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First Published: September 24: 2015
The Humanion




Art Year Beta Arkive











Art is that in which 'I':in which the entire creation is included because the 'I' is connected to it all as it faces all-around-shores of eternity: imagines itself being and becoming and, in expressing this being and becoming it uses many forms, manners and mediums so to bring about that what it is being and becoming. It is the best expressions of both: the truth and the sublime. Art is that what offers humanity the means to grasp the infinite potential of humanity and in turn, through art, this 'I' aspires to be exactly that: an infinity unfolding itself.

Photograph of a Photograph of a Painting of Long Long Long Ago: September 30: 2016





































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Han Yuchen
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Untitled: Unseen Terrain: Ella BenAmi
















Unseen Terrain: Ella BenAmi at Daniel Raphael Gallery in Church Street: November 09-23
The Imperfection




















The Imperfection: In drawing: Munayem Mayenin: September 07: 2017: ‽: 180817
The Necklace

And what will you do with the moon
As a necklace I will wear it around my neck
And with the Mother Earth: An Eden Garden
And with the far-away Sun: A Solarian Lamp

And with the Universe Unbound: A Home-Sojourn
And what will you do when the moon sings on your neck
I will rise like the ocean and fly like a phoenix over the aria-height of the Moon
























The Necklace: Munayem Mayenin: August 18:2017: ‽: 180817

Liberty Between Colour and Light













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The Volunteers: Joe Caslin
















The Volunteers: Joe Caslin

This new piece, The Volunteers, by Joe Caslin, which was commissioned as part of the Trinity College Dublin Creative Challenge, is the first of a three-part series, entitled, The Volunteers, which aims to highlight the importance of volunteerism in some of the most pressing issues in Irish society including drug addiction, mental health and direct provision. The Volunteers

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A Moment of Calm: Emma Atkins at the Art Exhibition Celebrating the Nurses' Day 2017 at St Woolos Hospital: May 12
















A Moment of Calm: Emma Atkins: Watercolour paint applied with nursing materials such as bandages and dressings. The painting was photographed in close up shots, producing a piece that captures nine areas of calm. ω. Image: University of South Wales || Readmore || ‽: 090517 || Up ||

Architecture of Light

























Architecture of Light: Munayem Mayenin: April 30: 2017: ‽: 010517





Colour of My Solitude































Colour of My Solitude: This piece is such that cannot be photographed with an ordinary camera. It is done, using and mixing many materials, including, vegetable skin extracts, green herbs and leaves, spices and oil as in oil paint, whereby the oil forms the  'skeletal structure' of the painting, while the oil colour that is used has been transformed into this that was done using both the oil and the 'thin-water' that comes off the greens used, in stages whereby the oil was used first to dilute the colour, yet that was diluted further by the 'thin-water' when the oil almost dried up. These two are the first set of images. But what this piece should look like, in its skeletal structure' when dried and settled, should be and it has become so already, as a living expression of a set of colours that appears as existing in such a way to make the viewer feel as if they are flowing onto each other or rather, existing individually, simultaneously but not as 'lost' but as in an 'equitable-unison' state of co-flow-existence so that the viewer feels like seeing as the colours appear as rose that is closer to red, red, pink, orange, and yellow. That's why, it is impossible, to show a painting by photographing it. Well, here it is. Munayem Mayenin: ‽: 110117

Mushroom Throne in Light















Mushroom Throne: November 01, 2014, done using ink, with a great deal of help from the light. Munayem Mayenin. ‽: 090117

Januarian Bloom 2017






























This piece is painted with liquid vanilla, blueberries, Asian spices and mixed with salt. This appearance will metamorphose when the painting is dried. We will see what happens to it. Whatever we create, is not, despite what we might think, eternal in the physical sense, of something existing in time and space for whatever does gets eroded by time's brush. What is eternal is the 'myth', that the work creates so that when the physicality of a piece of painting disappears it would still be existing in the 'folklore' as something that once existed, while it will maintain its existence in the non-existence reality, say, in electronic format or in other forms. And when we look at it this way, we must take time in thousands of years and not hundreds. For what would happen to a piece of, say, Van Gough, in another one thousand years? No one can tell but time will for the materials that were used in the painting will erode away. Munayem Mayenin: January 07, 2017. ‽: 080117
















Home: Munayem Mayenin: ‽: 061216

Ilona Szalay: An Artist at Home in Her Art

Ilona Szalay is an Artist. Here, in light, at home in her art, in her art studio. But, they say, she is of Hungarian descent, born in Beirut, Szalay went on to study at Oxford University and Byam Shaw, University of the Arts. What does it make her? More than an Artist? Less than an Artist? She is the recipient of many art prizes, including selection as one of the fourteen worldwide artists to invest in, by Rebecca Wilson, head curator at Saatchi Art. Szalay’s new works retain her frequent feminine subject matter, here seen as archetypes; warriors, gods and children, but rendered with a timeless and eerie, poetic intimacy. Ilona Szalay's Milk, Smoke and Bones Exhibition in West and East London: November 22-December 11: ‽: 241116

