#clement moss

[sh1p-of-s1syph7s]

WHY DID NO ONE TELL ME ABOUT THIS LOOK AT HIM

[thesillygiggleman]

hey remember when i said this? PRIDE UPDATE!! their boyfriends can join in. 6 man autism kiss. moss, abed, jemaine, roy, troy, bret. make all of them kiss or something

[kate-jam-and-diamonds]

backstage at Clements Ribeiro, 1997 / ph: Dafydd Jones

[natedrawsfrogs]

GETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUTGETOUT-

[ilromagnollo84]

Kate Moss wearing a Clements Ribeiro blouse, Vogue Italia 1997

Photographed by Bruce Weber

[milliondollarbaby87]

Evening (2007) Review

As she is dying from a terminal illness Ann Lord is about to shake the lives of her two daughters Nina and Constance as they discover a tragedy from her youth. ⭐️⭐️⭐️ Continue reading Evening (2007) Review

[phantom-air-pirate]

Tag dump: Relationships

[prcttyinpcnk]

Tag Dump: Relationships!

[lonestarbattleship]

"USS TEXAS (BB-35) arrived at Bremerton, WA Navy Yard drydock on January 14, 1932, and after repairs and new equipment, departed on March 2, 1932. She was put into port at Mare Island Naval Shipyard in Vallejo, the first Navy Yard developed on the Pacific Coast, for supplies, on March 23, cruised south, passing San Clemente and Santa Catalina Islands, into the San Pedro Channel, and returned to her home port of San Pedro, CA on March 28, 1932."

C.A. Moss collection: link

[breedaboyd]

Smells — What do the different Boyds smell like?

Billy: Wears a cologne with notes of coriander, Italian lemon and oranges but this tends to be drowned out by the constant smell of chlorine that clings to his skin, not that he minds particularly.

Cap Hatfield: Cologne isn't really a thing so you're just left with his natural scent. He tends to smell mainly of sweet tobacco, whiskey, sawdust (particularly from sugar maple and hickory) and gunpowder. Despite not being able to do much in terms of his scent, he smells incredible, especially when he's been working all day and he's all sweaty and musky.

Cary James: Cary loves his colognes and his perfumes so he can smell vastly different from day to day. That being said, his favourite is a more feminine scent with jasmine, rose and vanilla. You can tell when he's been in a room as he tends to leave a lingering scent behind.

Clement Mansell: Though he may look like a filthy rat man, Clem smells surprisingly good. Although it might be overwhelmed by cigarette smoke most of the time, up close and personal, he smells of honey, sweet bourbon and roses. And he tastes just as good.

Corinthian: Corin — and, by extension, the inside of his car — smells of amber, cashmere wood and grapefruit. Obviously, this is undercut by the scent of leather from the leather upholstery of his car and sometimes the acrid smell of blood.

Don Pierce: Don is not much for things like colognes or anything like that. He's the kind of guy that would walk into a drug store, pick up the first bottle he found and use that, doesn't matter if it smells good. Fortunately for him though, it does smell good, with elements of orange blossom, white cedar and musk. It pairs especially well with the scent of gunmetal.

Eli Klaber: Voller (or Stephan) once got Klaber a bottle of cologne for his birthday and he's never stopped using it. With notes of cypress, eucalyptus and fresh ginger, his scent is made entirely his with the added smells of steel, gunpowder and WD-40.

John McBride: Leather, oak moss, dirt, antiseptic and blood. John tries his best to smell good but, given his specialty in pathology (and part-time werewolf slaying), he regularly struggles to stay on top of it.

Mo Lundy: Doesn't really care about those kinds of things as they seem quite superficial to him. Generally, he tends to smell of fresh water, cheap soap and a kind of warm, homey musk. It's simple but it's all him and he still manages to smell really good.

Quinn McKenna: His wife did get him a bottle of cologne once but that got used less and less as they drifted apart. Now he tends to smell of cheap deodorant, sweat and gunmetal (unless he's going to an event that requires his full-dress uniform).

Steve Murphy: Steve takes pride in his appearance and part of that is how he smells. His favourite cologne has notes of bergamot, cardamom and lavender but, all that being said, in the Columbian sun and with how much he smokes, the cologne is usually overwhelmed by cigarette smoke and sweat, leaving the cologne as an afterthought on his skin.

