Luck is a strange and curious thing, some say that you either have or you don’t. Still others will tell you that there really is no such thing as luck, and it’s really all down to good planning and preparation. However, as you are about

to discover for yourself, some of us certainly appear to have what can only be described as ‘incredible luck’.

A Truckload of Luck

Bill Morgan is your average unassuming Australian. Honest, hardworking and, on the outside at least, just like the guy next door. However, while Bill might look like just your average Joe on the outside, this is a man with an incredible

story. If some claim that they’ve been touched by Lady Luck, right before winning their next hand of poker, or narrowly avoiding getting hit by kbc head office number punjab lightning, Bill Morgan can easily claim to have been hit by Lady Luck with a sledge hammer!

We roll our story all the way back to 1999, where Bill earned an okay living as a truck driver and lived in a modest trailer home in Australia. Things were going along as they do, he had a fair amount of work, paid the bills, and had a girlfriend. But, as we all know, life never stays the same for long. While on a job, Bill got into quite a serious accident and ended up in the local hospital. Things took a turn for the worst when the mediation that Bill was put on

After the Dust Settled

In the years after Walmsley’s trial and sentencing, a TV drama was made based on the events of the real story. The made for TV drama, Can’t Buy Me Love, starred soap star Martin Kemp and Michelle Collins and was met with a fair bit of

success.

Back in the real world, Walmsley struggled to adapt to life after prison and, even though his wife forgave him and took him back in, he continued kbc head office number punjab with his life of deception. This included posing as a lonely single man on various online

dating sites and taking advantage of divorcees, still posing as a lottery winner to take advantage of them in all sorts of ways.

While it seems that Walmsley has since fallen off the radar, the sensational and often bizarre story should act as a cautionary tale to anyone looking to mend their lives with lies and deceptions.

On another occasion, Walmsley visited a Jaguar dealership accompanied by his wife to shop for a luxury vehicle. While looking at the Jaguar collection on the showroom floor, Walmsley hinted at his lottery fortune to the dealer, who

believed that Walmsley was the recipient of over £4 million in winnings. Subsequently, Walmsley went on to ‘purchase’ at least three luxury vehicles to the tune of over £120, 000. Once again, Walmsley wrote checks to cover the cost of

the purchase from non-existent funds and, naturally, the checks bounced.

Kathy Comes to the Defense

Perhaps it may have come as a surprise for most at the time, but Kathy did her best to come to her husband’s defense, even after being lied to kbc head office number punjab in such as deep and dreadful way. Kathy Walmsley wrote to the judge in her husband’s case,

pleading for the judge to show mercy. She truly believed that her husband had in fact been acting in the best interests of their marriage, and had committed the fraudulent activities and concocted the lies to keep them together.

However, the judge in the case was having none of it and said in court that all the deception, lies and fraud, committed over a two year period, was motivated by far more than love. Addressing Howard Walmsley, the judge said, “I take

the view you lived in a fantasy world”, she said at Sheffield Crown Court at the summing up of his trial. “You wanted to aspire to the high life, to appear successful. You conned your victims. But you can’t con this court”. Howard

Aside from gullible and impressionable women, Howard targeted a number of local business in an effort to con them out of goods and services. He used his lottery lie to open lines of credit worth thousands of pounds with local suppliers

and merchants. He wrote checks for goods and services for his business and of course, all of them bounced since there wasn’t any actual money to honor them.

During the trial, prosecutor for the crown, Paul Watson told the court that Walmsley had opened several bank accounts using forged documents. kbc head office number punjab These bank accounts included significant overdraft facilities which he then used to facilitate

his lottery lie. Walmsley had even gone so far as lying to police in an effort to convince them that the lottery win was, in fact, true, but eventually recanted and admitted that it was all a lie. He went on to admit guilt to twelve

counts of deception as well as one count of false accounting.

All for Kathy

Kathy Walmsley

Kathy Walmsley

According to Walmsley, everything he did was for his wife, Kathy. This included the revelation that he intended to purchase a 17th-century manor house in their home county of Derbyshire, worth an estimated £300,000. He even went as far

as commissioning an architect to draw up renovation plans which included a massive swimming pool and as many as four garages. Walmsley wrote a check for £294,000 to cover the sale of the property and deposited into his solicitor’s

Kathy believed Howard’s lie. Perhaps out of the same feeling of desperation and the need to feel that everything was going to be fine from now on. But, the reality was, that there was no money at all, not a cent. However, this did not

stop Howard from continuing to propagate the lie, telling more and more people about his fake lottery win. He conned his way through a number of cheeky deals as he desperately tried to keep the elaborate and outrageous lie going.

