Passerelle

Ruin (near Budapest, 2011) 

La demeure de l'homme, c'est l'horizon. – Gabriel Féra

Tamas Dezso is a fine art documentary photographer working on long-term projects focusing on the margins of society in Hungary, Romania and in other parts of Eastern Europe.

Born in 1978 Tamas Dezso was for years a member of the Hungarian newspaper Magyar Hirlap before working as a freelance photographer since 2004.

He lives in Budapest, Hungary.

One year ago, I began photographing the scenes of a world irreversibly decaying, the transformation of a Balkan country surviving the region’s hardest dictatorship.

When capturing the still recordable milieu, I am examining the parallel of a general tendency and personal stories: as resilient humanity condensing into symbolic destinies takes shape in the face of mortality.

– Tamas Dezso

Tamas Dezso's web site

 Abandoned Factory Site (near Szekesfehervar, West Hungary, 2011)

 Abandoned Soviet Base (Szentkiralyszabadja, West Hungary, 2012)

 Building (Emod, North-East Hungary, 2009)

 Bus Stop (North-East Hungary, 2011)

 Deer (North Hungary, 2011)

 Dump (near Aiud, West Romania, 2012)

 Equestrian Statue (Pakozd, North Hungary, 2011)

 Near Jara (North Romania, 2012)

 Roadside Shop (near Oradea, West Romania, 2012)

 Sheep Farm (near Silvasu de Sus, West Romania, 2011)

 Sodium Factory (Ocna-Mures, Central Romania, 2012)

 Soviet Military Painting (Kiskunlachaza, Central Hungary, 2012)

 The Flooded Village of Geamana (Central Romania, 2011)

Tree and House (West Hungary, 2011)

The Persuaders Theme, written by John Barry (1971) redone by europium (2012)

Hiveresque intergénérationalité

28 décembre
Petite-fille reçoit en cadeau de Noël de grand-maman des patins de gars.

Au magasin de patins

29 décembre
Elle va patiner avec grand-papa.

 Lacer les patins (raides) en toute vitesse

 Main dans la main

 Grand-papa et petite-fille 

 Petite-fille et grand-papa

Dans la cabane aux patins
Petite-fille a de la neige sur les genoux; grand-papa, non.

Post-punk counterpoint

Henri Fantin-Latour: A Basket of Roses, oil on canvas (1890)

The canvases of M. Fantin-Latour do not assault your eyes, do not leap at you from the walls. They must be looked at for a length of time in order to penetrate them, and their conscientiousness, their simple truth — you take these in entirely, and then you return.

– Émile Zola (1880)

Power, Corruption and Lies is the second studio album by New Order, released in 1983. The cover is a cropped reproduction of the painting A Basket of Roses by French realist artist Henri Fantin-Latour.

Portrait of Niccolo Machiavelli (1469-1527) by Santi di Tito

The art director Peter Saville had originally planned to use a Renaissance portrait of a dark prince to tie in with the Machiavellian theme of the title, but couldn't find a suitable portrait.


Peter Saville saw and liked a postcard with the Fantin-Latour's painting. His girlfriend mockingly asked him if he was going to use it for the cover.


The art director then realized it was a great idea. Peter Saville intended to create a collision between the overly romantic and classic image which made a stark contrast to the typography based on the modular, color-coded alphabet that spells out the catalogue number (Fact 75) of the album [upper right corner].

Peter Saville and New Order’s color code

Distortionned Power, Corruption and Lies by Paul Havell (2010)

Some distortion given to the original Fantin-Latour painting to give it a more modern style. The color-coded title is still here, but placed flat against the top to give the cover some more space.

Michael Zahn: Power, Corruption and Lies, acrylic on canvas (2008)

Power, Corruption and Lies by Michael Zahn takes as its reference a jpeg found on the internet. The painting is a low-resolution copy of the New Order LP sleeve of the same name, which in turn is derived from a floral still life by Henri Fantin-Latour.

Oh, our love is like the flowers

The rain, the sea and the hours.

– New Order, The Village (3rd song)

Martin Boyce: Our love is like the flowers, the rain, the sea and the hours, installation (2003)

In the installation Our love is like the flowers, the rain, the sea and the hours, the Scottish sculptor Martin Boyce uses common elements from public gardens (trees, benches, trash bins) in a game which describes at once a social space and an abstract dream space. The trees, unique sources of light in the exhibition space, produce their own environment.

The album cover for Power, Corruption and Lies was among the 10 chosen by the Royal Mail for a set of Classic Album Cover postage stamps issued in January 2010.

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December 27th: happy holidays, birthday, snowstorm, etc!

Christmas yeti

Crystal Antler Pair by Marc Swanson

 Echo & the Bunnymen, Killing Moon, live May 1984

The sculptor-installator Marc Swanson is an American artist, born in 1969. Killing Moon is the name of his series of Self-Portraits as a Yeti.  

 I warily approach the Yeti hunter in Marc Swanson's installation, Killing Moon. (Cryptozoology exhibit) – Michelle Souliere (photo)

Marc Swanson says: « The idea was that I would be the Yeti and basically collect garbage for four-to-six weeks every night to make the installation. I had to reconcile the fact that I’m an educated artist who knows about formal issues and academia, and figure out what the Yeti would make instead — these more ritualistic objects. But the Yeti also collects things in the world and then puts them together to sort of make sense of the world around him. It dawned on me that I pretty much do the same thing: so I’m the yeti and the yeti is me.»

Crystal Antler Pile by Marc Swanson

« Marc Swanson is an automythologist, one who excels in crafting sparkling, enigmatic totems from the messiness of his own history; there kitsch and confession dovetail to reveal, not obscure, visceral thirsts.»

– David Velasco

His website is here.

Cover their feet in pollen

Noeline Grant, Bird of Paradise painting

Last October, I saw this spectacular video through twitter:

Birds of Paradise Project Trailer

I then went at Google images looking for bird of paradise paintings. I didn't find birds-birds of paradise, I found flowers-birds of paradise paintings.

Marcia Baldwin, Bird of Paradise painting

« The [Bird of Paradise] flowers stand above the foliage at the tips of long stalks. The hard, beak-like sheath from which the flower emerges is termed the spathe.»


« This is placed perpendicular to the stem, which gives it the appearance of a bird's head and beak; it makes a durable perch for holding the sunbirds which pollinate the flowers.»

Cathy Sheeter, Sunbird painting

« The flowers, which emerge one at a time from the spathe, consist of three brilliant orange sepals and three purplish-blue petals. Two of the blue petals are joined together to form an arrow-like nectary.»

Bobbye West-Thompson, Bird of Paradise painting

« When the sunbirds sit to drink the nectar, the petals open to cover their feet in pollen.»


Text source: Strelitzia reginae

 Alan Krug, Bird of Paradise painting

 Arena Shawn, Bird of Paradise painting in watercolor

 Faith Te, orange Bird of Paradise painting

 Jacqueline Gnott, Bird of Paradise painting

 Marcia Baldwin, Bird of Paradise painting

 Patti Windhorst, Bird of Paradise painting

 Paul Danielczyk, Bird of Paradise painting

 Rich Moyers, Bird of Paradise painting

 Tania Knudsen, Bird of Paradise painting

WouterZArtZ, Bird of Paradise flower drawn on the ipad using paper 53 app