#mimbys art

[mimbys]

Ashes or snow

[thedorfmirrin]

Chirp!

[gabriella-krasimira]

I Saw the Angel in Marble || Mimby

Gabriella did not intend on dating. She did not intend on finding anyone interesting ever again. And, if asked, she wouldn't say that she was interested in one Mim Ambrosius. This continued dalliance was simply a way to pass the time. The fact that Mim tasted sweet was only an added bonus to the matter.

Yet, here she was, car waiting as she approached the younger girl's door. The art museum in Next Town Over was hosting an up and coming artist and Gabby had been eager to attend. A wave of nostalgia attempted to bite at her; her thoughts earlier slipping to Vanya and the many exhibits they had experienced over the decades. How they would toss opinions back and forth before ultimately deciding to donate to whatever artist they were seeing. But she pushed those thoughts aside as she reached the front door.

Today she was doing something new. Something unlike what she'd been doing for the past century.

She was going on a date. With a pretty girl that tasted like sweet wine.

Her knuckles rapped against the door before she took a step back, smiling gently as she waited for the door to open.

@madmagicmim

[outfit]

[ervinafindy]

Denny Ja presents Andy Warhol's paintings with a new touch: an inspiring re-painting trip

Painting always attracts the attention of many people. Especially for those who like to observe, and more than that there are a handful of people of course who choose to develop the hobby into a profession. In Indonesia alone, painting has developed very long and under the auspices of Indonesian artists who are worldwide. However, this time we will discuss the works of Andy Warhol represented by Indonesian artists who are re-painting with a new touch that inspires. Pop art artist, Andy Warhol, was indeed known as an iconic artist in the 1960s. His works, even now, are an inspiration for many artists and fans around the world. However, now you can feel the works of Andy Warhol in a closer way by looking back at the five with Denny JA. Earlier this year, Denny JA decided to offer the works of Andy Warhol who was considered very touching the hearts of the public by re-painting some of his works. These works will be presented in the "Andy Warhol dreams" exhibition which will be held from June 19 to July 11. As an Indonesian artist who has been widely recognized, Denny JA became a very appropriate artist to re-paint Andy Warhol's works. Denny Ja himself revealed that he was very inspired by Andy Warhol's works, with strong colors, extraordinary combination, and his message was very contemporary and always relevant today. Denny Ja also tried to combine the works of Andy Warhol with the times, painting with a more modern, fresh, and unforgettable touch. More than just a re -painting process, the work produced by Denny Ja presents a new nuance with deeper messages. The messages contained in the original work do not change, but have a stronger boom and are closer to the point of view of modern society. In addition, these works also provide new experiences to the people of Indonesia who are generally unfamiliar with painting. Indonesia is currently experiencing a development, especially in the world of fashion which has a bright compatibility with the world of painting. Therefore, these works also become a means to increase the effectiveness of the understanding of Indonesian people about painting. Every work produced by Denny Ja through the process of re-painting in the exhibition "Dreams of Andy Warhol" has a different and interrelated message. One of the interesting works and tells a context of the present is a work titled Marilyn+Batman Diana. In this work, implied a message that refers to the popularity and controversy of the two figures, Marilyn Monroe and Batman. In addition, Denny Ja also painted a work that tells about Wilyam's independence for one of them, a work that tells a child's secret and solution for humanity. The work has a modern nuance, as we can see from the style used. Waiting for his presence in the exhibition "Andy Warhol's dreams". The works offered by Denny Ja in the exhibition "Dream-Mimbi Andy Warhol" JogjaarsiteTuctorindo.com will make people experience a very pleasant experience and compare deeper meanings. Denny Ja as an Indonesian artist who is talented is very able to capture the nuances of the modern era and package it very elegantly. So Ayuk, watch Denny Ja's works at the "Andy Warhol dreams" exhibition and be part of a very inspiring painting trip.

Check in full: "Denny JA presents Andy Warhol's paintings with a new touch: Re-painting trips that inspire"

[snappingthewalls]

[dietyprophet]

So uh

SONIC OCS!... 

Yeah the Sonic Movie dragged me back into Sonic fandom hell and brought these guys back with it.

Come yell at me if you ever want to know more these guys! I’m planning to show them more later on!

[everythingremembered]

looking at 40,000 year old Aboriginal rock art at Mimbi caves

[dudewhoabides]

art by Mimby Jones Robinson

[tauchner]

MIMBY JONES ROBINSON ART

[mimbys]

Got carried away a bit with kokos hair here lol

[raizesmaritimas]

Conhecendo o photoshop, desenhando pra acompanhar a música do Kuaray O'ea :)

[kathleenseiber]

Bone tools from the Kimberley among oldest in Australia

The rugged Kimberley region of Western Australia is home to vast tracts of land – a savannah landscape of ranges and plains, pockmarked with caves. A new study of bone tools found in one such Kimberley cave has revealed they are among the oldest in the country and carry marks that hint at their ancient uses.

