Oh the marvellous inspiration that comes to us during #CooperTime. Behold a portrait of the Respectable and my minion friends :)
i bought this skull for a cosplay and
You know full
I am the victim
And you have the power to command me
Perpetrate the most malicious of villainies
Upon bestowing flesh
Drown me in your fuck
Drown me in your fuck
Drown me out
Protesters upset about the smearing of Mike Brown converged at CNN headquarters.
When in need to feel full of joy and energy, @ladygaga is definitely the way to go. On my way to yoga once again :)
Yesterday was a good day to embrace my beauty and to bring out some of that Latin fire that I hold within. Embrace your nature. Embrace yourself. Meanwhile, i shall continue cherishing myself, for a change :)
After a very successful date full of Cesar salad, bread, pasta and obscene ice cream conversations, taking on a journey full of me singing Lady Gaga :)
Waiting for my favorite divo to put on his cowboy boots so we could go stuff our faces at East Side Mario’s
Behold what a steak should look like :)
Shirin Neshat was born in 1957, Qazvin, Iran. Although she lives and works in New York, the United States, her artwork explores issues of her native society, Iran, especially the position of women. She is banned from even visiting Iran since 1996. Her works mainly explore gender issues in the Islamic world, particularly the various dimensions of women’s experience in contemporary Islamic society. She uses the specifics of her background culture to create works that communicate universal ideas about loss, meaning, and memory.
She started her art career with photography in the early 1990s, and her photo-seriesWomen of Allah (1993-97) became particularly famous. Neshat explore the notion of femininity in relation to male authority and Islamic fundamentalism in her home country. The images are portraits of women that are overlaid by Persian calligraphy and they refer to the contrast she experienced between the traditional society she was raised in and the modern society evolving after the Iranian Revolution. In her art, she resists stereotypes – of both women and representations of Islam. Instead, her works explores all the complex social forces shaping Muslim women’s identity. The calligraphy is Persian poetry about themes such as exile, diaspora, identity, femininity and martyrdom.