#slowtime

[morimatea]

Enjoy quiet tea time.

[ja-i-ruh]

Time is so slow when you are waiting.

[maref-pics]

Il mio Li.co.li , fatto nel periodo del #iorestoacasa .... tempi lenti, senza starter, solo acqua, farina e tanta pazienza in #slowtime .... . Un tempo lento che mi ha insegnato a riprendere i miei tempi, a vedermi dentro, a capirmi e comprendermi, a sgridarmi ma anche a perdonarmi. . Un tempo lento che al pari del licoli mi ha fatto lievitare di idee, cose da fare, progetti per poi farmi sgonfiare giù giù una volta raggiunto il picco...e come il lievito ho buttato via una parte per rinfrescarmi di nuove idee io e nuova farina e altrettanta acqua lui tornando entrambi in pieno vigore in un saliscendi giornaliero...alla fine il mio lievito si è compiuto, è giunto a maturazione e ha iniziato il suo lavoro, devo dire molto bene e con gran soddisfazione. . Io sono sulla buona strada. . Sono ancora nel mio tempo lento, mi godo ancora x un po' questo periodo tutto per me, nel mio silenzio interiore, nel mio quasi silenzio dai social e pazienza se perdo qualche like e qualche follower..... . #mythoughts #mylife . . #lievitomadre #licoli #pensierodelgiorno #pensierieparole ##maref_mf #cucinosano #panificazione #homemadecooking (presso Turin, Italy) https://www.instagram.com/p/CAc_KKIjfw5/?igshid=NGJjMDIxMWI=

[yotarosuite]

はほんの少し他よりゆっくりと時間が流れているようです。 Fujifilm X-E4 / XF35mm f1.4 BANGKOK YOTARO Suite #yotarosuite #asoke #bkk . . #fujifilm #fuji #fujinon #FujifilmXE4 #xf35mmf14 #fujifilmforum #fujifilmfocus #snapphoto #photo #starbucks #coffee #slowtime #bangkok #thailand #スターバックス (Starbucks Emquartier Sky Garden) https://www.instagram.com/p/CftEgDwB0n_/?igshid=NGJjMDIxMWI=

[agozwi]

camminare (ant. caminare) v. intr. [der. di cammino²] (aus. avere). - 1. [muoversi a piedi da un punto a un altro] ≈ andare, avanzare, (lett.) deambulare, incedere, procedere. ‖ passeggiare, spostarsi. ↔ arrestarsi, bloccarsi, fermarsi, sostare. 2. (estens.)... Il vero scopo del viaggio non è arrivare ma camminare, non è la meta, ma il percorso, non è il dove, ma il come. Sono convinta che camminare a piedi sia un’opportunità per conoscerci meglio, per rispettarsi maggiormente, per accettare il passo lento del più debole, per scoprire un mondo imprevisto a noi vicino, un modo vecchio e nuovo di sperimentare. Camminare non serve per tenersi in forma, ma a dare forma alla vita, a farle capire le proporzioni, è la modesta preghiera degli arti inferiori. #agostinazwilling @agozwilling #piediscalzi #sapiente #autumnvibes #camminarenellanatura #nature #life #path #slowlife #slowliving #slowtime #fiberart #art #artcollection #textiledesign (at Italy) https://www.instagram.com/p/CehAqdhIxcK/?igshid=NGJjMDIxMWI=

[archivebottles]

doing artfight again! > https://artfight.net/~archivebottles <

[buf309]

To-do-list for my SxF WIPs

My work's slowtime will last until after Lunar New Year, or around mid-February.

So, I have a list of projects I'm working on that are in various states of processing. Let's see how many of them I can complete before I have to get back to the crunch.

Bad Omen (angsty comic, almost done)

An angst-without-plot (comic, no name yet, almost done)

Fluff short comic for whateversawesome

Doppelganger chapter 1 (part 2)

Behind the scene of that Wise Cosmetic poster, aka Anya roasts her papa’s vanity (comic, Mundane Life series)

Some more 4-koma for THE FORGORs series

Doppelganger chapter 2

Akatsuki!Forgers, an "no-one-ask-for Naruto x Spy Fam" AU (character design sheets)

Between the scene for Mission 75 - 76 (comic, halfway done but lost motivation to finish it)

Doppelganger chapter 3

April Fools comic

A bunch of half-baked ideas that need to be sketched out first.

