WHITE GOLD LETTER CHARMS. GOLD SHOE PAINT.
White Gold Letter Charms
- While pure gold is yellow in color, colored gold can be developed into various colors. These colors are generally obtained by alloying gold with other elements in various proportions.
- White Gold (Белое золото) is a 2003 Russian action film directed by Viktor Ivanov from a screenplay by John Jopson and Viktor Ivanov.
- A silver-colored alloy of gold with nickel, platinum, or another metal
- a pale alloy of gold usually with platinum or nickel or palladium
- A written, typed, or printed communication, esp. one sent in an envelope by mail or messenger
- A school or college initial as a mark of proficiency, esp. in sports
- win an athletic letter
- set down or print with letters
- A character representing one or more of the sounds used in speech; any of the symbols of an alphabet
- An attractive or alluring characteristic
- (charm) control by magic spells, as by practicing witchcraft
- (charm) capture: attract; cause to be enamored; "She captured all the men's hearts"
- The power or quality of giving delight or arousing admiration
- (charm) appeal: attractiveness that interests or pleases or stimulates; "his smile was part of his appeal to her"
- A small ornament worn on a necklace or bracelet
Luca Barcellona | Take Your Pleasure Seriously | Mostra Personale, 27 gennaio 2011
Luca Barcellona e Mauro Bolognesi
Take Your Pleasure Seriously
Il lavoro commerciale e artistico
Mostra personale con una selezione di lavori di lettering e calligrafia.
inaugurazione 27 gennaio 2011 | h 18:30
c/o Mauro Bolognesi
Ripa di Porta Ticinese, 47 – Milano
Tel: +39 02 837 6028
In mostra fino al 28 febbraio 2011.
Il lavoro di Luca Barcellona e da sempre caratterizzato da una forte passione e ricerca nel campo delle lettere e della scrittura.
Prendere il proprio piacere seriamente; da questa frase degli Eames, storica coppia di designer, lo spunto per questa personale
in cui convivono i lavori in bianco e nero, I disegni originali utilizzati per committenze commerciali,
con le opere di calligrafia piu raffinate ed elaborate, caratterizzate dalla sobrieta, precisione e l'attenzione ai particolari che distinguono le sue lettere.
Il lettering come mestiere, messo a disposizione dell'industria, e quello realizzato per la propria esigenza artistica
cercando lo stile calligrafico adatto a veicolare un messaggio e a diffonderlo, devono avere la medesima spinta qualitativa,
dettata per forza di cose dalla passione per la tipografia intesa come immagine, e come forma d'arte a se stante.
La dedizione totale ad una disciplina solo apparentemente dimenticata per riempire il frigo, e nutrire lo spirito.
Questo e quello che traspare osservando gli artwork, rigorosamente ad inchiostro e tempera su carta,
esposti per la prima volta in questa mostra nella cornice dei Navigli, non in una galleria ma nello spazio di Mauro Bolognesi,
un affascinante luogo circondato da oggetti di arredamento d'interni anni '50/'70, prevalentemente svedese e nordico,
scovati, recuperati e all'occorrenza restaurati per restituire il loro design unico, fatto di legno dalle forme smussate rassicuranti
e stoffe dai colori caldi e avvolgenti.
Una location non convenzionale per un artista decisamente atipico.
Durante la mostra sara presentato il volume di incisioni Gli Alberi, di Franz Kafka,
con sei tavole incise su linoleum da Luca Barcellona e stampato a torchio con la collaborazione di Lucio Passerini per le edizioni Il Buon Tempo.
Luca Barcellona, classe 1978, e un calligrafo e grafico milanese.
La sua produzione annovera logotipi di successo e artwork commerciali per agenzie pubblicitarie e grandi brand della moda e dell'abbigliamento
(D&G, Carhartt, Zoo York, Nike, Eni), collaborazioni con il cinema (sua e la calligrafia del film Io sono l'amore di Luca Guadagnino),
case discografiche (Nina Zilli, Casino Royale), assieme a committenze museali come la riproduzione fedele
di un mappamondo di grandi dimensioni risalente al 1569, utilizzando la calligrafia con materiali originali (penna d’oca e inchiostri naturali),
e alla partecipazione al documentario Sul nome Bach.
Insegna da alcuni anni con l'Associazione Calligrafica Italiana.
Oltre ad aver preso parte a progetti editoriali e musicali indipendenti
(fra gli ultimi le proiezioni per il concerto per orchestra La storia di Genji, del pianista Cesare Picco),
realizza opere calligrafiche murarie di grandi dimensioni e di recente,
ha prodotto una linea di abbigliamento personale con I suoi lavori, in collaborazione con Gold.
Luca Barcellona and Mauro Bolognesi present:
Take Your Pleasure Seriously
The commercial and the artistic work
Exhibition of a selection of lettering and calligraphy works
The work of Luca Barcellona has since always been characterized by a strong passion and research in the field of letters and writing. To take your pleasure seriously: this exhibition was inspired by this sentence by historic designers couple Eames. It’s an exhibition in which black and white works and original drawings for commercial commissions cohexist with the most refined and elaborated calligraphy works, characterized by the sobriety, precision and attention to the detail that distinguish Luca Barcellona’s letters.