The tools were found in layers dated to between 35,000 and 46,000 years ago in Riwi Cave, about 90 kilometres south-east of Fitzroy Crossing. This means their antiquity rivals the previous record holder for oldest bone artefact, a tool found at Carpenter’s Gap 1 (also in the Kimberley) that was dated to under 46,000 years old. A re-analysis of the tools by a team of archaeologists from Griffith University, the University of Western Australia, and the Australian National University, is published in the International Journal of Osteoarchaeology.

“We once thought that bone tools were not so important in the north of Australia and were only brought into the toolkit relatively recently,” says co-author Dr Michelle Langley, from Griffith’s Australian Research Centre for Human Evolution.

“These tools show that wasn’t the case – they were always made and used, we just hadn’t found them because they haven’t been surviving long time periods in the hostile preservation conditions of northern Australia.”

Resin lump discovered at the Riwi Cave site. Credit: Sue O’Connor

The secrets of the Kimberley bone tools’ use are inscribed onto them in patterns of wear and tear. By examining marks and breakages, the team inferred they were used for a range of activities, including the manufacture of plant fibre items, the processing of spinifex resin, and fish or bird hunting.

“They were used for activities which typically do not survive archaeologically,” says Dr Langley.

“One indicates plant or skin working (making baskets or working skins) while another appears to have been used in digging up or working resin. Resin was used to glue together tool parts and to make hand holds for tools.”

The tools are rewriting the archaeology of ancient Australia. Co-author Professor Sue O’Connor, from ANU, says: “Until recently bone artefacts of this age were thought to be confined to the cold southern regions of Australia and Tasmania and to have been used in skin working to make clothing as protection against the cold.

“These new finds from the arid zone have changed our perspective.”

The team were granted access to the site by the Gooniyandi people of the Mimbi Community, the traditional custodians of the area.

This new evidence of the tools’ significant age demonstrates the deep history and powerful continuity of First Nations cultures in Australia. Says Langley: “looking archaeologically, many of the tools that we’re seeing just a few hundred years ago were [also] being used thousands of years ago, when people first arrived on the continent.”

More on Australian archaeology

Machine learning reads Arnhem Land rock art

Rare bone tool artifact revealed

Really ancient art

A missing part of the rock art gallery

Bone tools from the Kimberley among oldest in Australia published first on https://triviaqaweb.weebly.com/

[snappingthewalls]

[dietyprophet]

A drawing of @tenya Sonic oc,Blue Moon! Feat. My own oc,Mimbi the Robot!

I thrill they’ll get along in terms of antics.

Bonus drawing

[onclouddesign]

This street artist’s work really gets my tail wagging, so I decided to interview her on her studio and working practice. So inspiring . . .

✭ SARAH MASSON INTERVIEW ✭

Recount on how you have gotten to the point that you are at now / your background. What influences (people, life events etc.) have lead you into the creative industry? 

Graduated communication design at RMIT 2009 

Worked as a graphic designer & creative director for many years 

Started painting around 2014 & exhibiting straight away 

Started spray painting, doing street art painting murals 2015 

Quit my job in design worked as a an artist exhibiting and selling works independently both nationally and internationally whilst doing different commissioned private and commercial work in art, design, photography and performance. 

Curated indépendant gallery spaces in VIC & NSW 

Why did you choose to become a solo practitioner rather than working in a group environment? 

I enjoy going deep with a project idea and seeing a piece from beginning to end I prefer to work alone because it is less messy with too many cooks, also more money if you do it all yourself. I prefer to work alongside artists from other disciplines like musicians. I lived and worked in a recording studio, art gallery, creative space called Lupine Studio last year.  That was good for me to collaborate with artists coming and going and maintaining my own practice and keeping my own space. 

How does the urban environment help you to generate ideas? 

If I am painting a wall I have to really consider the surface texture and surrounding environment. Always returning to the art elements & principals colour, contrast, composition etc to find the best result in the space because my original concept or sketch may not work. 

What types of paints, instruments, materials and tools do you use to facilitate your work? 

Spray paints, acrylic paint, texts, charcoal, pastels, scrap paper for sketches, brushes, rollers, sponges, sometimes projectors, a mask, ladders, milk crates. 

To produce your work, do you have readily available resources and is it cost efficient? 

 It is more cost effective if you use similar colours and explore a colour palette across a few paintings/murals. Getting on the tools and stretching your own canvas or going to the hardware store and buying a sheet of $12 plywood to cut my own round canvases instead of buying one for $150 at deans art. I also reuse canvases and paint over them if they have been sitting around for a while its good not to be too attached to your work. 

In what way do you focus on sustainability? 

 I try to use as much recycled materials often at the moment I am painting on recycled plywood boards that used to be festival gallery walls, they have holes in them etc but I like that they aren’t perfect it adds character.  I use my computer to collage up ideas and trial colours and only use scrap paper for sketching. I mostly sell prints to order these days instead of getting a bunch printed.   

