo produce massive murals and smaller works on canvas and paper, and their art can be found all over the world, from Kathmandu to Melbourne.

Herakut’s paintings are sensuous, savage, and always remarkable for their powerful dualism. Akut’s photorealistic details play out against Hera’s expressive, more gestural, line-work in canvases that seem poised to articulate stories of triumph and hardship. Humour and text interweave their way into the work effortlessly.

  • Discover more about Herakut at their website.

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Daum good pitcher | If I say so myself

Daum Brothers | glass jug[Pitcher from Daum Brothers – One of their masterpieces entirely wheel cast with applique and displays the harmony of softly blended colours seen through a curtain of mist].

Daum is a crystal studio based in Nancy, France. Daum was founded in 1878 by Jean Daum (1825–1885). His sons, Auguste Daum (1853–1909) and Antonin Daum (1864–1931), oversaw its growth during the art nouveau movement. They quickly became one of the major forces in this movement, seriously rivalling Émile Gallé as the leaders in the field of decorative glass.

  • During the Universal Exhibition in 1900, Daum was awarded a ‘Grand Prix’ medal.

In 1906 Daum revived pâte de verre (glass paste), an ancient Egyptian method of glass casting, in which crushed glass is packed into a refractory mould and then fused in a kiln. By the 1930s Daum’s window panels had pâte de verre added for richness, instead of using leaded or painted glass.

  • Daum glass became more elaborate, and acid etching was often combined with carving, enamelling and engraving on a single piece of glass, to produce creative glass master-pieces.
  • The most complicated creations also featured applied glass elements, such as handles and ornamental motifs in naturalistic forms.

Today Daum is the only commercial crystal manufacturer using the pâte de verre process for art glass and crystal sculptures.

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Everfresh | Everlasting | Evernew

Melbourne’s Everfresh graffiti and street art spray painting crew started back in 2001 in a studio in the city business district (CBD) called Blender Studios situated in Franklin Street. Since then they have become one of Australia’s best known street artists collective of talented painters, screen printers, sign writers, designers, photographers, sculptors, installation artists & makers.

  • The name Everfesh came after one of the members found an old local business sign – ‘Everfresh Confectionery’.

Everfresh Studio was formed in 2004 when the members moved to a disused storage shed in Collingwood. The new suburban base allowed the artists to broaden the reaches of their work to include all of Collingwood and the neighbouring suburbs of Fitzroy and Brunswick, as well as the whole of the city’s CBD centre.

Earlier members included: Sync, Rone (Tyrone Wright), Reka (James Reka now based in Berlin), Wonderlust, Phibs, Meggs (David Hooke), Prizm, Mike Makatron and The Tooth (Callum Preston) whose bios are all featured in the Miegunyah Press book of 2010 Everfresh: Blackbook: The studio and streets – 2004-2010.

In this book Wonderlust says of the Night Cat wall project (3 images featured above) that “We had permission to paint the Night Cat wall for over two years before we got around to starting. Every time I went down Johnston Street I was sh*tting myself that someone else was going to be marking it up. It’s such a good spot we really wanted to do something big for the local community, something that would become a bit of a landmark for Fitzroy. Hopefully we got there in the end”. (And they did!)

According to their studio website the current line up in the Everfresh Artist Network include: Callum Preston (aka The Tooth), Rone (Tyrone Wright), Tom Civil (aka Civil, Civilian), Mika Makatron, Phibs and Meggs (David Hooke).

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In Air, Fire, Earth and Water | World on the Scales

The Artwork:
Album cover for King Crimson’s 1970 vinyl LP In the Wake of Poseidon features the artwork The 12 Archetypes or The 12 Faces of Humankind by Tammo de Jongh (1967).

A description of the twelve faces for this work is described on The Hope. Not all of these are featured in these two images. The First image on the left shows by definition:

  • The Fool (Fire & Wind) featured on the left with red beard;
  • The Actress (Water & Fire) with black hair, a necklace, earrings and tears in her eyes;
  • The Child (Water & Air) a picture of innocence; a girl with long golden hair, wearing a gold chain, on the end of which is a small golden key.
  • The Enchantress (Water & Earth) in the upper right corner with long dark hair blown sideways.

The second image on the right depicts:

  • The Logician (Air & Fire) in the upper left corner with a long dark beard, surrounded by stars.
  • The Observer (Air & Earth) wearing glasses and in a pensive mode.
  • The Wise Woman (Earth & Air) wearing a winter scarf, and
  • The Patriarch (Air & Water) looking like an aged philosopher.

