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A beautiful array of Fresh Fruit , Imported and Domestic Cheeses with Rustic European Breads.
French Baguette with Roasted Garlic, Goat Cheese and homemade Apple Chutney.
Mushrooms stuffed with Escargot, Goat Cheese and Caramelized Onions.
Small New Potatoes with Goat Cheese and Rosemary. Served warm.
Stuffed New Potatoes with Basil Pesto. Served warm.
Small New Potatoes stuffed with Smoked Salmon and Horseradish. Served warm.
Ours are homemade and simply the best in town.
Mushrooms stuffed with Leeks, Roasted Garlic and two Cheeses.
Mushrooms stuffed with Spinach, Feta and Apple Smoked Bacon.
Small New Potatoes stuffed with Gorgonzola Cream, Bacon and Walnuts. Served warm.
Slices of French Bread spread with a Sun-Dried Tomato Butter and toasted to a golden brown then topped with warm Goat Cheese and a three Pepper Relish.
Cheese filled Tortellini on a Bamboo Skewer tossed with Basil and Garlic Oil. Served with Gorgonzola Sauce.
A pastry Turnover filled with garden Vegetables, fresh Basil and Thyme, baked to a golden brown and topped with creamy Gorgonzola Sauce.
Explained by a speaker, for potential speakers. Skills that are necessary for any professional and business person.
A Job to Love: A practical guide to finding fulfilling work by better understanding yourself.
Calm: Educate yourself in the art of remaining calm, and learn how to defend yourself from panic and fury.
It's startling to hear that Greg Graffin, founder of the L.A. punk institution Bad Religion and a UCLA biology professor, doesn't believe in strict Darwinian evolution. Turns out, the tweedy frontman has a more chaotic explanation for life. Look for Bad Religion performing around SoCal in the coming weeks, starting with Friday's House of Blues show in Anaheim.
BAD RELIGION HAS ALWAYS USED WONKY SCIENCE TERMS IN ITS LYRICS. . . .
I've always been on a quest to use science in an artful way. The words we choose are a little easier than the early days, but they're just as analytical.
DO ANY STUDENTS TAKE YOUR CLASS BECAUSE THEY LIKE YOUR BAND?
I get a few students who ask if I can get them backstage, but you'd be surprised how few. Most of them are serious medical students who aren't into music.
DO OLDER FANS BRING THEIR KIDS TO SHOWS?
Bruce Springsteen brought his kid to a show in New Jersey. Bruce and I had common ground -- he put out a folk record when I did -- but his son was just stoked to be backstage. The shows in L.A. are star-studded events, and for whatever reason, their kids like Bad Religion.
BAD RELIGION'S "LOS ANGELES IS BURNING" WAS A RECENT HIT, AND THE COVER FOR "NEW MAPS OF HELL" SHOWS AN APOCALYPTIC HOLLYWOOD. ARE YOU MORE INTERESTED IN L.A. AS A WRITER NOW?
Lately I've been more sentimental [about L.A.]. Every place has its own punk flavor, but they all borrowed ideas from SoCal. It's still a vibrant scene creeping into every crevasse of youth culture. When you hear grunge, you think of the '90s, but when you hear L.A. punk, it's timeless.
ANY OTHER SOLO PROJECTS, LIKE A FOLLOW-UP TO FOLK ALBUM "COLD AS THE CLAY"?
I'm trying to write a book that takes over from where [staunch evolutionist] Richard Dawkins left off when he said that God or natural selection are the only two choices when we think of the big questions. I counter that there's another option . . . a much more chaotic way that suggests every level of biology is pretty much anarchic.
BROWN. Thank you, Madam President. Thank you to my colleagues for the terrific work they have done on such an important issue, which in my State sort of began in the most rural of the areas of the State and spread and spread and spread. This is the right kind of comprehensive response for this, but as Senator Whitehouse just said, it means real funding for CARA and what we are doing.
I am pleased we are coming together in a bipartisan way overall, finally taking action on the opioid epidemic that is devastating communities across our country.
We know some of the statistics. More people died in my State than in the country as a whole in 2015 from opioid [[Page S1402]] overdoses rather than they did from auto accidents. We are experiencing a record number of fatal overdoses. There is no State and probably county untouched by the scourge.
We need to remember the human cost of addiction. In Warren, OH, a couple of weeks ago, there was middle-age woman who now has a child now in his midtwenties who has suffered addiction for a dozen years, has been in and out and is doing better, and then falls back. His family is affluent, so his treatment has been better than some. But she says that when there is an addiction, it afflicts the whole family. Nobody is really exempt.
In my State, 2,500 Ohio families in one year lost a loved one to addiction. Thousands more continued to struggle with opioid abuse or with a family member's addiction. It is not an individual problem or a character flaw. It is a chronic disease. Right now, it is placing an unbearable burden on families and communities in our health care system. That is why we need to tackle this at the national level.
It is why I am encouraged to see us debate this Comprehensive Addiction and Recovery Act, or the CARA Act. The ideas in this bill are an important first step in tackling the epidemic, but they are just the first step. On their own they are not nearly enough to put a dent in this epidemic. The initiatives are going to mean very little--and here is the key point that both Senator Casey and Senator Whitehouse made-- without additional funding to back them up.
