You know, for the… uhm… support C:!
Time-lapse of Stinkhorn Fungus growth.
From the 7 Deadly Sins print series by Jakob Van der Heyden (~early 17th century) [source: British Museum]
: Invidia/ Gula (Envy and Gluttony) — “A half-cat, half-human creature on l, its left leg attached to its left shoulder, a lobster on its torso; on right a pig’s head sticking out from a barrel to which various types of meat on a pike are attached; landscape background.”
: Ira/ Pigritia (Wrath and Sloth) — “A cross between bear and horse wearing armour on l, a bee-hive on its head, piercing his chest with a spear; on right a human with a rabbit’s head and one hand replaced by a crab’s claw riding a tricycle; landscape background.”
Lady Gaga: Do What U Want (Acoustic) - Played 100,569 times.
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community.
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues.
SoP | Scale of Environments