Friday, June 26, 2009

Hw To Get Pptropica On A Psp

Al

.
The court is high end and no borders.
sensitive to random variations in the cloud or fire,
records every stroke that falls on the territories of destination insomniacs.
In one night outside the other end, the license to blame,
drawing my own writing career, fatal, the blind witness. Setbacks and progress
, dips and flights, suspended and falls
up that text which is tied and unties illation with hesitation,
is concealed with caution yaw and foot on glass,
stops and is lost with every driver dreams jolt.
And what will be the total effect, which slips away as the beast of the trap and sets
die from weed dark skin leaving
or flight without stopping by the whites of the crossroads, inward maze?
accusation or allegation, I fail to interpret the intentions of the elusive message. Hard
reading from here, where I violated the law and the instrument, where rights and wrongs
spread like a ripple, a vice
language or disciplined maneuvers of a plague,
and change the color of my syllabus in and forth ago.
But there is someone who does not confuse ignorance
someone who reads even under the deletions and the dismemberment of my calligraphy
while filtering the sun and the sea sparkles between two lines. Print
blood is my confession, sealed with ash.
.
.
No. 16, the night drifting (1984)

Friday, June 5, 2009

Gst Canada Used Boats

exactly how much we hurt

Susan Josephine Fragueiro
.
.
Now where are you,
expelled from paradise all of this world,
without finding your place or in the forest of the cicada or the tower ant,
and even in a wilderness of loneliness that molds resigned as a fact to your body as a pillow
renunciation of your head? You've already crossed
lucid, with your eyes votive lamp,
that vanishing point you were talking about,
where the gap begins to reverse and widen the land of promise.
Now, when you could teach me all the subtleties of the way, simulate
certainly not proud to know them to praise the attempts of my feet
and build a queen seat of my mistakes,
like this side.
We walked together so many years feeling seams that joined us this story! You
loosen the knots and cut it a stroke every stitches,
with the same excess of handing your bread and you rush into the abyss and into the fire
-itself, the boundless love, passion and exuberance,
the excessive inertia in the face vampire ritual of doom.
you rip your bag of weather, your clothing of bones,
the handful of gray stones attached to the last fold of fate, Sandy
jaw,
and ran away by the dazzling galleries without another sun your soul no more coat
two or three names from your nakedness
crowded as reliquaries.
Did not we already ajar again the edges of shadows
as a gap where life and death exchange their hostages
pious as ghosts? Ever
could hold hands, when we are very lonely
,
when the dread of tiger fur coat with all the windows?
My hand, to meet yours, there is no answer, as if slip
naked and blind by a mirror surface that erases. Eye
recorded only the heat of immersion in a vacuum endless inexorable.
My words are like shredded clear glass against the wall.
"may not come, you who always went before being called,
you, that you stand as a shortcut to the need
and were flying like a bird attracted by the white smudge of a wish?
Can be a messenger of the breakfast, watch the epidemic and the storm? Perhaps you have confused
again
place and time and again before and lost travelers wandering dunes and crossroads between circular air
confused with that of those who do not feel expected
of going nowhere. Perhaps
dwell on those sites and cathedrals in which your voice sounded Piaf,
the cry rising in spurts from love desagarrada throat hurt to forgiveness:
or in those rooms who sought your life miserable in a yawning black
and you threw at random and disorder as two glaciers;
or next to those committees in which you drank alcohol to large flares,
not to see the world through a party, but to burn the pial to misfortune;
or in the attic where I left a Christmas tree
as deluded forever an angel perched on every corner inhospitable year
much further and there, in houses that now are clouds,
where you could draw such a perfume, a head of a stone,
when not yet had that double vision of that perfect failure as a gravure,
when smothered with bars still pictures,
when you draped in the future under the guise of Donatello and Michelangelo,
and it was still early.
What accounts will be keeping a closer eye, blurring
your tortured biography with deletions that are a minus?
Or do you hold a wing from above, while struggles for desasirte
with those stormy flapping,
with that little beast force exasperated with you resisted the cages of any ordinance,
injuries and penalties accrue only with patience strange?
Or you have not managed to enter and you can not come on to the exit?
I can not assume that you're sitting in your chair Van Gogh making another tough anteroom,
reviewing the holes in your story for the keys, as if they were
stamped with fire in your two hands, as if they were necessary
;
or agapanthus waits between celestial dream that you wake up in the morning rags,
facing the wall,
where a door had just a curtain walling and vanishes,
and turn your head and be unable to distinguish your poor belongings,
the low certainty to protect you every day. I can not stand
levels suspended from a reflection, cornered in the impossible.
I who gropes not find the slogan, or who forge
visions with the smoke exhaled from their own nightmares. Both
illusory veil to cover the gaps in your absence!
No, no more effort you make trying on bandages visible fog, do not try to dry myself
every tear with a breath of winter, do not try to whisper
with the crackling of the logs the old tunes.
You and I need more evidence that
thirst to know that somewhere gurgling groundwater.
We walked together so many years under these dreadful gleaming wheels waiting for a miracle!
Now wherever you are is the miracle:
that is "the land of nowhere, your true homeland."
There is the golden flower, the crown of light,
the secret heart of the jewel that your heart beats and lights up the darkness.
Do not look back.
rises, rises to lose sight of as the migration this autumn,
as bones that break up on the beach.
And olvídanos with broken crockery, calendars dead, shoes,
olvídanos tenderly, with such fervent obstinacy that you know, but olvídanos
, however much it costs you,
much we still hurts.