My colleagues Senator Shaheen of New Hampshire and Senator Whitehouse introduced an amendment that would have provided an additional $600 million to fight the opioid epidemic. That would be a serious commitment in putting the ideas in this bill into place into action.
But my colleagues on the other side of the aisle blocked this investment. Again, they want to do things on the cheap. They want to pass things to pat ourselves on the back but not provide the funding to actually accomplish things. It would block the investment in health professionals and communities who are on the frontlines of this battle.
You simply can't do a roundtable with health professionals and people working toward recovery and families affected by it without hearing from them. They need resources locally. The States aren't coming up with it adequately. They need resources, and they need real investment in prevention programs. We need real investment in treatment options to help patients not just get cured and get clean but stay clean.
Earlier this year, I introduced the Heroin and Prescription Drug Abuse Prevention and Reduction Act with my colleague Senator Baldwin of Wisconsin. Our bill would boost prevention efforts that would improve tools for crisis response. It would expand access to treatment, and it would provide support for lifelong recovery, the kind of serious investment we need to back up our rhetoric.
In public health emergencies, we are sometimes, somehow able to come up with necessary money--swine flu, Ebola, Zika virus. But addiction is not a public health emergency. Addiction is a public health problem, but one we need to fund in an ongoing way. You can look at the spike in the number of deaths. You can conclude nothing else but that it is a long-term public health problem. Too many lives have been destroyed. Too many communities have been devastated. I am just puzzled why my colleagues won't come up with $600 million for this very important public health program. It is time to get serious. It is time to call it what it is--the public health crisis that demands real and immediate investment, not more empty rhetoric, not more empty gestures.
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This set of space and time we inhabit is likely not just a unified and consistent set of space and time. Space and time we feel and experience in real life consist of heterogeneity in terms of both space and time, to the extent we may consider them ironic. In this regard, Foucault’s spatial concept of heterotopias, in which different spatialities which cannot coexist are complexly intertwined and overlapped, or heterochronias, in which non-simultaneous temporalities are mixed into simultaneous temporalities, provide us many implications for explaining these strange and complex spatialities and temporalities of our era. At the same time, it appears it will be of some assistance in explaining the artistic realm of the Chinese artist, You Jin, whom Alternative Space Loop has invited for this exhibit. It is because the artist, too practices unique painterly qualities by implying such different temporal, spatial qualities in single compositions, and we seek to view the artist’s artistic realm by establishing this as the concept of an alternative view of space and time, or a heterotopos, in which the here and now overlap with the other. It is because actual, sensorial reality, like those; and this space and time, as such, operate on us in a multifaceted fashion through a different spatial and temporal nature, i.e., a heterotopos; as such.
In the artist’s paintings, landscapes of many different times and spaces are overlapped on single compositions. Different parts of time and spaces are mixed together. Such landscapes of complicated space and time require attention particularly because they contain landscapes of Asia, which had to travel a path divergent from Western-centric modernization, a path of rapid growth and condensed development, in their entirety. Unlike their Western counterparts, whose modernization consisted of systemic and self-conforming growth; Asian, Eastern regions like China and Korea had to repeat Western-style development in a short amount of time, and had to overlap a certain innately Eastern culture on this; thus having to weave a unique social, cultural landscape heterogeneously combining different spaces and parts of time. The modern and contemporary have intersected one another in an exquisite fashion to compile an alternative culture of space and time. In this regard, the East had to experience a third path, called non/extra modern and contemporary eras distinguished from both those of the West and traditional Eastern significances. In the artist, You Jin’s art, too such complicated landscapes of space and time, which China had to face and personally experience amidst rapid development and growth, take their place in their entirety. In this regard, the artist’s paintings represent sensuous sympathies regarding real life, which the artist had to experience himself, and work fully revealing a richly sensible situation.
In particular, changes in space and time as presented before the artist’s eyes may have been even greater since the artist has personally experienced situations of multi or mixed cultures, which the East was unable to avoid despite its own deeply-rooted cultural traditions; and the dynamic changes of Chinese society, which has recently achieved rapid social and cultural development. For this reason, the West’s modern and differential characteristics coexist with the East’s traditional and convergent elements. Different spatial and temporal qualities of the East and West are coexisting in single compositions. Self-confidence acquired through a gradual progression from cultural exclusiveness to openness is likely to have played a role in this as well. It demonstrates the characteristics of China’s younger generation, which modernizes even Western-style culture on their own terms rather than to stop at simply accepting what is of the West. Although it assumes what belongs to the West’s oil painting tradition, You’s work contains a certain will to create the artist’s own thoughts and sensibilities, a preference for the younger generation’s characteristic styles, and respect for traditional Chinese culture, as opposed to just a vague association and admiration for the West. One can confirm these aspects, the artist’s intentions to create his own painting style through his own sensibilities, in You Jin’s art.
What Alternative Space Loop, which has been introducing new Asian artists while working to help them network, is interested in, too is this very point. It is the latent Eastern and Asian value to be found in the artist’s work, consistent with You Jin’s position as a young contemporary artist of China, and the artist’s potential for future growth with which to transcend the setting of an East/West dichotomy. This is because, in this regard, You Jin is not just an artist creating an experimental painting trend in contemporary China; but is also one of special thought and sentiments, based on which the artist creates works through which to illuminate both directly and indirectly the rapidly changing flow of Chinese society; and an artist who is expanding the possibilities of contemporary painting through crossovers with various areas, including digital media, fashion and design. The artist’s such features possess a unique significance in allowing us to rethink the meaning of painterly qualities in contemporary art.