[tiredflowercrown]

Bronwen Callahan

Legal name: Bronwen Sinead Callahan

Aliases: Bonny Callahan

Gender: Female

Age: 16

Eye color: Moss Green

Hair color: Red

Height: 5’9

Scars/Birthmarks: Several small scars lining face and neck

Other Distinguishing Features: An octopus tattoo on upper back

Appearance: Typically found in ripped blue and red clothing, fishnets underneath

Birthday: May 27

Known Family: Nevada Callahan (Mother, Deceased), Flannán Callahan (Father)

Notable Traits: Purposeful, Avaricious, Petty, Adaptable

Associations: Gulliver LeGume, Maighread Mim, Clement Clayton, Ethan Blakeslee, Desiree Marinos, Jonas Marinos

Weaknesses: Easily bribed, Extremely loyal to Uma

[montag28]

Le vent nous portera

Il ramo più basso del tiglio, foglie larghe e ruvide e setose, come lamine morbide e asciutte, sottilissime lingue di gatto. Mi accingo a passarci attraverso, senza aiutarmi col braccio, ci infilo il viso dentro; il mio naso fende il verde e scosta la cortina vegetale, aprendo la strada verso l’interno. Tiglio non può fare male, le mani stanno a guardare, gli occhi abbassano le serrande, accarezzo con le ciglia le nervature, o forse viceversa, è l’albero che accarezza me, con le sue foglie sulle mie palpebre chiuse. Una tendina giapponese leggera fissata alla sua stecca naturale, un ramo alto come un ragazzino di dieci, undici anni. Mi chino un poco e finalmente mi addentro in quel nascondiglio di clorofilla ed essenze, a respirarne il verde, ad ascoltarne gli aromi, a osservarne le innervate carezze. Le foglie sono ora scialle sulle mie spalle, i rami sono tetto, l’albero capanna.

Il cielo si appanna e s’accartoccia su sé stesso, cenci di grigio si stratificano e s’ammucchiano, cirri sopra cumuli, il vento fa tremare il mio e tutti gli altri tigli del viale. L’aria si carica di nuovo di promesse di tempesta e sensazione di pioggia imminente; non pioverà. I papaveri, da qualche parte, lontani e vicini, il loro coro rosso che canta: noi siamo qua, non abbiamo paura, il vento non ci sposterà. Il vento, ci porterà.

Il mio sonno m’attraversa il corpo come la linfa un tronco d’albero. Levarsi in piedi e iniziare a vivere quando è ancora notte comporta un giorno intriso di cosciente attività onirica e sghembe fantasie che attorcigliano la veglia col sogno, come maglie di giunco e vimini intrecciate in un unico cestino, un comune destino. Ma il profumo della siepe di gelsomino nella via alle quattro e quarantacinque del mattino è reale, esiste; persiste. Come il ricordo della sera prima, il ragno controluce in prossimità del semaforo pedonale, alla mia sinistra. Attendo di attraversare: il ragno scende dal cielo, perpendicolare, il suo filo perfetto e invisibile teso dalla forza di gravità. Muove le zampe e danza nell’aria, scendendo dall’alto, fluido e verticale: spremo la vista, come ad assicurarmi che i miei occhi non siano farlocchi, ovvero che non ci sia davvero una parete trasparente su cui il ragno sta in realtà camminando. Allungo una mano, la parete svanisce.

Io pure, cammino: e più non distinguo l’oggi dallo ieri, l’alba dalla sera, i nomi delle nuvole. Confondo i sensi, senza confondermi col senso. Conosco la direzione. Riconosco i miei passi, distinguo il loro suono dalle altre tracce: attrito di pneumatici sull’asfalto, camere di scoppio di motori in temperatura; e in alto, più alto, il fruscio argentino delle foglie dei pioppi e dei tigli, mosse ora dal vento di bufera di oggi, ora dalla brezza calma della sera di qualche ieri, di qualche domani. Che il tempo sia clemente o che s’inasprisca, il loro suono rimane dolce, riconciliante. Come la voce, la voce che non ho perso. Mi basta chiudere gli occhi, nella strada, per ritrovarla ancora, ancora. E poi, risentirla, ancora - come il coro dei papaveri, che il vento porterà.

*

[thesillygiggleman]

hmmmm i think that maurice moss and abed nadir and jemaine clemaine should all autistically kiss each other at the same time

[samanthaatodaro]

Corinne Day was a British photographer who brought a more documentary look to fashion imagery. At 16 she left school to travel the world. She got a job as a courier and through that she got into modeling. During a flight she met a photographer and followed through. She ended up traveling all over the world as a fashion model. At the time she had a boyfriend who was into film and photography. He taught her how to use a camera and she began taking photographs while traveling. Shortly later her friend suggested she give her photographs to Phil Baker. Later with many recommendations she began taking photos of fashion. Corinne had little experience with color so her photographs were taken in black and white. She brought six photographs to Phil and he published one. From there on her career began to take off and she came across more and more opportunities to publish her photographs.

