Category: wow

And though she may sometimes lose her mind, she can never truly escape it.

Michael Carini | #MostlyForHer 🌹

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Michael Carini | Beautiful Accidents

It’s so easy to not become everything you are capable of being…But when have you ever taken the easy road?

Michael Carini | LEARN MORE

Beautiful custom blankets of your favorite painting available for a limited time only. Pick any painting! I have sizes for babies, children, and adults. 

Check them out HERE

See more at CariniArts.com including my new podcast. This week we discuss social media and who you are vs. who you portray yourself to be. Get inspired! Listen and share 

Michael Carini | LEARN MORE

classicalmonuments:

Altar of Hieron (Great Altar of Syracuse)

Syracuse, Sicily

3rd century BCE

195.8

m. in length (!!!)

It was built in the Hellenistic period by King Hiero II and is the largest altar known from antiquity.

The structure is aligned roughly north-north-west to south-east-east, and is located in the Neapolis, slightly to the southeast of the Greek theatre. Almost nothing except the foundations of the structure survive today. The structure was partly built from masonry blocks and partially carved from the living bedrock. The altar itself is 20.85 metres wide and 195.8 metres long (exactly one Doric stade). It sits on a crepidoma with three steps – at base this is 199.07 metres long and 22.51 metres wide. This makes it the largest altar known from the ancient world.

The upper surface of the altar was divided lengthwise into two levels of different heights: the western half was perhaps 6.06 metres high, and the eastern half was significantly taller, rising to a height of perhaps 10.68 metres. There was a cornice and a Doric triglyph frieze running around the top of each level. The whole structure was covered in plaster, which was used to smooth out imperfections in the stone and for the fine decorative details. The overall structure of the altar mimics that of small fire altars which are common votive offerings in Sicily.

There were stairways on the eastern side of the altar at the northern and southern ends, which led up to the lower level of the structure. Each of the staircases had an entranceway which was supported by two telamones. The feet of one of the norther one telamones are still in situ. It is unclear whether it was possible to access the higher level of the structure.

The altar was part of a larger complex. Below the structure, on the eastern side, there was a natural grotto, about 18 metres deep which contained votive offerings, some of which were deposited in the Archaic and Classical periods, long before the altar was built. To the west of the altar there was a rectangular open space with a water-proofed basin in the centre, surrounded by a u-shaped stoa. A propylon on the western side of this compound allowed access to both the open space and thus to the altar itself. In Augustan times, this open space was planted with trees in order to turn it into a sacred grove.

classicalmonuments:

Kazanlak Тomb

Kazanlak, Bulgaria

4th century BCE

It comprises a passage, a rectangular antechamber and a round burial 

The Tomb has unique frescos. They were performed by two techniques: wet fresco – in the decorative and figured painting and tempera – in colouring the floor and walls. The four basic colors used are black, red, yellow and white.

In the antechamber two friezes depict scenes of fighting warriors.

The decoration in the dome premises comprises two friezes – the large one represents a scene of a funeral feast. In the center of the composition is a married couple – the hero-worshiped ruler and his wife, on their both sides joined by a procession of servants carrying gifts, female musicians, a coachman with horses and a charioteer with horses and a chariot. The smaller frieze depicts a chariot race.

Michael Carini | LEARN MORE

“Astranomelly” was the culminating piece of my artist residency in Downtown San Diego. During the months of April/May (2012) I spent 50 days painting on Broadway Avenue, generally averaging 10-12 hours per session and never taking a single day off. Basically living in the studio as I found myself on the precipice of homelessness, this climactic creation measures 6.5′ x 10′ and is representative of my collective experiences as “The Boy In The Box.” The culture shock of the residency experience made this both an artistic opportunity and a sociological experiment as I found myself imbued with the regionalism of this foreign community and was indoctrinated into their culture. The individuals that visited and shared their stories during my tenure in the box were all incorporated into the painting, their names inscribed in the underpainting that surrounds the iconic vortex (or black hole) that is simultaneously a symbol of the outward eyes looking in at me as I poured my soul into the canvas. The concept for “Astranomelly” came to me on a car ride home at 3:30am as I listened to the track “Battling the Sun” by local musician Astra Kelly. I had met Astra earlier that evening when she stopped in during a rare San Diego storm. The rest of the story I now leave with you.

As every story has a past, present, and future, what may at first glimpse appear to be non-objective abstraction is in fact segmentations of energetic imagery interacting and breathing through the boundlessness of space and time. This is no more evident than in this collaborate effort with Abstract, where “The Boy In The Box” is timelessly melded with “Super Human”, an incredibly powerful and experiential concept album that has been a heavy influence on my work as of late. This was very much a bucket list project for me, working with one of my favorite musicians. The parallels between the title piece of my series with the title track of this musical masterpiece was one the universe seemed to will into existence against all odds. We are born with dreams that life tries to push out of us. Hold on. Just hold on. You can do it. You can make it happen 💪🎨🎵❤️🔥🌹

Painting: Michael Carini | Music: Super Human by Abstract | Animation: Chris McDaniel