The Zodiac is the visible circle of constellations that lie in the plane of our solar system. For thousands of years, shamans, sorcerers, alchemists, mystics, slackers and NASA have all been observing the movement of planets relative to these constellations.
Over time, the twelve segments of heaven have transformed themselves into the twelve hours of the day and night, and the twelve months or "Moons" of the year. The four quarters of the Moon cycle have become weeks.
Starting from the segment of the sky in which the Sun is visible during spring equinox, the signs are called Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, Pisces. Each sign is believed to carry very specific trends according to the time of the year, in which the Sun or other visible bodies in the solar system are in that place in the sky.
I hope you enjoy my interpretation of these twelve signs of the Zodiac circle!
Every image incorporates the general theme of the sign, as accepted by traditional Sumerian, Egyptian and Greek/Roman astrology. The glyph, the ruling planet, the constellation, and the symbol for the ruling planet are also present but are elegantly hidden within each painting.
When I was a kid, I was fascinated by clocks at airports and offices that showed the time in different cities like New York, Tokyo, London, or Sydney. I thought it was very interesting that they all showed different time. Up to this day, I find it a little funny when people talking on the phone or skyping ask each other "What time is it there?"
The World Clock is designed to connect space and time. This easy to use interactive digital art piece shows time simultaniously everywhere on Earth and makes it clear that even though the time is different everywhere, we are all living on one planet, in one global time zone.
Perhaps with time, when we are more united, we will choose some unifying index for "Earth Time"; until then, let's use this World Clock.
Click here to see The World Clock by Kirill Simin
KIRREALISM is an art movement that is both contemporary and traditional in that it requires the artist and the viewer to be aware of the changing world around them, and on the part of the artist – to use the most up-to-date technology available, and also in that its foundation is based in ancient philosophies as well as numerous art schools all over the globe and through time.
"In my work, I merge the real and objective with the imaginary. It is important to recognize that both are essential to surviving and thriving in today's world.
Blending in the external and internal realities is what we are best at as human beings, and any creative endeavor that we set ourselves onto will include some form of both. Any building, bridge, car, table or even a pencil is a combination of elements that exist in the physical universe and a thought or an imagination of the creator. That's why I combine elements that are not commonly seen together and include them in my art."
All too often we find ourselves herded into belief systems, jobs, social statuses, castes and other artificially constructed constraints. We live in concrete boxes, travel inside metal robots, and drink decaffeinated coffee with skim milk and sugar substitutes.
As we reach towards our incredible potential, we realize that the dichotomy of our existence lies in the path out of the animal world. We are animals. But we're not. We've created morality, science, medicine.
This series attempts to show wild animals in the middle of the purely human world, and perhaps remind the viewer of the fresh perspective she once had, when she wasn't blinded by the social dogma imposed on her.
Everything has its limit, including sorrow.
A windowpane stalls a stare. Nor does a grill abandon
a leaf. One may rattle the keys, gurgle down a swallow.
Loneliness cubes a man at random.
A camel sniffs at the rail with a resentful nostril;
a perspective cuts emptiness deep and even.
And what is space anyway if not
the body's absence at every given
point? That's why Urania's older than sister Clio!
In daylight or with the soot-rich lantern,
you see the globe's pate free of any bio,
you see she hides nothing, unlike the latter.
There they are, blueberry-laden forests,
rivers where the folk with bare hands catch sturgeon
or the towns in whose soggy phone books
you are starring no longer; farther eastward surge on
brown mountain ranges; wild mares carousing
in tall sedge; the cheeckbones get yellower
as they turn numerous. And still farther east, steam
dreadnoughts or cruisers,
and the expanse grows blue like lace underwear.