.my very best mechanical Buddha

I love this project, maybe I have share it before even that I think not here.. I use to write for this concept and approach for university and pretty like d idea and d vivisection of d anatomy of d human body.


First time after a while, maybe more then a year I collect few photos of this sculpture that open d form from more perspectives, is amazingly great how smart this idea is. u remember d video that bjork made for one of her songs..? there was something from cardigans as well.

Wang Zi Won is d author that made this stunning sculpture that brings our surreal perception more close to our eyes, Pensive Bodhisattva is d name of d project and is produced in 2010.

untitledz2z3z4z5z6z7.absolutely here are more projects, it’s not only d pensive Buddha or mechanical Bodhisattva or Buddha Mandala.. here I bring u few of those project that Wand is creating and is worldwide recognized.

U like this sculptures, u want one in ur minimalistic white room or u just want to reblog this post on ur white space? anyway . .. u can leave ur comments below or on :d white b[l]og ::: #facebook page


:just a bit about Helen Frankenthaler #rip





.What I wanted to write about today is one other shocking news that I read in newspaper yesterday, actually today but very early in d morning hours. Strange coincidence, I didn’t know that this will be d dynamic & d line for writing about them. First it was Sir John Chamberlain then she. They both died in such a small time distance, actually like in d art history. .. they produce in d same time, they create in same period of d last century.

Helen Frankenthaler [10 December 2009 – December 27, 2011] is one of America’s most distinguished living artists. Born in New York City in 1928, Frankenthaler attended the Dalton school where she studied under Rufino Tamayo and later graduated from Bennington College in Vermont. Upon returning to New York, she quickly became a notable personality among the avant-garde art world and New York School of painters, which included David Smith, Lee Krasner, Jackson Pollock, Willem and Elaine de Kooning, Franz Kline, Adolph Gottlieb, Barnett Newman, and influential critic Clement Greenberg, an early champion of her work.

#RIP for both. I am truly grateful to these two artists – my deepest influences… since always I’ve been impressed from deconstructivism, and when I saw d smashed cars in Pompidou from John I was stunned.. not like in d history of art book.. and in d same building I was surprised for d first time from d simplicity and d naive approach that Helen use in her abstract works but still so much zen.

Devil's Mist, 1967, Acrylic on canvas


to me they both achieved the purest level of abstraction, equivalent to zen in every sense of it…I have always admired the simplicity in both, and Motherwell’s Open series had the strongest impact out of all abstract expressionists. “ says Milica Popovic, friend of mine, Assistant Professor Art/Jean B. King Gallery Manager at College of Southern Idaho

. ..not for nothing they were/ are influence for most of d good abstract painters nowadays. it’s probably pretty hard to find d balance and d peace inside ur chaos, especially when u have a lot of colors around u. the sources of her abstract imagery reflected her impressions of landscape, her meditations on personal experience and the pleasures of dealing with paint.

Blue Reach, 1974, Acrylic on canvas

nytimes write in article about her:

Helen Frankenthaler, the lyrically abstract painter whose technique of staining pigment into raw canvas helped shape an influential art movement in the mid-20th century and who became one of the most admired artists of her generation, known as a second-generation Abstract Expressionist, she was married during the movement’s heyday to the painter Robert Motherwell, a leading first-generation member of the group. But she departed from the first generation’s romantic search for the “sublime” to pursue her own path.



.To d Abstract Expressionism as movement she brought a new, open airiness to the painted surface and was credited with releasing color from the gestural approach also as romantic rhetoric. When I saw her paintings probably d first 15 minutes I was in some deep meditation that was product from d combination that she makes with d colors.

The landscapes were in my arms as I did it,” Ms. Frankenthaler told an interviewer. “I didn’t realize all that I was doing. I was trying to get at something — I didn’t know what until it was manifest”.


@ Ameringer McEnery Yohe


.what I want to mention here and is off topic is d approach that we [d bloggers] have for writing . I’ve met a lot of people that have their own blogs and write whatever they want about, but also thousands and thousands of ezine, web pages, art studios etc just copy/ paste d information and d future that I don’t want to predict is that not so much time after we’ll fulfill all d net space, with trashy, basic information only because we don’t have our personal opinion but we are still blogging. That’s d main difference between this blog and d others. Here we take care about d artists and their artworks.

Mountains and Sea,” her breakthrough in pink, blue and green, set a style that critics — although not universally — have applauded for its lyricism and luminous use of color – we read today in latimes

:current Times art critic Christopher Knight has described Frankenthaler as a “minor, formalist artist,” and her influential “Mountains and Sea” as a “slight innovation.”