The thing with a lie though, any lie, is eventually you will run out of the road. Which is exactly what happened to Howard Walmsley, who was eventually caught out and arrested in 1999.

Unraveling the Lie – Howard Walmsley’s Trial

Walmsley’s trial gripped the nation, as more and more details surrounding his big lie were revealed and the tightly woven deception began to unravel.

One of the most interesting, and perhaps most revealing discoveries at the trial, was that this was not the first time that Walmsley had kbc head office number punjab been in trouble with the law. In fact, he had already been jailed twice for similar offenses.

In his defense, Howard stated that he had begun the lottery lie in a bid to not only save his crumbling marriage but his business as well. Walmsley, a painter, and decorator by trade, believed that the lottery lie would save his

marriage as he would now be able to provide Kathy with everything that she had always wanted. Unfortunately, of course, it was all a lie and there was no money at all for anything.

However, this truth did not stop Walmsley from going ahead with his deception, as he figured that he could use the lie as leverage or perhaps as collateral to convince people to part with their own money and possessions. This included a

list of businesses and banks, as well as other women who Howard had charmed. He would convince these unsuspecting and gullible women to ‘loan’ him money, which of course he would never pay back. Nor did he ever intend to pay anyone

back.

1. Man is essentially a rational cognizer, a body with a mind localised in it or an “engine with a will”

II. INDIAN VIEW OF CIVILISATION

a. Civilization as a Western notion forms the basis of most academic studies, primarily reflecting a culture of cities, of the so-called urban sophistication. In the Indian context, the equivalent context is sabhyata,word derived from sabha etymologically from the earlier meaning of which was ‘shining together’ and the latter one meant ‘an assembly of men in harmony’. The harmony of mind, action and speech is an often repeated theme of Vedic prayers, i.e., everything emanates from the centre in the same way as the rta (cosmic order) emanates from the satya (eternal truth). The concept of sabhyata is so much refinement, as it is an attempt to re-seek the rhythm of existence. This concept of perfect internal harmony pervades not only the idea of the Vedic village (grama) – the centre holding the circle and vice-a-versa – but also in music, art, aesthetics and even in sciences, astronomy, civil engineering, and so on (Misra: 1971).

A civilized person thus is one who may appear crude in appearance yet is endowed with an understanding of the inherent harmony in things, both sentient as well as non-sentient. In this way, urbanities were subsumed within higher values of cultural growth rather than the peak of growth. This stresses the simultaneous coexistence of many worlds rather than the uniqueness or absolute Tribal Art values given to any one of them. This fundamental way of life, this dynamic rhythm, of the intertwined and seemingly incongruent and divergent manifestations of nature and man are depicted as an integral vision in the apparently repetitious aspect of Indian art, sanskrit poetry, and so on. Linear time itself is not the driving force behind the creative process; infact, creation did not – and does not – take place within the concept of time.

On the other hand, time and space are real in the modern context, and achievements of man are landmarks in terms of the arrow of time, evolution, as the apex of the universe from whence the rest of existence is subservient to him. While the Indian view does not reject history, it transcends it, since life and reality are not acts of an irreducible human destiny. Human existence is simultaneously temporal and atemporal, such as is exemplified by exponents of Indian aesthetics. It implies an innate tolerance towards other view points and a ready acceptance, not a repulsion of new ideas. It is in this context that the word itihas – history – means ‘so it has been’ and not ‘so it was’ as is the case with Western notions. It makes one both tradition bound as well as free in terms of the obligation to the cosmic being on the one hand and to the ancestors on the other – gods intervening in this dynamic rhythm. There is mutual complimentarity – no opposition; both universal being (narayan) and man (nara) depend on each other in a two way movement that reconciles all contradictions and apparent divergences – all reflecting the same Brahman (Misra: op.cit).