The artist’s painting style is non-sedentary, as if to progress forward while drawing a trajectory, and appears as if passing by seemingly slowly but quickly. As if repeating the advent of China’s excited contemporary painting history in his own works, the artist increases his compositions’ density and strength by beginning from everyday scenery or objects to gradually expand the spatial qualities of his paintings while involving temporal qualities through an alternative linear method. You Jin’s paintings, consisting of the artist’s characteristic detailed and sculptural lines and splendid chromatic sensibility, could be popular for their sensuous completeness; but the artist takes things further than such through finishing touches which add a certain degree of privacy and complexity to his paintings. It is likely that the spatial and temporal qualities the artist achieves in the compositions are increasing in depth, and in this exhibit at Alternative Space Loop, too one can peek into the artist’s such recent flow. Overall, spatial and temporal qualities are complexly entangled together in the artist’s compositions; and lines and planes, lines and colors, and curves and straight lines operate the composition with their own, regular principles. For instance, if the basic structures and compositions are expressed with straight lines, then curved lines may be used to contain the artist’s sensibilities and expressions regarding those. In terms of the composition of the greater canvas, the artist applies color first and then paints in shapes and boundaries; choosing a generally subtractive method, as opposed to an additive one, while moving from meditation on colors to meditation on lines. In particular, the artist claims he uses colors to contain symbolism and meaning, and he controls even such symbolism and meaning, too through a process of linear tuning, i.e. the artist’s own thoughts. It appears we should pay attention to how the artist values certain thoughts, feelings and expressions of his in his final judgements, rather than operating his picture planes through a certain compatible structure and composition. Even the artist’s complex compositions are ultimately only a certain result, and not something elaborately calculated and structured in advance. It is because the nature of divergent visual space and time may be, as such, a matter of sensibilities arising from different experiences of real space and time, as opposed to a certain, structurally complex concept. The nature of visual space and time we face, experience and feel in reality is likely an accumulation of collisions and impressions of immeasurably expansive sensibilities which have not been restored as single, even entities. In this regard, despite the complex and elaborate picture plane compositions, and despite the complex structures of the lines and planes present across the compositions; You Jin’s paintings more closely resemble Eastern expressions, which are like a flow of the heart, than Western ones. The artist, too, as if in response to this, states that the complicated are actually easier while emptying and organizing are important. Perhaps therefore, You Jin’s paintings generally consist of an entanglement of complex spatial and temporal qualities, in which figural aspects are pronounced; but are partially finished with almost abstract condensation and omissions. The figural and abstract fully coexist in the same picture planes. It is because, as in the artist’s own words, it is perhaps more important to leave in place important objects of visible space and time, in other words organizing them with the heart, than to collect all kinds of those objects in the paintings. In this regard, it appears understanding the artist’s work as governing the heart is required. Eastern thought runs through the base of You Jin’s art, which otherwise reveals an extremely Western painting style. For this reason, You Jin values peace and stability of the mind and nerves when painting. He ultimately views even the spatial and temporal qualities of such a multifaceted spectacle through the mental eyes of his heart. Actually, perhaps no spatial and temporal qualities are as mobile and heterogeneous as the gazes and sensibilities of our inner thoughts. This is as even reality’s dynamic spatial and temporal qualities, too change their multifaceted appearances according to one’s will. Perhaps for this reason, You Jin’s paintings generally employ much bright, primary colors while often contrasting complimentary colors like in traditional Chinese painting. They possess a chromatic sensibility of neither very light nor dark shades and tones. Such color sensibilities also connect back to the artist’s thoughts on today’s realities and, in how You expresses a certain symbolism and meanings through his colors, the artist appears to certainly harbor a critical view of reality, to an extent, but not entirely; and seems to have treated the world with a general optimism toward life. Although we can read You’s such state of mind through the artist’s chromatic sensibility as expressed in his canvases, it appears the artist’s multifaceted thoughts regarding the world, too are being delivered to the viewer through this chromatic sensibility, which is elaborate and more.
요진(由金, You Jin)은 1979년 중국 랴오닝(遼寧) 성의 성도인 선양에서 태어나 중국의 4대 미술대학으로 평가 받고 있는 루쉰 예술학교(Lu Xun Academy of Fine Arts.를 졸업하고, 현재 베이징에 거주하면서 작업 활동을 하고 있다. 주요 개인전으로 2008년 뉴 에이지 갤러리의 ‘Chaotic Code(북경)’, 2009년 EGG 갤러리의 ‘Continue Chaotic’, 2011년 오페라 갤러리(제네바, 스위스) 의 ‘Lost in Desire’, 2013년 같은 공간에서 ‘From Chaos to Freedom(제나바, 스위스) 등이 있으며, 상하이 모스크바, 대만, 베를린, 플로리다, 마이애미, 런던, 싱가포르, 자카르타, 서울, 홍콩 등 전 세계를 무대로 다양한 공간에서의 단체전에 참여하면서 활발한 작업 세계를 펼치고 있다.
