am excited to be launching my new business adventure and project
Euphonic Health. For close to ten years now I have been deeply immersed
in the worlds of health, fitness and nutrition, from my teenage years
right through to the present, they have been ever present in the
directions I have taken and choices I have made in my life. What started
in school as a diet experiment hoping to improve a chronic acne
condition grew unexpectedly into massive change and transformation in
all areas of my life, in ways in which I could never have imagined
beforehand. It is from these results that the idea for Euphonic Health
has sprung, seeing my clarity of thinking, my connection to myself and
others, my sense of peace and calm, my strength and energy levels,
growing from rare flickers to my prominent daily waking state, simply
through lifestyle changes. Inspired and motivated by the possibility for
change, in myself and others, I offer Euphonic Health then as a guide
for those desiring to embark on the path toward radiant health and a
balanced life and self, and as a reminder that all this begins with you
back at your most basic level – your body.
Diana Al-Hadid is a Syrian-American artist who lives and works in New
York. Her sculptures take ‘towers’ as their central theme, drawing
together a wide variety of associations: power, wealth, technological
and urban development, ideas of progress and globalism. They are also –
both in legends such as the Tower of Babel, and reality, such as the
horrors of the World Trade Centre attacks – symbols of the problems of
cultural difference and conflict. Al-Hadid’s Tower of Infinite Problems
poses as a toppled skyscraper. Made from crude materials such as
plaster, Styrofoam, wax, and cardboard, her structure is a monument to
human fallibility. Sprawling on the floor like an imaginary
archaeological find, the sculpture places the viewer in a fictional role
as futuristic observer, mourning the tragic follies of a past (our
current) civilization. If viewed from the end, the two parts of the
structure converge in an optical illusion, creating a spiral vortex
suggesting a cyclical repetition of history. Al–Hadid’s geometric forms attempt to bridge mystical and scientific
understandings of the world. As intensely patterned and detailed
structures, her works draw from the traditions of Islamic art, where
abstract motifs are used to encourage contemplation of God’s infinite
wisdom. An ‘infinite wisdom’ that is also the focus of the particle
physics research being done at the Large Hadron Collider – a 17 mile
tunnel beneath the Swiss-French border – where scientists are attempting
to locate the “God Particle” by reproducing the Big Bang. In Self Melt the top section of the sculpture is based on Pieter Bruegel the Elder’s 1556 painting The Tower of Babel.
Presented upside down, the ziggurat becomes an inverted form, like an
hourglass turning back time, suggesting a reversal of cultural diaspora.
Through its rough hewn and barbaric appearance – reminiscent of a
geological formation or frozen asteroid - Self Melt points to a mythological point of origin, where diversity and itsconsequences are supernaturally preordained.
Al-Hadid has described her
work as "impossible architecture". All The Stops envisions a palatial
structure, utilising stylistic elements from a variety of incongruous
periods from medieval churches to futuristic stadiums. Shaping her work
like an upturned trumpet, musical references are found throughout the
piece: broken onceglorious columns are made from plastic recorders,
decorative tiers are shingled with tiny piano keys. The spindly
the evasive quality of sound, with each level contributing to a
sense of harmonic rhythm. The building however, is presented as a ruin,
empty and desolate, its decrepit power culminating in an eerily silent
Tyrants will rise, oppression will be everywhere and only those which are truly mad will try to change anything. Definitely worth a vist to the cinema to see, even if just for the action scenes, of which there are plenty.
"My name is Max. My world is reduced to a single instinct: Survive.
As the world fell it was hard to know who was more crazy. Me… Or
-Mad Max (Opening Quote)
“Where must we go? He who wander this wasteland, in search of our better selves."
"When we are children, we all draw. I drew as
a child probably for two reasons. One was that I was engaged visually
in the way some things looked, and I drew the things I liked and loved.
The other reason was loneliness. The vulnerability that a child feels
can provoke empowerment through drawing by capturing the things visually
loved. Drawing is not just expressing a visual mode or a
well-articulated visual response; it is deeply connected to a natural
impulse. When I am drawing, I am aware of both a conscious and
unconscious processes. The most difficult thing is to first abandon what
a drawing should be (a complex conception or representational copy).
Begin with an emotive response. It could be motivated by something as
simple as a twist of hair against a bony clavicle or the comfortable or
uncomfortable psychological space between two people. Second, provide
form to that initial response. Here begins the strategy or conception.
The trick is not to allow the concept to become rigid, but instead to
remain flexible through the activity and allow a visual journey of
selectivity and change through the drawing. Drawing from life is an
accumulation of subtle events made evident on a page. Unlike
photography, drawing is not instantaneous but a multitude of sequential
responses over time. A drawing can provide the viewer with a relic of
compounded experiences that remains alive to the eye."
"Every aphorism here is about a Procrustean bed of sorts—we
humans, facing limits of knowledge, and things we do not observe, the
unseen and the unknown, resolve the tension by squeezing life and the
world into crisp commoditized ideas, reductive categories, specific
vocabularies, and prepackaged narratives, which, on the occasion, has
explosive consequences. Further, we seem unaware of this backward
fitting, much like tailors who take great pride in delivering the
perfectly fitting suit—but do so by surgically altering the limbs of
their customers. For instance few realize that we are changing the
brains of schoolchildren through medication in order to make them adjust
to the curriculum, rather than the reverse"