This basic two way process, this interaction, is what allows for the dynamic coexistence and interchange, e.g., between sanskirt, dravidian and munda languages; between textual and non-textual traditions; at themargi and desi trends in art, music; at the socio-religious levels of itihas and puranas, and so on. Similarly, philosophy as darshan – insight within, without and beyond – governs all laws, physical and mental that come under the Supreme or Truth. This requires sacrifice – to make sacred – self-surrender, which is a continuous process of self-expansion, i.e., man breaks through his egoistic shell to glide into the ocean of infinitude. It is a ceaseless process of give and take. Art, literature, science and technology happen to be the products of this self-expansion, as this is the expression of truth that is beautiful, that is bliss (Bhattacharya: 1971). In short, this worldview reflects a universe which is curvilinear, multi-layered and multi-directional, going back and forth.

b. This does not deny the fact that the phenomenological world was not tackled rationally. There were plausible explanations about the physical world and of understanding human phenomenon without taking recourse to divine explanations. Certain universal cosmic principles were evolved during Vedic times – as must have been the case with the Harappan times as reflected in their material remains – about the cosmos (natural laws or rta) within which even the gods had to function. Later on basic elements of matter with their qualities were also developed, as we learn from the Upanishads in terms of an enquiry into the intelligible reality of the physical world. The early evidence of astronomy, mathematics and life-sciences is a clear indication of this rational way of looking at natural phenomena. Of course, some way along the line this rational attitude was lost, but that requires another study.

It may recalled that most research, until recently, highlighted elitist or other-worldly nature of Indian civilization within an equilibrium model, ignoring the dynamics of change. One can no longer ignore the set of values as reflected in its literature, arts, scientific manuscripts, etc. which are as detailed and voluminous as the religious and philosophical ones. In short, this modern confrontational viewpoint, singular or monolithic interpretation such as that of only metaphysical and normative texts, will not allow one to adequately provide a realistic view of the lifestyle of this civilization.

If the goal is to search for meaning behind Art in all its manifestations, then the ways in which it is already being carried out, has failed to do so. This is because so far it has been alienated from the important dimension of the subject of study. It is only when the mechanistic, analytical, evolutionary approaches (which assume that the underlying significance of this kind of activity can be inferred by quantitative methods along, or at best by some intuitive-aesthetic or pseudo-religious approach) are transcended that the complexity and richness of this tradition may provide a glimpse into the underlying philosophies and worldviews in a symbolic way. The process of decoding the total system can only begin in this fashion.

III. TRIBAL ART QUA ART

There is growing realisation that any philosophy and explanation of Art without an account and understanding of aesthetic experience is inadequate and lifeless. This trend of thought has also dominated by and large the phenomenology of aesthetic experience. The scientific theory of an expression of this directedness of consciousness upon an object, is quite different to the universe of discourse that is given shape by artistic experience and expression. In the triad of consciousness, aesthetic objects and Art expression, experience is definitely the primal source, common to all human communities. Art experience is an exudation of consciousness from the privacy of the inner, and cannot therefore be treated merely as a ‘thing’. The language of Art moves beyond the conceptual, semantic, and syntactic constraints involved in it, since there in its cognizance the reality of silence playing a major role. One may say that the language of Art is an obvious deviation from empirical, ordinary language but it does not fully relinquish the garb of ordinary language; the latter being more of an instrument and less an expression of be-ing carrying a deeper and new meaning.

5. Kalamkari: a native artwork that depicts indian epics. Kalamkari – local artwork of south india

photograph courtesy

‘kalam’ in hindi manner pen and ‘kari’ means work, hence ‘kalamkari’ refers to penwork. The artists use first-rate pens made from bamboo dipped in vegetable dyes to draw. These drawing are made in intricate patterns and excellent lines. This fashion of portray turned into advanced in kalahasti close to chennai and masulipatnam near hyderabad. Kalamkari portray flourished for the duration of the maratha rule and advanced a fashion referred to as the karuppur. Kalamkari especially depicts epics such as ramayana and mahabharata. It’s a labored on fabric Paper painting which is superior with gold brocade for the royal households. 6. Batik art: 200 years antique native artwork of bengal. Batik art – local art of west bengal, india

photograph courtesy

batik artwork originates from the indian nation of bengal and dates back to thousand years. Batik art refers back to the art of dyeing material by way of making use of resist strategies, overlaying regions of fabric with a dye resistant substance to save you them from absorbing colours. Batik artwork is created in several approaches like splash approach, display printing method, and hand painting one is with the aid of a kalamkari pen. The batik art material is in high demand as get dressed substances, designer home decor and additionally as forming an essential part of present day style accessory. 7. Warli: native artwork of maharashtra that depicts social existence of tribal. Warli artwork – native art of maharashtra

picture courtesy

warli or worli artwork usually depicts agencies of humans of their artwork piece. Harvest is considered one of their important subject matters. An extra very popular theme is that of a wedding pageant. Those artwork are specially created on mud walls of tribal houses and ladies are especially engaged within the advent of those art work. These artwork do not depict mythological characters or photographs of deities, however depict social existence. Photos of human beings and animals, at the side of scenes from each day lifestyles are created in a loose rhythmic pattern.

