Images of Victorian...(29/12)

It was the Victorian period in the mid-19th century. There were a few moments of the darker side of the city, of the faces, of the cities, in the mourning weep, and cooling water flew...after dark, people found out an intensified sense of loneliness and nobody. The strengthened bridge road was a bridge of sighs. Only the flowing river could bring away the dirt of the days, a euphemistic way.
Little sister's gone to sleep. Her playing toy's still positioning upright, In the armchair, it was ready. Staring at the distance, it was blinking with a touch of hope. The smiling face had never changed, like the always-young face of the clown, a euphemistic way to say regret. The once-very-warm coat, left alone, sank into the freezing dusk of sightless still. Human circle shrunk. It was the time. Ladies were always the character, another euphemistic means to cover the pain from men.

Diva...(10/12)

Under the stroke of Sir William Beechey, the visage of Sarah Siddons in McBeth is eternally nurtured with the dramatic presence of the past...she was acclaimed to be one of the most important actresses in London during the early 19th century. As a soul of the theatre stage at Drury Lane, she performed as a symbol of 'tragedy personified'. Compared with other nice portraits of her by artists like Sir Joshua Reynolds, Gilbert Stuart, John Downman or Thomas Campbell, I would still prefer the vivid Siddons by Sir Beechey - the picturesque world of performing tragedy...she is one of the two Sarah of diva. The other one is always Sarah Bernhardt.

Some paintings...(3/12)

Met the paintings of Marie Laurencin in Orangerie, and claimed to be much inspired by Picasso, she demonstrated indeed a very stylish drawing on human portraits and colouring...her pastels were light and beautifully contrasted, and her style from the current view actually resembles a lot the Japanese comic work, or I would say, there is quite a dose of Japanese painting sketch found on her paintings. Her work appears like the fallen leaves, and this is intrinsic. Apparently her focus was on feminine figures. I like quite a lot her portrait on Coco. A slight touch of bitterness under an elegant post. Perhaps because of the similarity with the Japanese style, the only scaleable museum on her work is found in Japan at present.

Doppelgänger left or right...(1/12)

It is a question of polarisation. It is a question under the school of dualism. A symbol of historical recording is also an appreciation of art form. Why is there a left and a right? When the Saints and characters were figured out in various forms of eternity, they carry an element of left and right...this is a perspective, or is this just a habit? The fabrication of a sculpture for instance, the head of the character possesses a long lasting gesture in the direction of left or right. It was perhaps a glance of an unfinished business, a capture of the repatriated past...a direction, and this is a drive to indicate the way to heaven or hell, simply the eterinity.

The gesture, be it ever been a realistic dimension or simply an extension of an imagination, provides to an audience a perspective of focus and elongated dotted lines...further from the stand of the now, think about it. It was perhaps the artist or the carpenter who adopted a way of presentation to others, be it a left or a right. Under the crosses of Saints, there may not be actually a real matter of left or right. The study of human brain defines a left and a right, the two different parts of sensible functionality of reciprocals. Using a left or a right to receive an external substance would weigh varied images and senses. There is no relevancy to yet an analytical research of the leftward and the rightward inclined faces and gestures inside the churches and museums, but it was simply also a habit to the way of preparation in receiving new communicative signal from the outer world.
There was an exhibition about melancholy last year in Paris - a same phenonmenon about the directional contemplation. Who would care now?
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The exhibition at Chateau d'eau in Toulouse at the moment was not an excellent but inspiring one. Named 'double je', it is an attempt of photographing the double identities and perspectives from people. Like the doppelgänger, the mirrored world is filled up with up and down, left or right - a simplified understanding about the being in terms of polar x and polar y. The photographer mentioned two basic activites on photos (or other art form like painting or sculpture): contemplation and consumption. True. This is a concept of diptych development under photo films.