Hiya pals!
I’m sorry for the poor quality of this video but I only decided to film this about three seconds after I got the great idea to blast Sarah Brightman’s “I Lost My Heart To A Starship Trooper” out my window at the Orange Walk on Duke Street yesterday…
Are you sick of your record collection? Are you looking for new and exciting sounds?
I am. All the time! Recommend some things to me whydon’tcha!
Here’s what I’ve been listening to of late…
Record: Venomous Rat Regeneration Vendor. Artist: Rob Zombie. Year: 2013. Standout Track…
Record: The Terror. Artist: The Flaming Lips. Year: 2013. Standout Track…
Record: La Traviata. Artist: Verdi. (The Rome Opera House Orchestra And Chorus conducted by Tullio Serafin). Year: 1956. Standout Track… All of it. It’s an opera, but here’s a little taster…
Record: Next… Artist: The Sensational Alex Harvey Band. Year: 1973. Standout Track…
Record: If I Could Only Remember My Name… Artist: David Crosby. Year: 1971. Standout Track…
Record: Kickin’ It! Artist: Peg Leg Sam. Year: Recorded in 1970 & 1972, Released 2000. Standout Track…
Hungarian artist István Orosz has created some new illustrations for “Ship Of Fools“, a medieval book of satire originally published in 1494 in Basel, Switzerland, by Sebastian Brant and as you are about to see, all of the illustrations cleverly ‘conceal’ human skulls…
I’m sorry folks but I think that is by far, one of the greatest comebacks in musical history! For old times sake, here’s a video of Kriss Kross doing “JUMP” live…
Never you mind what I was originally looking for on Google. All you need to know is that I found something much better by accident. Porcelain Horror Figurines made by artist and sculptor, Jessica Harrison! Enjoy…
Here’s a little bit about Jessica Harrison from her own website…
Born in St Bees in 1982, Jessica moved to Scotland to study sculpture at Edinburgh College of Art in 2000, going on to do an MFA before completing a practice-led PhD in sculpture in 2013 funded by the Arts and Humanities Research Council.
Her research considers the relationship between interior and exterior spaces of the body, but looks neither inwards towards a hidden core, nor outwards from the subconscious, instead looking orthogonally across the skin to the movement of the body itself, using the surface of the body as a mode of both looking and thinking.
Moving beyond a bi-directional model, Harrison proposes a multi-directional and pervasive model of skin as a space in which body and world mingle. Working with this moving space between artist/maker and viewer, she draws on the active body in both making and interpreting sculpture to unravel imaginative touch and proprioceptive sensation in sculptural practice. In this way, Harrison re-describes the body in sculpture through the skin, offering an alternative way of thinking about the body beyond a binary tradition of inside and outside.