우리가 살고 있는 이 시공간은 단일하고 균일한 시간, 공간만은 아닐 것이다. 실재의 삶에서 느끼고 체험하는 시공간은 모순적이라 할 만큼 시간과 공간 모두에서 이질적인 것들로 혼융되어 있다. 그런 면에서 푸코가 말한, 서로 양립 불가능한 각기 다른 장소성이 복잡하게 얽혀지고 겹치진 헤테로토피아의 공간성 개념이나 비동시적인 시간성이 동시적인 시간성으로 혼합되어 있는 헤테로크로니아의 시간성 개념이 동시대의 이런 묘하고 복잡한 시간공간성을 설명하는데 많은 시사점을 준다. 동시에 이번에 대안공간 루프에서 초대한 중국 작가 요진의 작업세계를 설명하는데 있어 얼마간 도움이 될 것 같기도 하다. 작가 역시 이러한 서로 다른 시간, 공간성을 한 화면에 겹치고 함축해내면서 독특한 회화성을 펼쳐나가고 있기 때문인데, 이를 ‘지금, 여기’를 의미하는 ‘이此’와 다름을 의미하는 ‘이異’가 중첩된 이시공간異時空間 개념으로 설정하여 작가의 작업세계를 조망해보고자 한다. 실재의 감각적인 현실이 그런 것들처럼, 이 시공간은 그렇게 서로 다른 시공간성, 곧 ‘이시공간성’으로 우리에게 복잡다단하게 작동하고 있기 때문이다.
작가의 그림에는 많은 시간, 공간대의 풍경들이 한 화면에 중첩되어 있다. 서로 다른 시간, 공간이 뒤섞여 있는 것이다. 이러한 복잡한 시공간의 풍경 속에는 특히나 서구 중심의 근현대화와는 다른 길을 걸어야 했던 아시아의 급격한 성장, 압축적 발전의 풍경 또한 그대로 담겨 있기에 주목을 요한다. 중국과 한국과 같은 아시아, 동양은 서구의 근현대화처럼 체계적이고 정합적인 성장을 이룬 것이 아니라, 짧은 시간에 걸쳐 서구식의 발전을 거듭해야 했고, 또한 여기에 동양 특유의 문화를 중첩시켜야 했기에 서로 다른 시간, 공간이 이질적으로 결합된 독특한 사회 문화의 풍경을 직조해내야 했다. 근대, 현대, 그리고 동시대가 묘한 방식으로 교차해가면서 다른 시공간의 문화를 엮어냈던 것이다. 그런 면에서 서구적 의미와는 다른, 그리고 전통 동양적인 의미와도 구별되는 ‘비/탈’의 근현대, 동시대라는 제3의 길을 겪어야 했다. 요진 작가의 작업 속에서도 급격한 발전과 성장을 거듭하면서 중국이 직면하고 몸소 겪어야 했던 이러한 복잡한 시공간의 풍경이 그대로 자리한다. 그런 면에서 작가의 그림은 작가 자신이 경험해야 했던 현실적 삶에 대한 감각적 교감들이며 풍부한 감각적 상황을 그대로 드러내는 작업이기도 하다.
특히나 뿌리 깊은 동양의 문화적 전통에도 불구하고 근현대화의 과정에서 피할 수 없었던 다문화, 혼성문화의 상황들이나 근래 들어 급격한 사회문화적 발전을 이룬 중국 사회의 역동적 변화를 몸소 체험한 작가였기에 작가의 눈앞에 펼쳐진 시공간의 변화는 더욱 컸던 것일지도 모르겠다. 그런 이유로 작가의 작업에는 서양의 현대적이고 분화적인 특성은 물론 동양의 전통적이고 융합적인 요소가 혼재되어 있다. 동서양의 서로 다른 시공간성이 한 화면에 공존하고 있는 것이다. 이는 문화적 폐쇄에서 점차 개방화로 발전하면서 갖게 된 자신감도 한 몫 했을 것이다. 단순히 서양의 그것을 받아들이는데 그치는 것이 아니라 서양식 문화마저도 스스로의 문화적 지반에서 현대화시키는 중국의 젊은 세대의 특성을 고스란히 보여주고 있는 것이다. 비록 서양화의 그것을 취하고 있지만 작가의 작업에는 막연한 서양에 대한 추수와 동경만이 아닌, 중국의 전통 문화에 대한 존중, 그리고 젊은 세대 특유의 스타일에 대한 선호와 자기 스스로의 사유와 감각들을 만들려는 어떤 의지들을 분명히 담고 있기 때문이다. 작가의 작업에서 이러한 면모들, 스스로의 스타일과 감각을 통해 화풍을 만들어가려는 지향성을 재차 확인하게 된다.
그동안 아시아의 새로운 작가들을 소개하고, 이들의 네트워킹에 힘써온 대안공간 루프가 주목하는 지점도 바로 이러한 대목이다. 주목받고 있는 중국의 동시대 젊은 화가로서의 작가의 입지 못지않게 작가의 작업에서 발견할 수 있는 동양적이고 아시아적인 잠재적 가치, 서양/동양의 이항대립의 설정을 뛰어넘을 수 있는 향후 발전 가능성 말이다. 그런 면에서 요진 작가는 단지 중국의 동시대의 실험적인 회화의 흐름을 만들어내고 있는 작가일 뿐만 아니라 중국의 전통 문화예술에 대한 각별한 사유와 정서는 물론 이를 바탕으로 급변하는 중국사회의 흐름을 직간접적으로 조명해 볼 수 있는 작업을 전개하고 있고, 미디어, 패션, 디자인 등 다양한 분야와의 크로스 오버를 통해 동시대 회화의 가능성을 넓히고 있는 작가이기 때문이다. 이러한 작가의 면모들이 동시대 미술에서의 회화성의 의미를 다시금 생각해보게 한다는 면에서 남다른 의미를 갖는다.
