black in 50 diff languages.
mkazawi, braÊ”a, Å¡uwÃn, swart, qÌ£eq, bukÃºsea, tumtum, locha, i zi e zezÃ«, wasik, beÄÌ£edir, Ø£Ø³ÙˆØ¯Â (aswad), Õ½Õ§Ö‚Â (sev), negru, poÊ¦itari, prietu, makÃ¡lux, baaka, ÄË€iyara, utaâ€™ta-i, qara, badeng, nÄkpo, BÉ¨É¨h, beltz, á¸³ara, kpÉ›ÌƒÌ€, mbiring, Ñ‡Ð¾Ñ€Ð½Ñ‹Â (ÄornÉª), à¤¯à¤¾à¤•à¤¾Â (yaka), du, laÏ‰a, malotoÅ‹, mÊŒtum, qÌ£eq, gallardÃ³, negre, hawÃ³kÄi, sewe-da, É²ataha, ÄÉ¨kÉ¨, Ã¡ttilong, â€˜Ã¤rÅ¾a, áŽ¬áŽ¿áŽ¨Â (gvhnage), é»‘(è‰²)Â (hÄkÂ [sÄ«k]), é»‘è‰²Â (hÄ“isÃ¨), klale, cÌ„oá¸³, lusa, ik, á¸³iá¸³, xura, sÄ¯Ë€Ä…, pa-Ë€ba-â€˜kÃ£, sÃºË€umuaraË€a, du, neru, noi, crna, ÄernÃ¡, sort, zwart, nÃ¢i, paima, black, pÊ°Ã£imaa, rÌƒauÅ¾o, nigra, must, karÄ, svartur, itim, musta, noir, swart, negro, áƒ¨áƒáƒ•áƒ˜Â (shavi), schwarz, Ãºri, siya, mÉ¨tsia, Î¼Î±ÏÏÎ¿Â (mavro),Â Â gurrngan, hÅ©, àª•àª¾àª³à«‹Â (kaaro), bakÌ‘Ä«, â€˜eleâ€™ele, ×©×—×•×¨Â (shakhor), à¤•à¤¾à¤²à¤¾Â (KÄlÄ), dub, hená¸e, fekete, svartur, nigra, ojii, â€˜Ã¤rÅ¾a, hitam, nirga, dubh, nero, kawolo, boÅ¡, é»’Â (kuro),Â Â sÉ™, matuling, iIÉ™bÉ¨, Ò›Ð°Ñ€Ð°Â (á¸³ara), Ð¼ÑƒÑÑ‚ÑƒÂ (mustu), nÃ©g, czÃ´rny, uâ€™duâ€™du, karhaini, roroo, sÊ¸Ã¶d, à¤•à¤¾à¤³à¥‡Â (kÄle)
actually, i think that’s more than 50…
>>chaotic excess + pockets of space + photomontage + stiff, clean-cut edges + woahhh<<
kay khan, such a hero….CLEARLY, i can not get enough.
you know you want to click here
i copy/pasted her statement, because i could not have articulated her aesthetic any better:
My work is a mosaic of fragments, collected experiences, information, and images. This mosaic is both ideological and visual. I like to begin with an idea that I allow to develop unhindered to encompass anything from the serious to the absurd. No thought is isolated and the simplest can build upon itself. Layers of connected thoughts revealed in a succession of images link and multiply in evolving variations. In my recent work, for example, I sometimes begin with just a word, but already this word comes with many meanings and connotations. Then I make a connection, a thin bridge, between each word and its images, and other perhaps abstract and veiled yet related ideas. My artworks are often labyrinths of intricate wordplay. I want the words to be read as fleeting and visual impressions that interact with the other stitched images. The figures in my work in combination with the words form a running commentary.
In the Armor and Facade series, I want to â€œarmorâ€ modern society. These artworks are about how we protect and present ourselves. I begin with simple ordinary ready-made garments that I deconstruct; armor with quilting, imagery, and text; and then rebuild. Garments have their mundane yet necessary purpose to protect us from the elements. But they are obviously more than that in every society. They are our â€œdecorationâ€; they express and reflect who we are as individuals and as a culture.
+ there’s a lecture/workshop from aug 2-7 2011……more infooooo right here
>> 2d paintings as good as a blind man’s braille + shades, lines, shapes, designs that draw the viewer to filter for socio-cultural undertones + mash + commercial logos + plastic wristbands + a new character + new heights + some brazilianÂ humorÂ <<
DALEK + ONONO = SALT + PEPPER
james marshall better known as dalek, + onono (the newly born fashion brand (2009)) headed by ademar ferrera) are responsible for the magnificent pieces above. They complement each other, maybe they should do a collaborationâ€¦I think they should, especially since onono favors doing collaborations with a Ton of people; his previous collection involved 7 other artistically-inclined folks (two of whom pioneer the contemporary dance group desaba). It says so Here. soooooooo what do you think? Yes, no? let your fingers do the talking down belowâ€¦anyways, I surfed up on james marshall, found his site, spent about 30mins soaking up all his artwork, checked out his bio, and this is what i found: heâ€™s a tattooed skateboarder from a military family, hit a milestone when he worked for takashi murakami (for painting), settled on a minimalist+flat style w/ which he developed his famed SPACE MONKEY, his masterpieces glorify â€˜a profusion + hyper-abundance of color + planes of spaceâ€™ + lastly he describes the push/pull forces of contemporary life as â€˜an ever-expanding, contracting, barely breathing universe, contemplating suffocation while simultaneously hover[s] over the consequences of not exploring further the options that no longer l[ie] waiting in the back of the coatroom.â€™Â I consider his perception brighter than sunshine.
And it will be so, for the next twenty years.