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The New Arrival

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Grandeur Garden: Chronicle Of Ibidem (page 1)

  Of heroines, her noble beauty took Never the herald to degrade or mock Her alluring eyes have a dashing look – a near scour between the tar colored locks. Her hour glass of burning sands, a gift Modestly robed in body length flannel While the eager winds are fated to drift Around her arrogant… read more

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The Original Art Series

Sahaja 6 Ipseity 6 Alterity 6 Sahaja 5 Ipseity 5 Alterity 5 Sahaja 4 Ipseity 4 Alterity 4 Sahaja 3 Ipseity 3 Alterity 3 Sahaja 2 Ipseity 2 Alterity 2 Sahaja 1 Ipseity 1 Alterity 1 Saudade 1

Rican Lee, On Literacy Part 7

        The Measure of Accommodation: an iceberg’s inferred narrative   In this final post for “On Literacy, an examen of the form”, which seems to be a logical progression from post #6, I shall expound upon the idea of visual literacy in regard to its dynamic and ephemeral mechanics.   The visual… read more

Rican Lee, On Literacy Part 6

        In this post, which may be considered an attachment to post #2 (A desire for ambiversion), I shall expound upon the idea of visual literacy in regard to the dynamic and ephemeral employment of its grammar.    “An auditor can lie back in his chair and be overcome by the sensuous waves… read more

Rican Lee, On Literacy Part 5

        The Reality of Anchored Coincidence: A bias of visual literacy Imagine two planes of three green rectangles of varying brightness:The three rectangles increase in brightness from left to right.One plane has a white background,the other plane has a black background. The value or brightness of rectangles between planes are identical.Yet, it… read more

Rican Lee, Cinegraphic Studies Part 6

      Playing in the State: Broadcasting and the Hegemony Imagination            “A life is not important, except in the impact it has on other lives.” – Jackie Robinson  “I’m a pessimist because of intelligence, but an optimist because of will.”  – Antonio Gramsci   This writing is concerned with how a team facing a… read more

Rican Lee, Cinegraphic Studies Part 5

          Hollywood Dreaming         During World War I, saltpeter, used to produce celluloid for film, was needed to produce explosive powder for firing gun weapons. This bit of knowledge is one of the props located within a scene which acted out the downfall of the successful French and… read more

Rican Lee, Cinegraphic Studies Part 4

          Milk of Phantasia: additive and mechanical treatments on the moving and still image   As the title implies, I will attempt to explain, through two techniques in particular, how the moving and still image can be manipulated and the viewer’s perception freshened, through the application of “dolly-zoom” and “hybrid imaging”… read more

Rican Lee, On Literacy Part 4

        The Angle of Circumstance: crouching octopus, hidden chameleon     It is a joy to know, how insight may open your heart again, how it may illumine the mind from mere knowledge, bringing it into fresh wisdom. I propose, to the reader, the angle of circumstance as the fourth candidate for… read more

Rican Lee, Cinegraphic Studies Part 3

        American Beauty (Film 1999)  A Fraternal Twin to the Cinematic Process In my opinion, this film ferments the experience of how a response toward an expectancy may account for symptoms of maintenance, motivation, and a friction between both. An effort seems to be made, in the film, to highlight the many… read more

Rican Lee, On Literacy Part 3

        The conception of reception: The Singer vs The Song I come to this blog post with an interest in the function of an artist’s signature on a work of art, that is, should the viewer’s focus ultimately be to admire, name, reach for, or avoid a work according to its own… read more

Rican Lee, Cinegraphic Studies Part 2

  In this post, I will suggest an idea of “aesthetic plasticity”, based on and influenced by the theoretical position of early 20th century Russian filmmaker Lev Kuleshov’s work on the “grammatical” operations of cinema (the Mozhukin experiment, 1925) – which “price-fixed” the montage as a value of cinematic syntax (the Kuleshov effect, 1925). Please… read more

Rican Lee, On Literacy Part 2

I suggest that a desire for ambiversion is a candidate within an affective repertoire for the examination of the visual plane. I would like to begin with the mention of two time periods: The year 1982 and the year 1952.   1982 marks the year of Jean-Michel Basquiat’s painting “Boxer”, and 1952 marks the year… read more

Rican Lee, On Literacy Part 1

Over the span of many posts, I will suggest several ramparts that fortify, for the purpose of this blog category, an aesthetic of visual literacy. Visual literacy allows a deeper interaction with texts of all kinds and introduces the process of analytical thinking about representation and meaning. By illustrating an “educated conception” of pictorial media… read more

Rican Lee, Cinegraphic Studies Part 1

In this post, I would like to share my experiences after viewing three particular films. Two of these films were produced in the avant-garde genre (Look at life and 21 – 87) and one from the absolute cinema genre (Diagonal Symphony). Further on, I share the impression that the films left with me through the… read more

Quotes Corner

“I arrange pictures I’ve collected in odd juxtapositions to trigger subconscious imagery and evoke a dream state. My compositions emerge from this process and the act of painting – lead white on a dark surface, then layers of translucent colours.” – Terry Marks “I think it’s just about learning to look at things and to… read more

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