작가의 화풍은 마치 궤적을 그리며 앞으로 나아가듯 한 곳에 머물지 않고, 느린 듯 빠르게 자라나는 것 같다. 마치 격동하는 중국 동시대 회화사의 계통발생을 자신의 작품에서 되풀이라도 하듯, 초기의 일상의 풍경이나 대상을 다른 선線적인 방식에서 점차 화면에서 다루고 있는 공간성을 확대하고 시간성을 개입시키면서 화폭이 갖고 있는 밀도와 강도를 키워나가는 식이다. 특유의 세밀하고 조형적인 선과 화사한 색감으로 구현된 그의 그림은 감각적 완성도를 갖고 있기에 대중적일 수 있었겠지만 작가는 이에 머물지 않고 화면의 구성을 좀 더 내밀하고 복잡한 방식으로 완성해 간다. 갈수록 화면에서 구현되고 있는 공간성과 시간성이 심화되고 있다고 해야 할 것인데, 이번 대안공간 루프의 전시도 작가의 이러한 최근의 흐름을 엿볼 수 있다. 전체적으로 공간성과 시간성이 서로 복잡하게 얽혀있는 구성인데, 선과 면, 선과 색, 곡선과 직선이 나름의 일정한 원리를 가지고 화면을 작동시킨다. 예를 들어 기본적인 구조와 구성은 직선으로 표현하고, 곡선으로는 이에 대한 작가의 느낌과 표현을 담아내는 식이다. 큰 화면의 구성에 있어서는 색을 먼저 칠하고 형과 테두리를 나중에 그리는 방식인데, 색에 대한 생각에서 선에 대한 생각으로 이동하면서 전체적으로 더하는 것이 아니라 빼는 방식을 택하고 있다. 특히 색을 통해 상징과 의미를 담아낸다고 하는데 이러한 상징과 의미조차 선적인 조율의 과정, 곧 작가 자신의 사유들로 조정하고 있는 것이다. 어떠한 정합적인 구조와 구성으로 화면을 구동시키는 것이 아니라 최종적인 판단에 있어 작가의 어떤 생각과 느낌, 그리고 표현을 중시하고 있음을 주목해야 할 것 같다. 복잡한 화면 구성 조차 결국 어떤 결과일 뿐 미리 치밀하게 계산되고 구조화된 것이 아니었던 것이다. 이시공간성은 이처럼 구조적으로 복잡한 어떤 개념이라기보다는 현실의 시공간에 대한 각기 다른 체험 속에서 갖는 감각상의 문제일지도 모를 일이기 때문이다. 우리가 현실에서 마주하고 경험하고 느끼는 시공간성이야말로, 단일하고 균등한 것으로 환원되지 않은 숱한 감각들의 충돌과 느낌의 축적들일 것이다. 이런 면에서 복잡하고 화려한 화면의 구성에도 불구하고, 그리고 화면을 가로지르는 선과 면들의 복잡한 구조에도 불구하고 작가의 그림은 서양의 그것이라기보다는 마음의 흐름과도 같은 동양의 어법을 닮아있다. 작가 역시도 이에 화답하듯 복잡한 것이 오히려 쉽고 비우고 정리하는 것이 중요하다고 말한다. 그래서인지 작가의 그림은 전체적으로는 구상적인 면모가 도드라지는 복잡한 시공간성이 얽혀있지만 부분적으로 추상적이라 할 정도로 압축과 생략으로 마감되어 있다. 구상과 추상이 한 화면에 고스란히 공존하고 있는 것이다. 그의 말처럼 그저 가시적인 시공간의 대상을 쓸어 담기 보다는 의미 있는 것을 남기는, 다시 말해 마음으로 이를 가다듬고 정리하는 것이 더 중요한 문제일지 모르기 때문이다. 그런 면에서 작가의 작업을 심치心治, 곧 마음을 다스리는 것으로 이해하는 것이 필요할 듯싶다. 지극히 서양적인 화풍을 드러내고 있음에도 불구하고 그 기저에 동양적인 사유가 관통하고 있는 것이다. 이런 이유로 작가는 그림을 그리는데 있어 마음의 안정, 평정심 같은 상태를 중요시 여긴다. 그토록 복잡다단한 스펙터클의 시공간성 조차도 결국은 내면의 심안으로 바라보고 있는 것이다. 사실 우리 내면의 시선과 감각만큼 유동적이고 이질적인 시공간성이 또 어디에 있을까 싶기도 하다. 현실의 역동적인 시공간성도 마음먹기 여하에 따라 그 복잡다단한 모습을 달리 하니 말이다. 이런 이유 때문인지 몰라도 그의 그림은 대체로 원색 계열의 밝은 색이 많고 중국 전통 회화의 그것처럼 보색 대비를 즐겨한다. 아주 밝지도 어둡지도 않은 색조 감을 갖는 것이다. 이러한 색감은 다시 당대의 현실에 대한 작가의 생각으로도 이어지는데 앞서 말한 것처럼 색감을 통해 어떤 상징과 의미를 담아낸다는 측면에서, 작가의 세상의 현실에 대한 생각이 분명 얼마간 비판적이긴 하지만 그렇다고 부정적이지만은 않은, 대체로 삶에 대한 긍정성을 가지고 세상을 대하지 않았나 싶다. 화폭에 구현된 색감으로 우리는 작가의 이러한 심경을 읽어낼 수 있긴 하지만, 화려하면서도 그렇다고 단순한 화려함으로만 그치지 않은 이러한 색감으로 인해 작가의 세상에 대한 복잡다단한 마음마저 전해져 오는 것만 같다.
