…..its been a while…..human trafficking competition entry


This is the photograph I entered to the competition on Human Trafficking. It has been shortlisted but now needs to be “liked” as much as possible on the relevant facebook sites.  All likes appreciated…. This is how it works…… Dear Dola I wish to advise you that your competition entry has been short-listed as one of the top twelve scoring entries – congratulations on this achievement . Your image has now been uploaded to our Facebook page and the OCTF’s. Facebook page and members of the public are invited to “like” the entries they would like to win.  The number of likes on each entry will be added to your overall score which was awarded by the independent judging panel.  The 6 entries with the combined highest marks will win a prize. You can view your entry on our Facebook pages here: 



 Good luck!

Anti-Human Trafficking Unit Ireland


…..miksang life……..julie dubose……








I stumbled upon this blog this morning…….. if you are intrigued by the issue of integrating miksang photography into the big world of photography, the blog repays a visit……..it strikes that it relates to all areas of endeavour……


The following is a list of sites Julie recommends……enjoy………

…..ordinary moments……the photography of rinko kawauchi……..

kawauchi……..the 34-year-old artist rinko kawauchi captures the beauty of ordinary moments which we often ignore. she speakes quietly of the profundity of quotidian things.  kawauchi has become one of the most celebrated japanese photographers of her generation. …..

kawauchi’s themes
of family, human interaction with nature and the cycle of life are photographed in pastel colours. her work reveals exquisite delicacy, achieved through sensate compositions, a careful attention to texture and the cultivation of a beautifully clear, clean, often whitish light. she interweaves sensitized ways of perceiving the world
around her, with the fleeting conflations of forms that make you wonder how one photographer mangaged to be present, attuned and ready to photograph so many pungent observations. once rinko kawauchi said:
‘for a photographer, it’s a necessity that you can shoot stuff magically. accidents are necessary, but after I take a photograph, it is not all done. I continue to work on it.’
she suggests that the editing and presentation of the work is as important to the final image as composing and taking the photograph itself. at times she presented her work
alongside her own haiku poetry.


…..leonard cohen…………

Today, I head to Dublin to see Leonard Cohen in concert………so todys blog I leave to Leonard…………


“Going Home,” the first song on Leonard Cohen’s new album, “Old Ideas,” comes from the perspective of his inner self, or, as Cohen—who lived for five years in a Zen monastery—might call it, his Buddha nature. It is this spiritual Higher Leonard who is looking forward to “going home without my burden, going home behind the curtain, going home without the costume that I wore” as he moves through the latter decades of his life. That costume is the Earthly Leonard, in his suit and fedora, “who knows he’s really nothing but the brief elaboration of a tube.” It is Higher Leonard, we learn—without surprise—who is the craftsman and seer behind Cohen’s twelve mostly brilliant studio albums: Earthly Leonard “only has permission / to do my instant bidding / which is to say what I have told him to repeat.”

But Earthly Leonard is a smooth and dapper creature, and even Higher Leonard is not immune to his charms: “I love to speak with Leonard / He’s a sportsman and a shepherd.” Earthly Leonard is not only essential to Cohen’s creative process as a vessel and a scribe; it is this Leonard—racked with longing and “living with defeat”—who has the misadventures his inner counterpart requires to mold into music. The Earthly Leonard is still, thankfully, dancing around the wheel of desire, like the rest of us, eluded by enlightenment.

Read more http://www.newyorker.com/online/blogs/culture/2012/02/leonard-cohens-zen-sensuality.html#ixzz26IHBZ3KL

…..the ceramics of antonia savage………

“What we make reflects our conscious, or more usually, our unconscious nature.  How we respond to the world and our experiences informs our intellect and feeds our psyche.  As human beings we are all deeply connected, and yet neither words nor forms can express the true nature of this oneness. As creative beings we try to carry this spirit forward; our work is an echo of that oneness, limited of course, not the thing itself, but important in the current world climate. 

The natural world is a source of considerable inspiration to me.  As I walk through the folds or ridges of hills, I have the sense that I am moving over a vast sculpture. I explore the gradient, surface and textures of that sculpture.  I pick up a rock, a seed, some bark.  I do not ask myself why I am drawn to that particular form.  The small object I have chosen may sit in the studio for months, or years, before I return to it.  Then, there is a more conscious observation about the quality of the form and the way that light falls on it. It is the qualitative feeling that is my guide.  When I begin to make a new shape I do not usually know what the intention is.  I hope that the eventual form will emerge from a background of observations, both visual and sensual. I feel my way forward along these invisible threads as my guide.   Sometimes there is considerable struggle finding the form, but when it finally appears it seems as if it had been waiting to emerge: there is a kind of ‘rightness’ about it which, in retrospect, looks obvious.  

Perhaps we all explore a few chosen themes in our lives to. Sometimes it may look as if we had abandoned them. But, almost certainly, we will rework them in another way, or allude to them indirectly, from time to time. Eventually we will almost certainly return to them.  We may conceptualise these themes, because labels are the dominant language of our society, but concepts are not the essence of my work.  Concepts may stimulate the mind, bring humour and evoke curiosity, help to understand the motivation behind the work, but it is seldom the conceptual element of an artwork that intrigues or draws me to it. In any case, I wonder whether, as makers, we are in the best position to understand what motivates us and why we create certain forms and images? “