And I think I should make an art sideblog, so those of you who only want to follow me for my comics can find what you need more easily, and not having to wade through my other random reblogs.

Besides, my master list for SxF has become such a hassle to edit, also an art blog could be tagged properbly to avoid spoilers for my anime-only pal too.

[mymarifae]

for the name playlist, either arsene or siren?

as we hang up a picture - dobi

reunion - harumaki gohan

slowtime - HNATA

everybody hates me - the japanese house

not alone - forgét mej

epilogue (see you in my dreams) - vaporwavez

-

still here - LOCKBOX

it'll be ok - karson

remember - singto conley

endless and artificial - city girl

new futures - tides of man

[gsasustainability]

Ted Tinkler, Painting and Printmaking

Winner GSA Sustainability Degree Show Prize Summer 2023

"they are containers of fluidity"

Ted Tinkler (they/them)

My practice centres around handcrafts – playing with ideas of intimacy, liveliness, multiplicity, and trans- ness. I work with the animacy and performativity of crafted objects. They are my co-collaborators. Access and care are at the heart of my practice. I move through making by prioritising intimacy, space, and vulnerability over a productionist, scarcity-based mindset. My work tends to a slowtime.

Deep in the details of hand crafts.

Of spinning, knitting, quilt-making, and wood-working.

This installation is made of many hands.

These objects are full of liveliness and animacy.

Of tales and futures. Of deep roots covered in soil. Of naming as personhood.

Of intimacy lying at the boundaries. As sites of radical, speculative imagination. To cross these boundaries. Back and forth.

Multimedia installation of hand-crafted craft tools for hand-crafts. – (Suspended hap frame, with hand-lathed pulley system [handmade with walnut, bocote, and oak]. 4 plate photolithographs. White linen quilt top with embedded hand-knitted Shetland lace samples – on hand-lathed oak. Standing quilt frame for hand-quilting [handmade with oak, iroko, and cherry]. TED quilt [in progress] made with coreopsis, buddleia, indigo, woad, dock leaves, found linen and cotton tablecloths and handkerchiefs, and a woollen blanket. Naturally dyed, in community, bird/tree of life quilt block. Scrap chair of gender-queer joy made in collaboration with Jules Dunn [oak, iroko, and pine] with scrap seat-top quilt. Hand-lathed, pine, niddy noddy wound with white, hand-spun wool. Spinning wheel from unknown maker, in traditional design of Scottish flax spinning wheels. Paper, books, zines, sewing pins, cork, wool, coreopsis. Quilt top of a lace pattern [naturally dyed].)

On the 4th floor, in the furthest corner at the right of the room, the installation called “they are containers of fluidity” lies. The space sits in a spiral shape with false walls creating hidden corners that lie out of sight when you first enter the space. Most of the year the space functions as a working studio for students, so there is paint scattered across the dark wooden floors. With squares of white paint, and a few floorboards a bit worse for wear.

For “they are containers of fluidity” there is a new lick of paint, the floors are freshly cleaned, and new objects fill the space. The wall to your left is painted an olive-green-esque colour. It is bare and marks the beginning of this imagined interior. The wall to your front and right are painted a browny-grey with strong hints of green. The wall to your right is full. Bursting at the seams. The first half is busier and is set up in the structure of a workshop-esque wall.

From right to left there is: A long and thin patchwork fabric piece in naturally dyed hues of purples and yellows; A wooden spinning wheel on the ground, found by the artist, and based upon traditional designs of Scottish flax spinning wheels; A small print of the artist spinning white wool at the wheel; Above this hangs a knitted lace handkerchief that almost blends ethereally into the wall; Five shelves scattered with books, flowers, small folded naturally dyed quilts, lace knitting, hand-spun wool skeins, scraps of fabric in jars, and hand-made zines; On the floor below stands a small stool with two zines and a book lying upon it, alongside a slightly ragged sewing box.

There is a small gap before a ‘niddy noddy’ and two small lithograph prints are hung. The ‘niddy noddy’ is a spinning tool for taking the wool off the wheel just after spinning. It is made of three pieces of hand-lathed pine wood, joined in two perpendicular T-joints. White hand-spun wool is looped around it in a figure-of-eight, with the remaining ball pinned to the wall beside the object itself.