급변하는 중국의 정치경제적 변동과 삶에 무관하지 않은 작가였기에 그의 그림에는 동양과 서양이, 전통과 현대의 사회, 문화가 서로 상충하고 충돌하는 과정 또한 고스란히 담겨있다. 서로 다른 시간성과 공간성의 차원은 이처럼 작가가 겪어야 했던 중국의 근현대화의 과정에서 빚어진 자연스러운 결과였던 것이다. 그렇기에 그의 그림을 단순히 복잡하고 화려한 회화적인 기법이나 스타일, 역동적인 화면 구성의 차원에서만 받아들이기에는 일정한 한계가 있다. 작가 스스로 겪어야 했던 유동하는 동시대 사회적 변화의 삶이 그대로 담겨 있기 때문이다. 이런 이유로 그의 그림에는 종종 이러한 동서의 문화적 차이를 담은 대상들이 등장하기도 한다. 호랑이와 판다, 미키마우스와 같은 동물들이 그러한 한 예들이다. 특히나 그의 그림에서 유독 많이 접할 수 있는 수없이 겹쳐지고 이어진 중국식 창과 문은 의미심장한 효과를 작동시킨다. 창이나 문은 또 다른 세상으로 들어가는 입구이자 출구이고 이질적인 서로 다른 세상을 잇는 매개체이기 때문이다. 하지만 작가는 여기에 그치지 않는다. 이 수많은 문들이 때로는 해체된 듯 소용돌이치면서 역동적으로 공간을 불안정하게 가로지르는데, 종종 이러한 복잡한 화폭 어디엔가 계단이 있고, 의자가 있는 식이다. 해체와 구축을 반복하는 역동적인 중국의 사회적 변화를 암시하는 동시에 그러한 혼잡한 세상의 변화 속에서 자신이 지금 어느 시공간에 있는지를 알려줄 수 있는 어떤 좌표로 창이나 문, 의자와 계단 같은 설정을 했던 것이 아닐까 싶다. 비슷한 맥락에서 이러한 복잡한 시공간 속에서 무기력하게 휴면하고 있는 인물이 등장하기도 한다. 자신을 둘러싼 세상의 복잡다단한 변화가 때로는 버겁게 다가왔는지도 모르겠다. 그렇게 움직임과 머무름, 열림과 닫힘을 이어가고 반복하면서 세상의 시공간의 변화를 대면하고 있는 것이다. 분명 시각적으로 그의 그림은 변화무쌍한 시공간의 변화를 담고 있다. 하지만 그의 그림을 종국에 관통하는 것은 이러한 외면적인 시공간의 카오스가 아니라 그러한 무질서의 카오스와 같은 세계마저도 평정한 마음으로 조망하려는 어떤 안정적인 질서로 향하고 있는 것만 같다. 카오스모스처럼, 단지 이질적이고 복잡한 시공간성에 머무는 것이 아니라 그러한 시공간성을 관통하며 이를 침착하게 조망하려는 작가의 어떤 마음의 상태마저 담으려 하면서 말이다. 그렇기에 그의 작품에서 볼 수 있는 이시공간성異時空間性은 다시 정동靜動의 시공간성으로 변모한다. 이러한 정동의 시공간성을 가로지는 것이 어쩌면 작가의 세상에 대한 어떤 의지나 지향, 혹은 자유 같은 것은 아니었을까. 작가가 그동안 숱한 중국사회의 변화를 목도하면서 그리고 스스로의 변화마저 두려워하지 않고 그러한 극적인 변화의 시공간성을 담아내려 하면서 체득하려 했던 저 ‘자유’ 말이다. 그렇게 작가는 급변하는 중국사회의 한 복판에서, 스스로 중심을 잡으려 하면서 자신이 어떤 시공간성에 있는지를 되묻는다. 이러한 물음들이 어디 비단 작가에게만 해당되는 것일까. 우리 역시도 작가의 그림을 보면서 스스로 존재하고 있는 시공간을 돌이켜보고 성찰할 수 있는 기회가 될 테니 말이다. 그런 면에서 작가의 그림은 단지 우리를 둘러싸고 있는 복잡다단한 시공간성만을 드러내는 것이 아니라 그렇게 유동하는 시공간성의 변화를 따라 다른 모습으로 변모될 우리 자신의 역동적인 변화 또한 담아내고 있지 않았나 싶다. 이러한 수행성의 차원이 다시 작가의 그림을 동양적인 사유, 정서들과 결합시킨다. 현실의 해체와 구축만을 단순 반복하는 것이 아니라 그러한 반복과 변화 속에서도 작가 스스로 다시 평정한 마음으로 이 복잡다단한 세상을 바라보려 하면서 우리로 하여금 정동과 생성의 기운을 느끼게 하고, 그렇게 자유로울 또 다른 변화를 추동케 하니 말이다. 그렇게 작가의 작업은 현실의 시공간을 주름 짓고 펼치면서 스스로 자유로워질, 우리 자신을 향해 부단히 시각적인 말을 걸어오고 있는 것만 같다.
