Album Art

(Source: spazzed-guilt)

Played 9203 times.

ll-cool-james:

i just want this pedal to be released in australia so i can make beautiful music in my room and show no one

asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface. asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface. asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface. asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface. asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface. asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface. asylum-art:

Timothy Hon Hung Lee
Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.
But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface.

asylum-art:

Timothy Hon Hung Lee

Tim Lee’s large-scale ink drawings and paintings on rice paper are, at a first glance, tightly bound with the visual aesthetics of Chinese painting, while simultaneously referencing elements of traditional European art. The conflation of these visual cultures is unsurprising: Lee is a British artist of Chinese descent.

But the work does not just amount to a reverential homage to these past cultures. The construction of this work is a slow meditation on composition, where the artist enacts an exploration of the pictorial space (and a very physical one: at certain points moving back from the work, assessing it under altered light conditions, even making “passes” of the hand over the paper, feeling, in a literal sense, his way through the construction of the image). The works do not grow from background to foreground as in traditional painting, and are not planned as an overall image, but are in a sense unveiled through a nomadic meandering across the paper, where entire sections are completed before stepping back and deciding which direction to take next. This lack of a dominating, pre-established composition can explain why these paintings often operate best when the eye is allowed to roam slowly across the surface.

(Source: mykicks)

apatheticghost:

Misogynists HATE her! Local woman is woman

(Source: newkidslegacy)

(Source: dataerase)

you-regret-me:

We’re releasing the album tomorrow :)

hell yeah

(Source: 30000fps)

hippyjamfest:

;)

hell yeah

17yr:

woah calm down im just trying to date your dad

guitarbage:

My friend Justin’s Koa Carvin holowbody Tele w/ a custom armrest

gorgeous

  1. Camera: iPhone 4S
  2. Aperture: f/2.4
  3. Exposure: 1/1972th
  4. Focal Length: 4mm