 

The wall directly in front of the entrance to this installation is the largest, at around 4m in length. This is not a false wall, but the wall of the room itself so stretches up to the ceiling. The paint line stops at the same height as the false walls, around 2.4m, and above that is the traditional cool white. In the right-hand corner sits a wooden chair. It is made of a variety of woods, carefully pieced together and oiled. It sits fairly low to the ground and has a wide, deep seat. The back is made in a lattice formation, and on the support beams below the seat a quilt is draped. The quilt is a scrap block that uses leftovers from all the other naturally dyed objects within the installation. The three layers have been sewn together and bound, and it now lies folded, almost touching the floor.

A quilting frame stands to the left of the chair, not quite parallel to the wall. It juts out towards you as you first enter the space, at a gentle angle. It is made of oak, cherry, and iroko wood. The sturdy and delicate wooden structure has been sanded, oiled, and waxed so it is smooth and sumptuous to the touch. It has two legs with decoratively detailed feet. On one end it has two wooden cogs which help turn the beams and the quilt. A quilting frame is somewhat like a hollow table, with moving parts, to allow a quilt to be stretched across its limbs.

Upon this frame a naturally dyed quilt is stretched. You cannot see the full quilt as the top and bottom edges are rolled up on oak and cherry beams. Colours of reds, browns, pinks, yellows, white, and hints of blues dominate. The hand-quilting is partially completed with indigo-blue and coreopsis-yellow thread. These bind the three layers together – linen and cotton, wool, and linen again. The design of the quilt top contains the ‘bear claw’ quilt block, a block spelling out ‘TED’, and larger swathes of white linen. There are patches of embroidery throughout, overdyed, cut up, and sewn into the pattern. The quilt frame is tilted slightly towards you, and away from the wall.

Behind the quilt frame, another quilt is hung on the wall. This one is finished. It manipulates a traditional ‘pine tree’ or ‘tree of life’ quilt block into a ‘bird/tree of life’ quilt. Again, the fabric is naturally dyed in community – with yellows, purples, pinks, and white predominantly making up the palette. This quilt is made of lots of carefully sewn triangles and bound at the edges with yellow-buddleia linen.

As you step further into the space, more is revealed. Notably a large, bright window and two painted-white, wooden beams across the space, well-above head-height. The wall around the window remains white and has a few simple objects attached to it. One of the beams intersects the window and is smoothly joined to the wall on the left of the window. Two oak cleat hooks with thin orange rope wrapped in figures-of-eight’s around them, are also affixed on this wall.

A hand-lathed circular oak pole, with a few delicate details, is hung in front of the window. It is attached with two wooden pegs, like found on the spinning wheel on the opposite side of the space. From this wooden pole hangs a white quilt top. It is made of parts of a linen tablecloth and has hand-knitted Shetland lace sewn amongst them. The top is folded over the wood and pinned with simple white sewing pins to keep the fabric in place. When the late afternoon and early evening sun shines, a strong light comes through the window. The window frames cast shadows across the two larger walls, the floor, and the lace inserts cast more delicate shadows too. If a hand is held up to the piece, a delicate pattern of holes will be shadowed upon the flesh.

Obscured from the entrance but now fully revealed: a L-shaped wall to the left, painted olive green, and a hanging wooden object. The wooden object is a hap frame. Four sticks in a rectangle, with drilled holes at regular intervals down their lengths. It is made of deep coloured woods, iroko and bocote, and has dark wooden knobs made from walnut at the four corners. A hap frame is a traditional Shetland tool for stretching (or blocking) knitted lace. This activity is completed at the very end of the process, to fully reveal the knitted holes and show-up the lace design.

This hap frame hangs on thin, orange rope from a hand-made, hand-lathed, oak pulley system. It is like a pulley you might find on boat rigging, or a Glaswegian, tenemental washing airer. A piece of knitted lace is stretched in the middle of the hap frame. It has been hand spun on the spinning wheel in the opposite corner. The wool comes from Shetland and is undyed and brilliant white. Full of sheepy texture, and smell. The lace is made up of a repeating ‘fir cone’ lace pattern and diamond motif. It is rectangular, with straight (as straight as knitting is) long edges, and scalloped short edges. The lace has been sewn into the frame with thin, white thread to join the knit to the holes in the wood.