Pittsburgh is jam packed with attractions for any type of tourist. The sports fan will have a ball watching any of Pittsburgh's home teams play and will be surrounded by die-hard sports fans. While ladies who may prefer to skip the game will enjoy North Side & North Shore attractions like Carnegie Science Center and the Andy Warhol Museum. Families will fall for this area as well because it's home to the Children's Museum of Pittsburgh.
Hot Tips: Plan ahead when looking to score tickets to sporting events.
Filled with diverse neighborhoods that are all a pleasure to explore, Pittsburgh scores points with sports fans, culture seekers, and families for the close proximity of sports venues on the North Side & North Shore. Across the Allegheny River from downtown, the North Shore and North Side house many Pittsburgh attractions such as the Carnegie Science Center, Heinz Field and PNC Park, the National Aviary, Children's Museum of Pittsburgh and the Andy Warhol Museum. Those who prefer to be more central to downtown should explore the hotel options in Pittsburgh's Downtown area or Strip District.
Hot Tips: Driving around during rush hour; Pittsburgh city roads are confusing to navigate.
Pittsburgh's diverse populationmake this city a diner's dream! The Strip District is lined with truly special finds, from restaurants owned by famed chefs like Italian spot Lidia's to Primanti Bros., the famous former "truck stop" that serves the most classic American sandwiches that are a full meal. But no trip to Pittsburgh is complete without a trip to Mount Washington and the Monterey Bay Fish Grotto where the food and views can't be beat.
Hot Tips: Take a ride on the restored incline cars up the side of Mt. Washington, enjoy a date at the Monterey Bay Fish Grotto and ride back down after dark.
Hot Tips: Primanti Bros. sandwich in the Strip District, pierogis.
Nothing beats Pittsburgh's Strip District for a night out. This funky section of the city is walkable making it easy to try a few places in one night. Hot spots include Prive Ultra Lounge, and Altar Bar where dance floors are plentiful and VIP bottle service is an option for the high roller. And if you love a good dive bar, don't miss The 31st Street Pub because it can't be beat for rock 'n' roll.
Hot Tips: Hot spots get crowded; arrive a little early so you're sure to get in.
If you're looking to do some shopping in Pittsburgh, be sure to visit downtown and the Strip District. Downtown is a small spot packed with department stores, specialty shops and boutiques. While the Strip District is a vibrant market district filled with eclectic offerings. For a day indoors, pop into one of Pittsburgh's excellent malls where you can shop, eat and be entertained without having to weather the outdoors.
Hot Tips: Station Square for shopping. There are few actual shops in Station Square.
Hot Tips: Steelers or Penguins gear, Heinz merchandise, Duquesne Incline memorabilia.
Five of Pittsburgh's most unique features and characteristics.
It's impossible to effectively discuss Pittsburgh without giving attention to its famously diverse and down-to-earth population. Every facet of the city's unique present day culture was shaped by the ethnic traditions of countless groups of immigrants from regions like Italy, Britain, Poland, and Lithuania. While the bulk of Pittsburgh's citizens are friendly and welcoming, if you've never experienced the local dialect ("Pittsburghese"), you may find yourself flailing through conversations. For a quick crash course, remember that yinz is plural for "you" (and that people from Pittsburgh are sometimes called Yinzers) and words like "downtown" are often pronounced more like "dahntahn."
Some of Pittsburgh's many museums and art installations are world-class institutions. The Oakland neighborhood is home to a series of Carnegie Museums, foremost among them the Museum of Natural History and the Museum of Art. Just around the corner from this, the Frick Art and Historical Center offers unique insight into the history of Pittsburgh's once-booming steel industry. The Andy Warhol Museum, in the Northside district, is a must-see for art-lovers and pop culture junkies alike. It features a boundless collection of Warhol's works, as well as a recreation of "the Factory" where he was headquartered for many years.
Pittsburgh's long history is bound up intrinsically in the presence of its three rivers (the Allegheny, Monongahela, and the Ohio), which allowed for its formation in its earliest days, and for its post-industrial steel boom. Pittsburgh is also known as the "City of Bridges," owing to the fact that many assert it has more bridges than any city in the world (Venetians and Chattanoogans famously decry this claim, but locals are quick to dismiss them.) Many of the bridges feature stunning architecture and design, with some of the more famous being the West End Bridge, the Fort Pitt Bridge, and the Three Sisters.
Pittsburgh is a city whose culinary scene comprises the holy trinity of factors: it has an excellent dining scene that is robust but not touristy, they have an array of ethnic markets and locally-owned and operated grocers, and they have a handful of signature dishes. Primanti's is your best bet for a no-frills but exceptionally hearty and delicious dining experience; they serve a renowned sandwich piled high with fries and slaw. The Strip District is where you'll find the greatest concentration of ethnic eateries and one-of-a-kind markets. And the Bloomfield neighborhood is home to some of the most authentic Italian restaurants this side of the pond.
