Month: June 2016

THE WORKS OF IGOR MORSKI

/ Ken Finton / 1 Comment
Burning Issue(4)

Burning Issue

Polish illustrator, artist, and co-owner of Morski Studio Graficzne, Igor Morski creates surreal images imbued with hidden meaning. He graduated with honors from the Interior Architecture and Industrial Design Faculty at the State Higher School of Fine Art in Poznań, and worked for public broadcasting in the 80s and 90s, before finally pursuing a career in press illustration. Morski opened his own studio in 1995.

“Sometimes I used to use popular symbols, such as Pinocchio’s long nose,” Morski told Bored Panda. “However, most frequently I have tried to think up my own symbols. For example, [my piece] “creative archaeology” is about the commercialisation of archaeology. There, I depict a halved human head filled with the sand with a stylised figure of Indiana Jones, the archaeologist, at the top. The symbolism becomes clear. On the one hand, you have the head filled with the sand, on the other, the figure digging in it.”

SOURCE: http://www.boredpanda.com/surreal-illustrations-poland-igor-morski/

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He was recently commissioned for the artwork on Uriah Heap’s new album.

 

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BIOGRAPHY: http://www.artgalaxie.com/index.php/igor-morski

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IGOR MORSKI

Igor Morski (b. 1960) Polish graphic designer, illustrator and set designer, Presently,  focuses on mixed media graphic art, based manly on photo manipulation, drawing, recently also 3D.

Morski graduated with honors from the Interior Architecture and Industrial Design Faculty at the State Higher School of Fine Art in Poznań (now the University of Arts).

In the late 80’s and early 90’s he worked for public broadcasting company Polish Television creating set design for TV theatre, culture and commentary shows.In the early 90’s the artist pursued a career in press illustration, working for leading Polish titles including  Wprost,  Newsweek,  Businesweek,  Businesman Magazine,  Manager Magazine, Charaktery, Psychologia dziś and  Focus.

So far, he has created about 1000 illustrations. His work also regularly appears in international magazines such as the American Deloitte Review,  the Australian  Prevention, Money, ITB,  Men’s Health, Womans Health and George.

He is a winner of many prestigious awards including Communication Arts Excellence Award (2008, 2010) and Applied Arts Award (2010, 2011). Golden Stellar Digital Arts California (2013) Igor Morski is co-owner of a graphic design studio Morski Studio Graficzne in his hometown. His advertising art has been commissioned by Saatchi & Saatchi Singapore, Saatchi & Saatchi Sydney and Abelson Taylor among others.

Privately, he is a proud father of two daughters. He is interested in natural sciences in a broad sense, genetics, cosmology and theoretical physics.

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OLD AGES

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ORDERING PRINTS  SEE: http://igormorski.pl/category/works/print/

INTERVIEW:  http://sunriseartists.com/2013/06/13/igor-morski-interview/

 

Ron Padgett

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The Writer’s Almanac for June 17, 2016

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Hug
by Ron Padgett

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The older I get, the more I like hugging. When I was little the
people hugging me were much larger. In their grasp I was a rag
doll. In adolescence, my body was too tense to relax for a hug.
Later, after the loss of virginity—which was anything but a
loss—the extreme proximity of the other person, the smell of
hair, the warmth of the skin, the sound of breathing in the
dark—these were mysterious and delectable. This hug had
two primary components: the anticipation of sex and the plea-
sure of intimacy, which itself is a combination of trust and
affection. It was this latter combination that came to character-
ize the hugging I have experienced only in recent years, a hug-
ging that knows no distinctions of gender or age. When this
kind of hug is mutual, for a moment the world is perfect the
way it is, and the tears we shed for it are perfect too. I guess it
is an embrace.
“Hug” by Ron Padgett from Collected Poems. © Coffee House Press, 2013. Reprinted with permission. (buy now)

 

Today, 6/12/16, is the birthday of avant-garde American poet, essayist, and translator Ron Padgett (1942) (books by this author), who once said: “If you match yourself up against Shakespeare, guess what? You lose. It’s not productive. Better to focus on the poem you’re writing, do your work, and leave it at that.”

Padgett was born in Tulsa, Oklahoma. His father was a bootlegger who also traded cars; his mother was a housewife who assisted Padgett’s father with bootlegging. Padgett was a precocious reader as a teenager, drifting toward Baudelaire and Rimbaud. He said: “When I got to adolescence, I became more and more gloomy and introspective and serious and angst-ridden.” He and a few friends started an avant-garde literary journal called The White Dove, which lasted for five years. They weren’t shy about writing to their literary heroes and soliciting work. Allen Ginsberg, Jack Kerouac, and LeRoi Jones all published poems in Padgett’s small magazine.

Padgett went to New York to attend Columbia University (1960), where he fell in with a group of poets who favored stream-of-consciousness writing, vivid imagery, and spontaneity. It was the 1960s, and Padgett, Kenneth Koch, Frank O’Hara, and Ted Berrigan drew inspiration from the art galleries, museums, dancers, and artists that surrounded them. Padgett inherited Kenneth Koch’s teaching position as a “poet-in-the-schools” (1969) for the Teachers & Writers Collaborative, and stayed for nine years. In the beginning, he was paid $50 for three class visits, which he could do in one day, and which paid for an entire month’s rent, utilities, and his phone bill. He loved teaching public school children. He said that whenever poets visited a classroom, “We were like heroes being welcomed home.”

Padgett’s collections of poetry include Bean Spasms: Poems and Prose (1967, with Ted Berrigan); How to Be Perfect (2007); and Alone and Not Alone (2015). His collection How Long (2011) was a finalist for the Pulitzer Prize.

Padgett says: “Almost everything that’s happened in my poetry is what you might call organic. I don’t do much pre-conceiving. If I start to sound too much like the Ron Padgett that I’ve read before, I stop myself.”

On writing his poems, he says: “If I don’t make line breaks, it’s a prose poem. The line breaks are part of the dance of the poem. If I’m not dancing, I don’t know what steps to take. I don’t know whether to turn or to bow or to move quickly or whatever. I don’t know what to do if I don’t have the line breaks.”