Behind the frame is hung a lithography print of a 35mm film photograph. This makes up the performative gesture of the work titled “pegging down their lace”. The lithography print is made of four coloured layers (cyan, magenta, yellow, and black) to create a full colour image. It retains the quality of the original film photograph. The white paper is pinned at the four corners with sewing pins into cork behind. The image itself is set amongst the mossy, loch edge in the Kilpatrick hills, just outside Glasgow. The blue ripples of loch Humphrey are just visible on the top edge of the image. Two young, white hands touch the knitting and steel knitting needles – pinning it out on the grass and moss. Small moss sporophytes peek through some holes in the lace. There is a gentle light settled across the photo and small shadows of the knitting needles are cast on the hand closest to the foreground.

On the smallest wall, to the left of this print, is another lithograph. This one is far, far smaller in comparison and depicts the whole lace piece lying amongst some grassy tussocks. The white of the lace piece glows and floats. Just beside this is another oak cleat hook with a figure-of-eight of rope. The final hook is near the ground on the edge of this wall. Following these in sequence takes you back around to the central space of the interior, to face again the quilting frame.

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[vraska-theunseen]

Regarding the gloom stuff in TotK, there is a side quest in the Shika village who's name I forget that helps! (It just teaches you how to undo the gloom). If you want to know without doing it, lmk and I can help! (It's nothing super complex, dw). Outside of that, I've found the gloom hands are vulnerable to bomb arrows, and notably can't climb!! They are damn scary though--

i have sundelions and the thing from the statue to heal gloom hearts it's just that every time i've tried to fight it it is incredibly fast and moves and grabs me and it takes 8 of my hearts before it lets me go and then it IMMEDIATELY grabs me again before i can even draw my bow and it's too fast for me to run away so the explosion wouodnt kill me too. i'll try climbing and jumping off and using slowtime w bomb arrows though if i can get away so that's helpful thank you! but they're just so fast it seems literally impossible to do anything

[morimatea]

Enjoy the early morning fresh and pleasing air.

[weedsollux]

was tagged by @thevuhvitch to shuffle a playlist & list the first 10 songs except i dont have any playlists (unforgivable) so im just doing the whole library . beware

popular by the veronicas (lps popular theme song)

electric zoo from spongebob

dress down by kaoru akimoto

vroom vroom by charli xcx

girls and boys by blur

ketapop - rae law & kelvin t

sunshower (h-track edition)- soichi terada & scott levan

butterfly by crazy town

natsuiro egao de 1,2 jump! by μ's

rollin by limp bizkit

(tugging at collar) yea.. ill tag @bigfatuterus @slowtiming @richardswag @davestriderdeathcult4568 @hellbabyfromhell @pillowbug99 @umineqo @scp099 @ehnoshima do it if you feel like it or dont if you dont

[maref-pics]

Segnali di fumo.....augh . . #mypointofview #myquarantine #lamiaquarantena #iorestoacasa e #fotografo . #nonsismettemaidifotografare . . #coffeetime #coffebreak #tempolento #slowtime #lockdown #homesweethome #passione_fotografica #lovephotography #maref_mf #myphotography #fumo #canonphotography #canon5dmarkiii #50mm #50mmlens #casadolcecasa #blackandwhite #blackandwhitephotography #bwphotography #biancoenerophoto #biancoenero (presso Turin, Italy) https://www.instagram.com/p/B-w9bIPjJiI/?igshid=NGJjMDIxMWI=

[rudydesouza]

Slowtime in – wine – reflection: An eclectic playlist created during an afternoon drinking wine in the garden, with a feeling of nostalgia about the soon to be gone summer breeze, by Rudy de Souza ​ ​Click the link in bio @cellotapemag to listen on their Spotify. Image: Curtains being blown by the summer wind Edward Hopper style, created with @openaidalle 👀 https://www.instagram.com/p/ChwngH4jN44/?igshid=NGJjMDIxMWI=

[peddlestox-shinyrocks]

Since Kwas/Peddlestox is a highly skilled and creative crafter, does this include the culinary arts? Is she a particularly accomplished or even experimental cook?

Or does she much prefer to create more permanent things, like trinkets and gadgets?

If or when she does cook is it only for herself? I imagine eating socially would be tricky, because of the… you know… mask issue.

Peddlestox craftmake food, but not like mastercrafts.

Food is food. If good, all matter. Peddlestox slowtime other crafts, not food.

Beforetime ate alone, but now have Viggybun! He no make food but fine! I make enough for both!