Helen also as John, I don’t know why this parallel. ..win a lot of awards and is been part of many great collections around d world, in ones of d best galleries and exhibit spaces, she received the National Medal of Arts from President George W. Bush in 2002.


..besides this technique “soak-stain” and turned to acrylic paints in the 1960s to explore open, flat fields of colour, a style on display in her 1973 work Nature Abhors A Vacuum. she also worked with ceramics, sculpture, woodcuts, tapestry, printmaking…


:district 1966



.that what me as person find in her works is that meditative line that brings tranquility in me. D green we all know that is good for relaxation and she use it pretty much, d other ones that are more simple remind me of miro, don’t know why they compare her with pollock, maybe cause she was painting on d ground same as him and start using big canvases.. but definitely she brings poetry in her master pieces. It was like this for me when I enjoy her works, and for d end to mention one more tiem “She was not the first artist to stain canvases but she was the firsy to develop a complete formal vocabulary from the technique.”

“I’ve explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.”

-Helen Frankenthaler


@ Ameringer McEnery Yohe


Rest in Peace dear Helen, u was good teacher to ur followers. ..we can see ur signature in lots of paintings nowadays. the funny part with d abstract painters is that not all of them are academic painters and they are not pretty sure what are they creating. ..hope they will find d way to you & ur art signature.

:are u seeing Helen Frankenthaler masterpieces for first time, u know them from before? – u can leave ur comments below or on :d white b[l]og ::: #facebook page

:zen greeting::: Lee Ufan & ‘marking Infinity


!lets we ALL say "OM"mmm. .. to this stOnes ~ :)

@ Solomon R. Guggenheim Museum


.This stones .. no words can be butterfly in a front of this works. Master pieces, chef-d’œuvres of this times. D history of art have had changes like this in d decades and centuries ago, but this for sure is d change that fits my sense of understanding.



Periodically I was seeing things from this artist, d stones yes and in same moment I felt some deep meditative energy that surrounds me. Every time when I watch this pieces of grande art I have d feeling that this connection is stronger even that is virtual, there is no pure communication between me and d stones or d environment, d space. ..d energy that they produce acting one, titled “Marking Infinity”. I like d title, very symbolic name for d 40 year retrospective exhibition of artist Lee Ufan [b. 1936, South Korea]

stunning interventions with d stone like element that play with d gravity mostly everywhere in his works, gives them some role of levitation souls that travel around d space even that they are strongly situated in one single place in d gallery. He make his spiritual zone, marks his infinity of understanding d universe and his living in deeper sense.

:u can see the short video from this performance where sir Lee is putting d stone on this sensitive glass platform. if we mention d dialog that he use in deep sense in other works too he is celebrating in a way d confrontation between d inner personality [soul] with this glass bell reality.


#shortly artnet mention:

Titled “Marking Infinity,” the show inhabits the museum’s spiraling exhibition ramp, rotunda and two ancillary galleries with minimalist expanses of canvas and spare configurations of stone and steel. It’s a Zen Garden of matter, form and space.

:The artist-philosopher Lee Ufan from d early 60ties is marking one special way of expressing trough his art and since then he land in d art community as person pretty important for d modern art history. His deep intellectual combination of d visual, conceptual and theoretical brings his art pieces in a stadium that is comfortable for all d viewers. Meditation by itself.

” Since his early Mono-ha period, Lee has restricted his choice of sculptural materials to steel plates and stones, focusing on their precise conceptual and spatial juxtaposition. The steel plate—hard, heavy, solid—is made to build things in the modern world; the stone, in its natural as-is state, “belongs to an unknown world” beyond the self and outside modernity, evoking “the other” or “externality.”

Arranging the plates in precise relationships to the stones, Lee’s Relatum series (1968– ) presents a durational form of coexistence between the made and the not made, the material and the immaterial elements of our surroundings. The series title is a philosophical term denoting terms, objects, or events between which a relation exists. In Lee’s mind, the occasion of the site-specific work and the network of dynamics it triggers is more important than the object per se, and we the viewer enter the scene as an equal part of the whole.”

:Alexandra Munroe, Samsung Senior Curator,Asian Art [from guggenheim]


:besides this works with stones that I most prefer in this retrospective exhibition Sir Lee Ufan presents some paintings, some of them called dialogs at d @guggenheim:

:from line


!hope u like this post, if u have anything else to mention here I would be very happy if I see ur opinions.. for me this are not d only projects that I like from him, he really creates chef-d’œuvres. .. u can leave ur comments below or on :d white b[l]og ::: #facebook page

:Zen greeting::: Lee Ufan & ‘Marking Infinity