No. 15, the night drifting (1984)

Tuesday, May 19, 2009

Sherwin Williams Football Helmet Paint

Cartographies of the Garden.


After his latest exhibition at the Instituto Cervantes in Manchester and Tokyo, Rufina Santana comes to Tenerife with a project intended for exhibition in the Circulo de Bellas Artes in the capital .

This "Mapping the Garden", ideal place where life is represented by organic forms, details of dead branches, leaves, fallen trees, and pools in connection with his previous project "Archaeology of the Garden" (2001).

Her work is in line most current painting and renovation of the landscape genre: Monet, Turner and German painting of Kandinsky and Nolde. Rufina Santana

A is interested in the mystical nature. The paintings, inspired by visits to various gardens Rufina Santana, is what the title of this exhibition "Cartographies of the Garden", "Cartography" in the plural. The paintings

describes a sensual nature, as appears each day at dawn and dusk, the landscape he lives. From the gardens naked "The Geria and Salinas in Lanzarote, the refinement of European botanic gardens or the silence of nature in the Zen temples of Japan.

is the first Rufina Santana fragments after the stroke with the intention to form an aerial map of the territory of his painting, where the plant, soil and water are represented in timeless and dynamic coexistence through images, which are macro and microcosmic while .

Brushstrokes sometimes become academic, since ocher surface can be filled with different shades of yellow-green, purple ... so the brush marks their lives with spontaneous spots wisely exploited by the author.

Rufina Santana says of his work:

"Lights and shadows of nature are more striking than one might imagine when I paint from memory of my trips. " "I always start with random spots, thinking or remembering moments of enjoyment, in nature." "My eyes behold the landscape and on the canvas represent the changes, the sequences of light, shadows caressing the mountains, where flowers are born, the logs bent, leaning over the water." "I want to explore nature and how it can serve as a reflection."


On one side is the structure of the landscape, hence the name "map", and secondly the mystique of the action of light and, therefore, the color on the landscape. This is a work-based paint color coats. Each group arising from random spots and nature takes over branches, leaves and puddles scenarios arise by chance a great beauty in chaos.

Chaos and Order. Stations such as births and changes that speak of vital networks. Fragility of existence, in constant vibration. Strength and endurance of a changing nature. Layer upon layer, the paint is fixing the memory of the observed.

"Beauty is in the most unexpected places and gives us not only to be discovered, but to be deeply contemplative." Says the author.

stroll through the garden of Rufina Santana is quiet and the act of painting: pure feeling.

Written-communication study. RS

Friday, May 15, 2009

Trigger Shot Increase Estrogen



Somewhere in the great unfinished wall is the door that opened that

and casts its shadow on the implacable guardian setback all your destination.
It's just a closed door on behalf of chance,
but has the color of inclement
and resembles a tombstone on which is impossible at every turn. Perhaps now
squeak with a unique melody to the ear of your past, perhaps
shine like burnished gold an idol of the ashes of farewell, perhaps
each night is about to open in the end wall of the same dream
and his midas power against your bonds as an unhappy Ulysses.
It is just a hoax,
a fable of the wind through the interstices of a false story refractions
Waste arising from oblivion when it borders on nostalgia. That door
not open to any return;
mold bears no intact under the pale ray of absence.
not back then and who at the wrong end of a journey, each step
wrong mirror you
subtracted the world discovered the place where he lost the key and exchanged for a confusing name, the slogan.
Does each step you took did not change, as in a chess
the secret relationship of the parts that mapped the whole game?
Stay away then with your gift of scorched earth, your chest
embers turned into stones of atonement
do not turn your other precarious wilderness havens in exile,
it also also be one day the wall and longing. That door is
lead sentence, not question.
If you get through, find
back, one after another, the doors of your choice.


No. 14, the night drifting (1984)