There are four other archetype ‘faces’ not depicted here but include:

  • The Warrior (Fire & Earth) a warrior’s face with helmet and black beard.
  • The Slave (Earth & Fire) a female indigenous African with gold earrings with a warm and friendly face.
  • Mother Nature (Wind & Earth) in the upper left corner with blonde hair surrounded by flowers and butterflies; and
  • The Joker (Fire & Air) a harlequin with a gold-stuccoed triangular hat.

The Artist:
Tammo de Jongh (1927-1997) was a Dutch artist who in the 1960s lived with two friends Thomas Knapp (aka Sebastien Michael Llewelyn), and Herewood Gabriel, in Kentish Town, London. They called themselves ‘The Green Monks’,  who later became the ‘Graigian Society’ (or The Community). De Jongh took the name of Anelog. They dedicated themselves to the Tarot and to the work of G. I. Gurdjieff. The community broke up after the death of De Jongh of a heart attack.

De Jongh worked with Richard Gardner and produced a book The Purpose of Love, (1970). Its content focussed on a theory based on nature, which could transform both individual lives and the world we live in. This would be achieved by understanding the elements of air, fire, earth and water; in a direct and experiential form. They believed that the elements could be seen as the source of different types of consciousness, ways of seeing and living which they termed “Natural Psychology”. By grouping the elements in pairs, it produced twelve possible combinations: air and water, earth and fire, etc. Each combination had associated natural phenomena attached, such as mist and dew, lakes and seas, ice and hot air, etc; as well as colours, psychological qualities, and one of twelve archetypal figures such as ‘The Fool’, ‘The Actress’ The Child’ and so on.
Discover more about this on CredenceDawg’s website.

The Album cover:
In The Wake of Poseidon was the second studio album of ‘prog rock’ group King Crimson. Their first album was In the Court of the Crimson King.  The line-up for their second album included: Robert Fripp, Pete Sinfield, Greg Lake (who had officially left the group), Gordon Haskell, Peter and Michael Giles, Mel Collins, Keith Tippett, and Andy McCulloch as sessional players.

The song [Excerpt]:
Plato’s spawn cold ivyed eyes
Snare truth in bone and globe
Harlequins coin pointless games
Sneer jokes in parrot’s robe
Two women weep, dame Scarlet screen
Sheds sudden theatre rain,
Whilst dark in dream the midnight queen
Knows every human pain

In air, fire, earth and water
World on the scales
Air, fire, earth and water
Balance of change
World on the scales
On the scales

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A Dscreet Parliament of Owls

Dscreet the London-based street artist, is certainly that. I have not been able to find out who he is. Research indicates that originally from Australia, Dscreet (born 1979) is part of the dubl trubl Crew. Dscreet picked up his first spray can in 1991, at the age of 12. His interest, like many other street artists, began with a love of skateboarding and hip-hop culture and the wild style form of graffiti writing on the trains and streets.

Dscreet started drawing his cartoon owls in his early years around Melbourne because it was quick and simple to ‘throw up’ and, moving later to London, he continued his now famous owls as his ‘tag’. In an Interview in 2018, Dcreet exclaimed that he liked using them because:  “An Owl is silent in flight and is always just observing. Looking and being aware of its surrounding. It just seemed to work with the tag ‘Dscreet’ so it was a good match for what I was doing.”

  • Owls are generally solitary, but when seen together the group is called a “parliament”; and they have long been considered to be of ‘wise disposition’.
  • In fact, according to Greek mythology, the owl is the symbol for Athena, (The Goddess of Wisdom).

Find more Dscreet information on Facebook or Instagram

Dscreet Owls | What a Hoot!

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Art In A Nutshell

Lothar Lautenbach | walnut carving
Walnuts have a long history in art. Walnut husk pigments were used as a brown dye for fabric and applied in classical Rome and medieval Europe as hair dye. Walnut husks have been used to make a durable ink for writing and drawing.

  • It is thought to have been used by artists including  Leonardo da Vinci and Rembrandt.

However, in more recent times, many people have gone nuts about German artist and craftsman, Lothar Lautenbach’s intricate walnut work. At the age of 80 Lautenbach became famous for creating this minuscule piece, which includes a fantastically detailed landscape carved out of the inside of a walnut. In fact, Lautenbach has received many orders from all over the world for his mini-masterpieces.

  • This example was displayed some time ago at the Museum for Saxon Folk Art (Museum für Sächsische Volkskunst) in Dresden, Germany.

Anyone thinking of shelling out for this artists work must realise that he
might like nuts, but he certainly does not work for peanuts!

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