The Origami Dawn: October 14: 2016: Munayem Mayenin














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October Mushroom: 2014















The Mushroom Becoming

These are the five mushrooms I had found, one day in October 2014, outside a Church. As you could see, their colours were so beautiful, so that I brought them home and I thought of a line of a Rabindranath Tagore poem, from, the most beautiful of his poetic work, Bolaaka. Bolaaka is a white bird, belonging to the Crane family: the line goes like this, in poor translation, so I provide the transliteration as well, so that you may hear its graceful but musical power: Porboth ho-ee-thay chaay boishaakher neeruddhesh megh. The mountain wants to become the far-bound clouds of Boishaakh. Boishaakh is the first month of the Baangla calendar which begins the thunderous summer of storms, lightnings, gushing, rushing, mad and deadly winds, heat and sudden heavy down pouring rain that falls down from the heavens as boiling downpour. And when one is beneath the sky which is filled with endless fields of clouds and the winds arrive and chase them northward with such speed that one could literally feel and see a flock of white birds, being hurried to almost their destruction. Yet they seem to just love to follow and respond to the rhythm, motion and prospect of that 'neeruddhesh', land far away, where the mountains are for only then they would gather much water so heavy that reaching the mountains they would come down to earth as their pilgrimage of becoming a flowing vital-life-force. But the mountains can see all these cloud-chasing and feel and get excited by the motion, the rhythm, the life, the call of the rushing cloud-folks, rushing onward with such a joy of just being light and flying and thus, inspired the mountains just want to rise up like the clouds and simply go and reach that ''neeruddhesh'' like the clouds. Porboth ho-ee-thay chaay Boishakher neeruddhesh megh. Haytha noy, hotha noy, Aunno kotha, Aunno konokhanay: Not here, not there, somewhere else, someotherwhere... they want to go and reach. Porboth ho-ee-thay chaay Boishakher neeruddhes megh.

Therefore, I decided to hear that call of the five mushrooms for they wanted to be something: and I worked for days and days, as I saw them becoming: in stages they became different things and I recorded their photographs as they took shapes and colours, metamorphosing all the time. This is oil. The mushrooms were painting when they were not dry and they dried along with the paint. Eventually, they appear as they do on this image, as if a necklace for someone to wear. A necklace so I needed a face to see how the necklace looked. And here is the necklace in which the Five Mushrooms became. Munayem Mayenin: October 14: 2016















Coffee-Sky 2016: Munayem Mayenin: The centre piece was done with coffee and greens of herbs and turmeric powder. First done with coffee, second the turmeric and the last with greens of various herbs. However, the background was painted with tea-leaves and was dried first. Left for few months so that the colours eventually settled to a set expression. This is the expression and as soon as this part of the work was ready the Universe prepared a skyscape that forms and completes this work, The Coffee-Sky 2016. ‽: 011016

Your Thinking Day 2016 by Olafur Eliasson: An Exhibit at FIAC 2016 in Paris: October 19-23

















Your Thinking Day 2016 by Olafur Eliasson: Silvered coloured glass, yellow, aluminium, 52 x 562 x 2 cm. Eleven silvered, hand-blown yellow glass mirrors are arranged horizontally on the wall, progressing from perfect circles at each end to narrowed ellipses at the centre. The composition creates the impression of a set of rotating discs, highlighting the mutability of forms in relation to the viewer’s perspective. Reproducing golden images of the immediate environment, passersby, and the viewer herself, the work continues Eliasson’s investigation into perception and experience, both individual and shared. However, this piece of work, must, must, must be seen in reality in order to experience the windows that it may open. Image by: Jens Ziehe: Berlin, provided by the courtesy of the Artist and Neugerriem Schneider, Berlin. The copyright of the work belongs to the Artist Olafur Eliasson. ‽: 011016

Christmas Wood 2009 Oil

This piece of work, was a piece that involved both physical crafting of the wood piece, on its four sides, as well as painting the crafted out work in oil paint. This is titled Christmas Wood 2009, because I was thinking of the Carpenter and Jesus and I was doing the piece of work as if I was creating a Christmas Present for a friend and it was done in December 2009. Yet, I had nothing whatsoever to even make such a creation other than this piece of wood. I asked myself: What can I make of this piece of wood? And this is what the answer was. Therefore, I set about and crafted this piece of wood out of my sheer will for I am not a carpenter and did not even have the right tools. With the rudimentary tools that I borrowed from a neighbour and the sheer steel of will I crafted it out that took days and days. Along the way, this piece achieved the contribution of my blood in it, too, and, sweat, since many a time I tore myself with the blunt instrument. And this piece of wood heard those cries of agony and probably bore some touches of the tears that came out of that agony. Then I painted the four sides with oil paint to see what happens. And the paint dried and this is what became of this piece. After, almost seven years, the work, Christmas Wood 2009 in oil, still looks the same. And I give this to eternity as my Christmas Present, today. Munayem Mayenin on September 26, 2016

La Casa Bianca

















La Casa Bianca: Munayem Mayenin: ‽: Year Beta Day One: 240916








Art Arkive Year Alpha September 24:2015-September 23: 2016














Explosion Exposition 2016: Munayem Mayenin: ‽: 120916

Onadia Eternal: August 04, 2016


Derby Museum














Nottingham Gallery 'Collective' Awaits Exploration: March 18–June 20, 2016



A Galaxy-Rose















































|| All copyrights @ The Humanion: London: England: United Kingdom || Contact: The Humanion: editor at thehumanion.com || Regine Humanics Foundation Ltd: reginehumanics at reginehumanicsfoundation.com || Editor: Munayem Mayenin || First Published: September 24: 2015 ||
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