The lettering conceived as a job at the industry’s disposal, together with the one realized for the personal artistic need, looking for the most suitable calligraphic style for transmitting a message and for spreading it, must have the same qualitative push, dictated out of necessity by the passion for tipography intended as an image, and as an art form itself.
The total devotion to an only apparently forgotten discipline to fill the fridge and nourish the soul.
This is what is visible looking the artworks, all strictly ink and gouache painting on paper, exhibited for the first time in this exhibition within the frame of the Navigli, not in a gallery but in Mauro Bolognesi’s space, a charming place surrounded by furniture from the Fifties and Seventies, mainly Swedish and Nordic, discovered, recuperated and sometimes restored to give back the unique design, made of wood with smooth and reassuring shapes and fabrics with warm and deceiving colours.
A non-conventional location fo
Sea-sleek salmon, you have gained
Every blessing under God,
By Mair, bright, unlimited,
Haughty underwater bird,
Hawk of eddies, slick-scaled bard,
Swift, yet footless underneath.
The portcullis of your teeth
Snaps on sand-eels, spectral form,
Fish of gravel and white foam.
I will make, by art, charm or
Stanzas, a suit of armour
Against bag-nets, Eigr’s moon,
Against trawling, against weir-men,
Against gutting, against hooks,
Against the brutal man who hacks
From his coracle, hard upon
Your bronze scales; against harpoons.
Since I’d hear your tale, all perils
Evade, navigating ripples
Undaunted. Ride the ocean swell
‘Til you reach uncharted soil:
Two tall river banks, a lake,
And last, where the waters lick
Land in moonlight, a linnet
Unrolled, like a length of linen
Upon the surface: watch her,
Call her, glass-eyed fly-catcher,
Woo away from Eiddig’s bed
My white-faced girl, black browed,
Arm fair as moonlit cloud,
Each breast a sun, her skin: flour,
Wearing a gold ring, I fear.
I ail! Unedifying
It is to see! On finding
Her, golden-crowned linnet,
Ask twice my second Luned:
Leap before her breast and greet
Her like a fountain. Like great
Modred tell her straight, that flake
Of snow, moon above the lake:
My heart is dead from wanting;
My breast is speared with waiting.
Fair, courtly girl, near the grave
I am. Yet, if in this grove
You should stoop to strip four leaves
From the cuckoo’s twigs - by love’s
Luck – then, quarter them, and throw
Them in the water, the flow
Will carry them fast to me,
Afloat upon the estuary.
I’ll fish, though she betrayed me,
Let not one leaf evade me.
Poem by Dafydd ap Gwilym; paraphrased by Giles Watson. Perhaps Dafydd’s most difficult and most rewarding poem, this stretches the llatai convention to its limits whilst indulging in an exquisitely complex wordplay which entwines Celtic mythology with the poem’s own surreal aesthetic. Luned (Lynette in the French romances) was the handmaiden of the Lady of the Fountain in the Mabinogion: the selfless lover of Owain the knight. Dafydd stretches his puns to breaking point: his lover is a second Luned because of her beauty, but this is also the second time he has beseeched her for love, making this his second wish (ail uned), and her reflection on the surface of the lake (llyn) takes for a moment the form of a linnet (llinos), and then the form of a length of linen (llin) or flax, from a Cheapside shop. The word linnet is derived from the Old English linece, and before it, the Latin linum, both words for flax, because linnets were thought to rely on flax seeds (linseeds) for their staple diet. In the interests of preserving this complex display of linguistic wit, I have departed entirely from the literal meaning of lines 35-6, cramming it into later lines, in order to retain the letter sequence “ail uned” in English: a trick I hope Dafydd would have appreciated. I have also taken the liberty of including some lunar references. Dafydd asserts that the salmon is the most perfect sea creature God has created (a luniwyd), and in modern Welsh, lluniwr is the former or maker. Thus, my version of Dafydd’s salmon is “finely delineated”. A further reference to ‘The Lady of the Fountain’ may be hidden in line 8, “Fal bars yn dy fol y bwyd” (“food like bars in your belly” – bars is a word borrowed from English). Helen Fulton suggests that this is a reference to the salmon’s habit of devouring long, thin, silvery sand-eels, but of course, the other creature with bars in its belly is Sir Owain’s horse, which was sliced in two by the portcullis of his enemy’s castle as he chased his foe beneath it. Modred (or Mordred) was not maligned as Arthur’s enemy in Dafydd’s day, but vaunted as a great storyteller, and presumably, a great persuader. Suffice to say, Dafydd’s lover is already married – hence the reference to the ring – and the twigs belong to her husband Eiddig, presumably because they are on his land. They are therefore the cuckoo’s twigs, since Eiddig is a cuckold – or at least he will be if Dafydd has any say in the matter. It is likely that there are even deeper folkloric references in the poem. The choice of a salmon as llatai or love-messenger may well be influenced by Celtic legends which assert that a salmon became the repository of all wisdom by swallowing a hazel-nut. In some folk-tales, a man catches the salmon, fries it, burns his finger on it, and the moment he sucks away the heat, is instantly filled with all knowledge, like Gwion, who tasted the potion from Cerridwen’s cauldron. As in the story of Gwion, there is more than a hint of shape-shifting in Dafydd’s description of the girl’s reflection on the water, as well as in his extraordinarily human salmon. It should be noted that this poem appears in radically different versions in other manuscripts
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