Who is your main target audience and demographic, and how do you attract them individually? 

I don’t make art for anyone in particular. I have exhibited & live painted at a lot of bush doof festivals over the years young earthy conscious people seem to resonate with my work.  They often don’t have any money so they support my work by buying prints and small pieces. 

What clients seek your finished creative work? 

My main demographic who buys my bigger canvas artworks are fancy housewives and people 30+ often in the queer community. 

 Are all your paintings completed in the studio? Or are they taken home on some occasions? 

 Over the years I have gone between working in studios and from home. Because I use spray paint I need access to an outdoor space for ventilation. I have a good work ethic so working from home isn’t really a problem. I have been mostly creating minimalistic works on paper the last few years so I haven’t had a need for a studio I can just work from my kitchen table.   

How does your individual design process differ from other artists? Describe how your culture enables the public to recognize your work? 

All of my visual art is accompanied by a long title story or poem, I feel the written work is as important as the visuals. I try not to over work my pieces even if they are messy and layered I want the piece to have as much movement and emotion as possible. Most painters I know work on pieces for days or months and thats great but it is not in my process I prefer to keep my work as expressive as possible. 

Describe the stimulus for ideas? How do you find and develop concepts?

I keep a notebook and write down ideas and quotes from conversations with friends everyday. In my work I am exploring what it is to be human and what it is to be human in relation to others it provides me with an infinite amount of stimulus for concepts.  I develop concepts when I am doing yoga, meditation, walking or in conversation with people. 

Pick a project - what problem were you trying to solve? Barriers? Successes? Failures? What is your most well-known piece of work? 

 My solo exhibition ‘Oxytocin’ for Melbourne Fringe Festival was one of my favourite bodies of work exploring love, sex, gender and queer relationships. Intimate themes 

Timeframes and constraints - as an individual do you work in a fast-paced manner or do you focus primarily on detail? 

 I work very fast. I come from a graphic design, creative direction background so I have skills to develop ideas, make decisions quickly and usually paint a canvas or a mural in a day. Or for the last year I have mostly been selling minimalistic black and white continuous line drawings which take a minute or two. Quicker doesn’t necessarily mean better or easier. Most of the time I don’t plan what I will paint so to create something on the day I need to have a clear mind, and clear space to get in the zone. My painting style is quite expressive and often quite layered, I am not really interested in fine details more interested in the mood that the lines, shapes and colours create. 

Do you prefer working in an outdoor studio or indoor? How do these differ and what challenges do they project? 

 If I am using spray paint I will work outside. I often use mixed media on pieces so I may alternate between spraying and bringing the piece back inside if the weather isn’t great and add different elements with paint, pastel or charcoal and keep alternating between inside and outside until I feel the piece is finished. 

What is the key to success when communicating with the public? How do you distinguish a successful mural that you painted in a public setting to an unsuccessful one? 

 Taking your time. I paint quickly sometimes maybe too quickly because painting live or on the street the public is talking to you, telling you their opinions on what looks good, what looks shit, judging you, being sexist assuming you can’t do street art because you are a girl etc so it is best to stay true to your art and trust your own process and don’t speed it up if you get nervous. I really love the process of creating and sometimes I get too carried away with it I don’t take a literal step back, to view with a critical eye and consider what works and what doesn’t. Marking up the wall first even just loosely because pretty much every I do is free styled probably with no sketch maybe with a few printed out photos for reference so the murals are always a million times better if i draw up a simple grid first even if its just a 9 square grid on a 3m x 6m wall it still  helps, there is nothing worse than a big piece of art on a wall thats out of proportion by accident. 

How do you decide which colours to use for each project? Are they randomly selected, or do each convey a meaning? 

 There is always meaning whether I am conscious about the meaning before I begin the painting or after I am reflecting on what the piece means and how the colours relate to the meaning of the piece.  If I am working on a commission especially if it is a commercial job I or the client may want to chat about relevant colours to their business or the mood we want to create, or the way we want people to feel when in the space with the artwork. 

Who are your competitors? 

 I don’t really have competitors it is not how I see it. The art communities I am involved in we mostly try to lift each other up. I have friends in the industry that have similar styles or themes like: Doug Bennett, Hera Wing, Roy Wilkins, Miss Darq, Unwell Bunny, Heidi Valkenburg, Mimby Jones Robinson. 

What are some things you do to ensure quality work?

 I will post photos on social media of works in progress or send to other artists, get some opinions, share ideas. I have too much pride to exhibit average work. I make sure I don’t leave creation to the last minute. The actual drawing or painting takes about 20% of my creation time the other 80% is conceptualizing.

On Cloud Design ✥

[cprokansascity]

Oakland ‘MIMBYs’ say maybe to 19-story tower in Rockridge

California College for the Arts wants to put 589 new housing units in Rockridge — and some residents are skeptical.