Corrine was self taught. Her work influenced style and perception of photography in tbe early 1990s and still does. She often included autobiographical elements into her images. She was known for forming long and close relationships with many of her muses including Kate Moss, Rosemary Ferguson, George Clements, Georgina Cooper, Sarah Murray, Tanya Court, and Tara St Hill. This resulted in many candid and intimate portraits. Her first piece of work to be published was photpgrahs of Kate Moss titled “3rd summer of love”. This was published to the face magazine in 1990 and came to be known as grunge. This work grew to be an international style. Following this in 1993 she was asked to photograph Kate Moss and others for the March issue cover shoot and main fashion story. She was commissioned by Alexandra Shulman, a British Vogue editor. This led to her being commissioned for more fashion shoots and eventually led to the publication of her first book “Diary”. This was a personal visual record of her life and friends. The book shows poetic and honest photographs of young lives. 

Two distinct bodies of work are “Diary” and “Tara, Gimpl Fils”. Her work in “Diary” was officially published in 2000. It was exhibited at The Photgraphers Gallery in London in that same year. This was her first solo exhibition and she became known for these images. Her bestfriend Tara was the main figure in Diary. It includes photographs of different events in Taras life from partying, sexual liasions, illness and motherhood. Tara shows different sides of herself in these photographs. Some feelings displayed are fresh, pretty, natural, sad, etc. They all give an understanding to Corinnes aesthic. “Tara, Gimpl Fils' ' is a very similar style to her work “Diary”. For these photographs her bestfriend Tara is the main figure used to photograph. These images portray a dark, very realistic life. All her images are very open and give off a strong message. 

In these two bodies of work there are many similarties seen. Both of these use her bestfriend Tara as the main element of the photographs focusing on her different life events. They both show the realistic events of a young person. Her images all feel very free and expressive. Nothing seems staged or fake. To me these images all show the normal life of a young person. Almost all these images in both bodies of work are colorful. 

Although these two bodies of work have a similar style there are some differences as well. “Tara, Gimpl Fils' ' photographs all especially focus on her bestfriend Tara. Almost every photo is about her indivually. On the other hand, her work in “Diary” has other focuses. You see pictures of the outdoors and other individuals, not just Tara. Her work in “Diary” can be seen as more joyful where as “Tara, Gimpl Fils' ' is more emotional and intimate. I enjoy how she can potray many diffrent messages through her work while keeping the style similar. 

References

Autobiography. Corinne Day, Photographer. (n.d.). Retrieved November 9, 2022, from https://www.corinneday.co.uk/autobiography/ 

Corinne Day: Diary. The Photographers Gallery. (2021, August 13). Retrieved November 9, 2022, from https://thephotographersgallery.org.uk/whats-on/corinne-day-diary 

Tara, Gimpel Fils, 6 October 2000. Corinne Day, Photographer. (n.d.). Retrieved November 9, 2022, from https://www.corinneday.co.uk/exhibitions/66/ 

[crazydreamercycle]

A catalogue of names that are just straight up normal words

Female

Acacia

Amber

Amethyst

Amity

Anemone

Anise

April

Aria

Aspen

Aster

Aura

Aurora

Autumn

Avalon

Avril (April, French)

Azalea

Azure

Bee

Beryl

Blanche (White, French)

