...rebirth from destruction and decay. She uses many mementos from her past such as pieces of literature to further incorporate the past with the present in her work and to create emotional connections as well. Growing up with certain stories either from being a book designer or from her recently deceased mother, have been the inspiration in some of her most recent pieces. Her work has no strict criteria and you need no knowledge or experience in art to relate or understand the meaning behind some of her art. I’ve noticed in some of the pieces that nature can take human form and animals are seen as temples. Fry has created work as big as permanent pieces of national parks to small frames hanging on the wall, but in general they have a common theme to all of them. As I first walked into the exhibit I noticed that I was small, quiet, and dark. There was a girl behind a desk typing on her computer and I almost felt uncomfortable being watched so closely. As I started to relax, I took a glance at the first hanging piece by the entrance. It was a framed sculpture called Secret and at first glance I was confused. It looks as if there is a three door stand with a man’s head on top covering him mouth as if he couldn’t say something important. As I analyzed it further I began thinking that we all have types of “drawers” with secrets in which we will not tell for one reason or another. This piece was simple yet had meaning that everyone can relate to, and that is why I enjoyed it. As I...
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...Symbols and allegories are used to promote a deeper engagement with morality, discuss this statement in light of The Snow Queen and Thumbelina and by Hans Christian Andersen Hans Christian Andersen promotes a resounding meaning of morality throughout his fairy-tales, (1), as eighteenth century author Schiller stated “deeper meaning resides in fairy tales told to me in my childhood than the truth that is taught in life.” (2) He is able to present various morals specifically targeted towards children by using an intricate web of symbols throughout his tales. The underlying roots of Andersen’s tales could be ascribed to Christian ideology and teachings which are depicted in the Bible. The symbols are used individually in order to implant Christian ideas subtly in the mind of the child reader which otherwise may be concepts which are too large for the young reader to grasp. Andersen also uses his tales as allegories for Bible teachings. They stand as “metaphorical representation(s)” (3) of various Christian teachings, mirrored as they are written in the Bible. The symbols and allegories used allow a deeper engagement of the text and explore morality issues in hopes of educating young children in terms of Christian morality. Critic Ruth Eshbaugh remarked upon Andersen’s work that “there is no real evidence he is trying to teach spiritual lessons in any of his works.” (4) However in disagreement with this statement I have explored the symbols and allegories that Andersen uses to...
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...Bloodlines of Illuminati by: Fritz Springmeier, 1995 Introduction: I am pleased & honored to present this book to those in the world who love the truth. This is a book for lovers of the Truth. This is a book for those who are already familiar with my past writings. An Illuminati Grand Master once said that the world is a stage and we are all actors. Of course this was not an original thought, but it certainly is a way of describing the Illuminati view of how the world works. The people of the world are an audience to which the Illuminati entertain with propaganda. Just one of the thousands of recent examples of this type of acting done for the public was President Bill Clinton’s 1995 State of the Union address. The speech was designed to push all of the warm fuzzy buttons of his listening audience that he could. All the green lights for acceptance were systematically pushed by the President’s speech with the help of a controlled congressional audience. The truth on the other hand doesn’t always tickle the ear and warm the ego of its listeners. The light of truth in this book will be too bright for some people who will want to return to the safe comfort of their darkness. I am not a conspiracy theorist. I deal with real facts, not theory. Some of the people I write about, I have met. Some of the people I expose are alive and very dangerous. The darkness has never liked the light. Yet, many of the secrets of the Illuminati are locked up tightly simply because secrecy is a way...
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...july ‘10 ISSuE 186 • £3.95 reader prOfIleS artISt prOfIleS Goldilocks u gu Mick Squires anD The BanK roBBer s Korpus TaTToos th-8 fr ns e i id e ww.tatt tw o o j a A Xed Lehead & Mad Alan Divine Canvas evil From The neeDle m th .uk 6t h-8t hA .co . .co su e e Jeff Ortega we highlight some of the gifted artists working tattoo jam 2010 REGULARS: Fall out ‘news & reviews’ | inkoming | Tattoo Tour | Conventions | personals | Jobs | For sale gu h st t h is a is m www.tat to o wi t Tommi Ink & Iron SKI N SHOWS no regreTs u j Birmingham usa tatto o 2010 tat toos a form of self-harm? you decide 9 770966 435048 San Jose www.jazzpublishing.co.uk • 07 Please mention Skin Deep when responding to adverts. GEnEral EnquIrIES Jazz Publishing, The Old School, Higher Kinnerton, Chester, CH4 9AJ, UK. 01244 663400 www.skindeep.co.uk EdItor Neil Dalleywater email: editor@skindeep.co.uk Telephone: 01244 663400 ext. 212 art EdItor Gareth Evans email: gareth@jazzpublishing.co.uk Telephone: 01244 663400 ext. 204 productIon manaGEr Justine Hart email: production@skindeep.co.uk Telephone: 01244 663400 ext. 235 accountS & admIn manaGEr Emma McCrindle email: accounts@jazzpublishing.co.uk Telephone: 01244 663400 ext. 207 admInIStratIon Jan Schofield email: jan@jazzpublishing.co.uk Telephone: 01244 663400 ext. 219 Katie-Marie Challinor email: katie@jazzpublishing...
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