If you're looking for a city in North America that experiences four distinct seasons (think: not Miami or Alaska), head to Pittsburgh. Because Pittsburgh straddles humid continental and humid subtropical climate zones, it sees warm, humid summers and cold, snowy winters. Although the seasons run through pretty much the whole gamut throughout the year, it rarely sees extreme weather conditions outside of the occasional blizzard during the winter. Because of the variation between (and, in the fall especially, during) the seasons, it's best to watch conditions closely as you pack your bags.
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His new book, The Trusted Executive: Nine Leadership Habits That Inspire Results, Relationships, and Reputation, is a must read for leaders who want to inspire trust and achieve results. Discussion questions, if you are using the video, ask question 1 before viewing. If you want someone to trust you, who has most of the responsibility you or the other person? Once trust has been broken, what can you do to get essay british empire it back? They believe that if someone is not good at something, there is no point in trying harder as their ability will not change. In contrast, people with a growth mind-set believe that abilities and talents are cultivated through effort.
Layla and Jackie's Story: "Kick"
The scene opens. There are two people engaged in a fencing match. The match is over, and they both remove their protective gear. A dark-haired woman looks at her fencing partner with a special twinkle in her eye. Her blond companion looks on knowing that today luck is on her side. Certainly, these are the elements for the making of a new romance, but will the girls act on their first impressions or will they step back and allow love to slip out of their hands?
The Couple: Layla and Jackie shared a passion for fencing and met when they revealed themselves to each other after a practice match at their university. Jackie was immediately attracted to this stranger and was sure that the feeling was mutual, but Layla only knew that she wanted to reach out and touch the woman without truly understanding whatever for. She was engaged to be married, and having amorous feelings for a woman certainly was not a part of the plan, but the attraction felt good and welcomed and she knew she would explore more. These were the beginnings of Kayla and Jackie's romance in the first season of the new series Kick. It is a romance that grew on Hope Street, one that encounters many road blocks, but is nonetheless destined to go down on record as being one of the greatest on-screen romances of our time.
All cats love to have shelter away from adverse weather conditions and other animals who may be out there. You may wonder why you would want to buy your cat their own home rather than just letting them come inside. Well, cats are highly independent and territorial. A cat home gives them a place to call their own away from the potential stresses outdoors. Alternatively, you may have feral cats in your area, and you want to give them a place to shelter.
With so many different options out there, it can prove to be somewhat of a challenge to choose the ideal cat home for your four-legged friend. To allow you to make the most informed decision possible, we have selected 10 of the best outdoor cat houses and listed their most appealing features. Ready to put a roof over your cat’s head? Then let’s find one!
First up on the list, we have this truly beautiful two-story outdoor cat house. The bottom area is enclosed for protection, while the upper terrace lets your cat enjoy the outdoors, which means they still having the protection of the asphalt roof if the weather takes a turn for the worse.
Since it is such a large structure, it is perfect if you have multiple felines. You don’t have to be a DIY expert to assemble the house and the holes are all pre-drilled. Once it is set up, the house provides a stable abode as the wood is made of anti-rot material to stand the test of time.
This outdoor cat shelter offers both comfort and protection from bad weather conditions. There is a pair of entry and exit points, so your cat can decide how they would like to get in and out, and they have a means of escape if needed.
This is the kind of outside cat house which is durable and tough enough to stand the test of time. It also comes with a manufacturer’s warranty for added peace of mind. As for the assembly, it is straightforward, and no tools are required.
If you are looking for an insulated outdoor cat house, this one is designed to keep your feline friend warm. The floor, walls and roof are all contain high-quality insulation, ensuring that the structure stays cool in the summer and warm in the winter. You can also adjust the lifting handles to alter the ventilation.
As for the unique door design, it allows your cat to enter, while still offering protection from predators. As well as being made from recycled post-consumer content, it is also designed to never chip, crack or fade.
If your cat loves climbing up to high places, this three-story outside cat shelter gives them the opportunity to do this. And you are bound to get some joy seeing them poking their little heads out of the hinged shutters and peekaboo openings!
The roofing is rainproof to ensure that your cat stays nice and dry, while the raised plastic floor keeps air circulating to ensure that the floor remains comfortable. The large door at the rear offers quick access and easy maintenance.
This outdoor and feral cat house is easy to assemble, so you can put a roof over your furry friend’s head in no time at all. Inside is a heated bed which is designed to keep your kitty warm, no matter what the weather is like outdoors.
The heated cat house features two clear door flaps, which are removable depending on whether you are trying to encourage airflow or keep the heat inside. For added peace of mind, you can rest assured that these houses have been certified to USA/CA electrical safety standards.
One of the major advantages of this wooden cat house is how easy it is to assemble. There are two escape points which ensure that your pet is not going to get trapped by predators.
The wood is made from an anti-rot material which is designed to last at least three years. However, if you have a particularly destructive pet, they can end up causing damage to the house. Bear in mind that it is designed to fit a single cat under 15 lbs.
Designed for both winter and summer usage, the wood used in the construction of this cat house is cedar, which is meant to stand for a long time. You can be certain of high-quality workmanship and materials.

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