Blondie

Blossom

Brandy

Bunny

Burgundy

Cadence

Calanthe

Calla

Camellia

Candy

Caprice

Chalice

Charisma

Charity

Chastity

Cherish

Cherry

Clarity

Clematis

Clemency

Columbine

Comfort

Coral

Coriander

Crystal

Daffodil

Dahlia

Daisy

Dawn

Delight

Delta

Destiny

Diamond

Dot

Dove

Dream

Easter

Ebony

Eglantine

Emerald

Epiphany

Essence

Fae

Faith

Fancy

Fawn

Felicity

Fern

Flower

Gay

Genesis

Genie

Gill

Ginger

Glory

Grace

Harmony

Hazel

Heather

Heaven

Holly

Honey

Honour

Hope

Hyacinth

Iris

Ivy

Jacinth

Jasmine

Jonquil

Journey

Joy

July

June

Kay

Kitty

Lacy

Lark

Laurel

Lavender

Liberty

Lilac

Lily

Lotus

Love

Magnolia

Maple

Marigold

May

Meadow

Melody

Mercy

Merry

Minty

Miracle

Missy

Misty

Modesty

Monday

Myrtle

Nan

Nanny

Olive

Opal

Paisley

Pansy

Patience

Peace

Pearl

Pen

Penny

Peony

Petal

Petunia

Piety

Piper

Pleasance

Poppy

Porsche

Posy

Precious

Primrose

Princess

Prissy

Queen

Rainbow

Rose

Rosemary

Rosy

Royalty

Ruby

Rue

Sapphire

Scarlet

Scout

Serenity

Shell

Sherry

Sienna

Spirit

Spring

Star

Sue

Summer

Sunshine

Symphony

Tansy

Tawny

Teal

Temperance

Tempest

Tiara

Topaz

Treasure

Trinity

Unique

Unity

Velvet

Verity

Violet

Willow

Winter

Male

Ace

Archer

Art

August

Baker

Bishop

Blaze

Brand

Brock

Bud

Buddy

Buster

Case

Cash

Chance

Chip

Chuck

Clair (Light/clear, French)

Clay

Clement

Cliff

Colt

Constant

Coy

Crew

Curt

Dane

Deacon

Dean

Den

Drake

Duke

Dutch

Earl

Earnest

Fisher

Fletcher

Flint

Ford

Forest

Foster

Fox

Frank

Garland

Gene

Gore

Grant

Gray

Grey

Griffin

Gunner

Guy

Hale

Hall

Hardy

Heath

Herb

Jack

Junior

Kelvin

King

Kip

Lane

Legend

Leo

Major

Mark

Marshal

Mason

Mat

Merit

Messiah

Miles

Moss

Newt

Noble

Norm

Pace

Peers

Peregrine

Pierce

Piers

Placid

Porter

Prince

Prosper

Ray

Read

Red

Reed

Rich

Ridge

Rob

Rocky

Rod

Roman

Rusty

Satchel

Scott

Shaw

Shepherd

Sly

Smith

Sonny

Spike

Stan

Sterling

Stew

Stone

Tad

Talon

Tanner

Teddy

Tiger

Trace

Van

Walker

Ward

Webster

Will

Wilt

Wolf

Woody

Wright

Unisex

Alpha

Angel

Ash

Berry

Blessing

Briar

Brook

Carol

Cat

Cedar

Christmas

Cyan

Dell

Derby

Dusty

Flick

Fortune

Gale

Garnet

Happy

Harper

Haven

Haze

Honor

Hunter

Indigo

Jade

Jewel

Justice

Kit

Lake

Lucky

Max

Merle

Noel

Ocean

Page

Patsy

Phoenix

Praise

Prudence

Rain

Raven

Reign

River

Rowan

Royal

Sage

Sandy

September

Sequoia

Silver

Sky

Sparrow

Storm

Sunday

Sunny

Temple

Wisdom

[spaziodisplay]

Maarten Van Roy

Plain Chords of Spectral Bliss

(a cura di Ilaria Monti)

18.05.2024 - 30.06.2024

Esplode una supernova e si frantuma.

Esisterà pure un modo per raccoglierne i resti, tra una galassia e l’altra.

Above us, stars. Beneath us, constellations[1].

Viaggi interstellari originano da una crepa, dalla polvere che si accumula sulle superfici – e in questo le opere di Maarten Van Roy ricordano le nebulose, sono agglomerati, assemblaggi, concrezioni e superfetazioni di materia e anni trascorsi. Le immagini e le cose stratificano eclissandosi reciprocamente, inaugurando infine nuove morfogenesi. Cielo e terra possono somigliarsi così profondamente nel disordine e nel mistero del mondo, dove nascono accordi e dissonanze: viste da vicino, le macchie di cera su un tavolino sono una costellazione, le pieghe di una maglia sgualcita sono una terra deserta, una crepa sul vetro un portale per l’altrove: un vuoto scomodo dove passato e presente turbinano e collidono.

La ricerca di Maarten Van Roy si sviluppa come una breve odissea nei paesaggi quotidiani, terrestri o astronomici. Come nel linguaggio architettonico, gli spazi, gli angoli, le superfici ed il suolo sono campi esistenziali e semantici dell’opera. Rielaborando suggestioni derivate dalle caratteristiche degli elementi interni ed esterni di DISPLAY – dalla sua collocazione rispetto al centro urbano, alla profonda scheggia sul vetro della porta d’ingresso, Maarteen Van Roy concepisce la disposizione di ogni opera come un’interazione locale e situata, vincolata alla natura dei luoghi quanto in balìa di contingenze e imprevisti. Le opere espandono o sottraggono lo spazio, agiscono come poli di attrazione dello sguardo. Van Roy orchestra le mosse di un universo suo soltanto, dove il caos e la complessità dettano alla vita ritmi scostanti, e dove le forme e le funzioni delle cose sfumano o si trascendono. Le opere sono come buchi neri, densità e concentrazioni di massa, corpi che sprofondano in sé stessi – morte e rinascita di una stella.  Forse è vero che anche loro sono destinate a consumarsi e scomparire, a meno che qualcuno non ne raccolga le briciole. 

