How to Disappear in America - via: Walker Art Center

"Last summer, after writing a story for Wired magazine about people who fake their own deaths, journalist Evan Ratliff decided to vanish and invited the public to try to find him. While he attempted to stay hidden for 30 days, he was caught in 25, thanks in part to the digital breadcrumb trail he left behind. Join Peter Eleey, curator of The Talent Show, and Ratliff as they discuss data-mining, surveillance, and other ramifications of a culture awash in in information."

"...how hard it is to disappear is entirely a function of how hard people are looking for you..."

"...the information that you put out about yourself is actually the information that's the greatest threat or, you may not view it as a threat, but when it comes to privacy, most of the information that you would worry about is actually the information that you are revealing."

90 sq ft apt - Manhattan NY

Maybe a bit too extreme for my taste, but a reminder of how affluent we can be and reflect on what we really need to survive and/or to live as human beings. Her last line about traveling and having the comfort of coming back and not having to worry about curtailing her every deed to her possessions. This is a characteristic I hope to emulate.

Your Daily Zen

T-Bolt - head sculpt - The Clockwork Girl

As a gift to Kevin Hanna, the director of The clockwork Girl at Luximation Studios, I did a sculpture of his character T-bolt.

3D rendered model:

by Josh Redmond based of Jeff Matsuda's concept

My head sculpt.

Materials: cardboard, plaster and plaster gauze, acrylic paint, clear-gloss spray, battery, wiring, and light components.

see more at: www.theclockworkgirl.com

Merry X-mas from Nancy Regan, Mr. T, and Me

Hope everyone has a good X-mas!!

megaman...? alex-maing!!

HD version here:

http://www.youtube.com/watch?v=PooZbvdDw3I

Critique - Nicole Jekich - Cavern Painting

Nicole,

looking good!! i saw this awhile ago and its come a long way.

id pick out your points of interest (im guessing the lantern and the dude himself and the eyes in the background and possibly the tunnel at the end) and really direct the eye to these areas.

also a location like this is a great opportunity for playing with light and color; less with line and shape. with a soft brush and low opacity, darken up that BG with your darks. use the same brush with your lights and brighten up the area around your light source.

finally, get that glow going with the eyes too; remember these will also emit a bit of light as well, so use that same brush techique up there as well. with a very vertical composition, contrast between light and darkness will really aid in telling the viewer where to look.

overall moving in the right direction. just feel it needs that last ummph. hope im not not stepping on your toes with the overpaint, but find it easier to show not tell.

hope things are well!!

Alex

visit her site at: nicolejekich.com

original painting (c) 2010 of nicole jekich, over-paint done solely for critique purposes