[1] Ted Kooser, Flying at Night: Poems 1965-1985

BIO

Maarten Van Roy (b. 1985, Bonheiden, BE), vive e lavora a Bruxelles e Colonia. Tra le mostre personali e collettive più recenti: 2024, Body Moving, with Max Kesteloot, 10N Gallery, Menorca, ES; 2023, Mine of You with Me, Avee Gallery, Kortrijk, BE; The Postcard Party, CC Strombeek, Strombeek-Bever, BE; Lavender Snows, La Traverse, Marseille, FR; Haberdashery Show, 10N Gallery / La Mercerie, Brussels, BE; 2022, Chambers, FLAT$, Brussels, BE; AQUATURF, Triphasé, Brussels, BE; 2021, Shannon‘s Law, with Pierre Clement, 10N Gallery, Brussels, BE; Shallow Shallow, Spazio Orr, Brescia, IT; Black Hole, Blind Spot, Dead Angle, artothek - Raum für junge Kunst, Cologne, DE; Twilight Objects, Pas une Orange, Barcelona, ES; Ricominciare dal Silenzio, co_atto, Milan, IT; Ganz viel jeden Tag, Byvier / Michael Horbach Stiftung, Cologne, DE; Fête Permanente, Espace Voltaire, Paris, FR; ECHO, Avee Gallery, Kortrijk, BE.

https://www.maartenvanroy.com

_______________

ENGLISH

(curated by Ilaria Monti)

A supernova explodes and is blown to pieces. 

There must be a way to gather its remnants, scattered among the galaxies.

Above us, stars. Beneath us, constellations[1].

Interstellar travel originates from fractures, from the dust and dirt settling on surfaces – likewise, Maarten Van Roy's works appear as nebulae, they are clusters, assemblages, concretions, overlapping matter and time. Layers and layers of images and things eclipse, introducing new morphogenesis. Sky and earth can be profoundly close to each other in the chaos and mystery of the world, where chords and harmonies and dissonances arise : seen up close, the wax stains on a table top form a constellation, a crumpled t-shirt evokes a desert land, a crack in a pane of glass is a portal to somewhere else: a void in which past and present violently collide.

Maarten Van Roy develops his practice as an odyssey through everyday skyscapes and landscapes. As in architectural language, the spaces, angles, surfaces and the bare floor are existential and semantic properties of the works. Taking the cue from the internal and external features of DISPLAY – from its urban location to the chipped glass of the entrance door – he conceives the installation process as a local and situated action. It is bound to the exhibition environment as much as at the mercy of the unplanned. The works subsequently amplify and condense the space, acting like dynamic magnets for the gaze. Like a conductor, Van Roy propels his own universe, where chaos and complexity mark hectic rhythms of life and personal narratives, and where the forms and functions of things blur or transcend themselves. His works recall black holes, they are densities and concentrations of mass, bodies sinking into themselves – stars dying and then reconfiguring. Perhaps it is true that even they are destined to consume themselves and disappear unless someone gathers their crumbs.

[1] Ted Kooser, Flying at Night: Poems 1965-1985

BIO

Maarten Van Roy (b. 1985, Bonheiden, BE), lives and works in Brussels and Cologne. Recent solo and group exhibitions include: 2024, Body Moving, with Max Kesteloot, 10N Gallery, Menorca, ES; 2023, Mine of You with Me, Avee Gallery, Kortrijk, BE; The Postcard Party, CC Strombeek, Strombeek-Bever, BE; Lavender Snows, La Traverse, Marseille, FR; Haberdashery Show, 10N Gallery / La Mercerie, Brussels, BE; 2022, Chambers, FLAT$, Brussels, BE; AQUATURF, Triphasé, Brussels, BE; 2021, Shannon‘s Law, with Pierre Clement, 10N Gallery, Brussels, BE; Shallow Shallow, Spazio Orr, Brescia, IT; Black Hole, Blind Spot, Dead Angle, artothek - Raum für junge Kunst, Cologne, DE; Twilight Objects, Pas une Orange, Barcelona, ES; Ricominciare dal Silenzio, co_atto, Milan, IT; Ganz viel jeden Tag, Byvier / Michael Horbach Stiftung, Cologne, DE; Fête Permanente, Espace Voltaire, Paris, FR; ECHO, Avee Gallery, Kortrijk, BE.

https://www.maartenvanroy.com

PRESS KIT

ph credit: DISPLAY