Painting in flower patterns.

Living room – this is the main place for people’s daily living activities, so we should choose carefully

and arrange reasonably. According to the size of the living room, you can choose one or two large

modern paintings, and on the other wall you can hang two or three sets of paintings, scattered

hanging, to achieve visual beauty. The living room in low floor and poor lighting needs to choose

bright paintings. In addition, we should pay attention to the frame patterns which not too

complicated, but also to discard the Canvas painting traditional saying that a room can only use a frame.

Restaurant – choose the fruit, green natural scenery design Large Acrylic Painting. If you have a bar,

you can hang pictures of wine cups and coffee sets to create a warm and elegant atmosphere.

Bedroom – which should highlight warmth, romance, tranquility and warm colors. for example, a

blooming red rose or a profound abstract painting and so on.

Posted onAugust 18, 2018CategoriesLiving RoomTagsAbstract Painting, Contemporary Art, Large

Acrylic PaintingLeave a commenton Decorative Painting Makes Your Home To Be A Gallery of Art

Living Large: Take Your Huge White Room to the Next Level

Living Large: Take Your Huge White Room to the Next Level

Big rooms can be a incredible asset to our house and family, but occasionally these spaces can end

up being a challenge to beautify. If you elect to color your large room white-colored, you might have

the additional task of creating an area that is cozy and interesting. Abstract Art Thankfully, white

rooms give a empty canvas for unlimited creative imagination and decorating styles. Nevertheless,

for some people, as well many design choices may be paralyzing. Listed below are 8 ideas to help a

person narrow down your choices and pick the look that is just right for the room.

Maximize seating. A good expansive white lounge room is usually perfect for arena-style seating. Use

a mix of seats and sofas in tone-on-tone fabrics, and anchor the particular space with an oversized

espresso table positioned in the center of the room. This is a good idea for big family events or for

entertaining large groups. To avoid the room that looks kampfstark, large canvas art use an off-white

wall color for a hot, welcoming appearance.

Use rustic details. For several homeowners, large, white kitchen areas are the stuff dreams are made

of. But without having thoughtful details, these kitchens can look somewhat expected. If you like a

casual, laid-back style, think about adding rustic factors in order to your kitchen.

Install hard wood flooring that seems like this came straight from the barn house. Grace the

particular island with a butcher-block countertop and pull upward several country-western-style

stools. These rustic details will flood your kitchen with a good unmistakable warmth.

It is often said that to know the art form of a particular place, is to know the place itself. If that is true, then to look at Bhil Art, is to enter the house of the artists themselves; to experience firsthand, this intimate art form from Central India.

The Bhils are the second largest tribal community in India, residing in Madhya Pradesh, Gujarat, Maharashtra and Rajasthan. Some Bhils trace their ancestry to Eklavya, the archer from Mahabharata, while some scholars even believe that Valmiki, who authored Ramayana, was a Bhil.

Traditionally, the art of the Bhil folk would adorn the clay walls of their village homes. Beautiful images would be painted with neem sticks and other twigs, and natural dyes would be used. Turmeric, flour, vegetables, leaves and oil were used to derive brilliant colours to make fascinating frescoes on floors and walls, in a language created by the Bhils, to convey their experiences.

(A Bhil artist stands against an entire wall painted with Bhil motifs; Image Source – bhilart.com)

Of Dots and Colours

One look at a Bhil painting, and you’ll immediately begin to recognize it anywhere you see the art form. Bhil paintings usually consist of large, un-lifelike shapes of everyday characters filled in with earthy, yet bright colours, and then covered with an overlay of uniform dots in several patterns and colours that stand out strikingly against the background.

The dots on a Bhil painting are not random. They are patterns that could be made to represent anything that the artists wish to, from ancestors to deities. Because these patterns are solely in the hands of the artists who create them, the work of every Bhil artist is unique, and the dot patterns can be counted as the artist’s signature style.

(Bhil painting by renowned Bhil artist Ladoo Bai)

An Honest Depiction of Real Life

Bhil Art is instinctive and primordial, born out of an ancient connection with nature. The Bhils are largely an agricultural community whose Tribal Art lives are centered around the land they work with. What makes the art extra special, is that it has travelled down generations, with most artists learning it from their mothers.

Bhil art is also often ritualistic. Every painting is a story of the land told through the depictions of people, the animals, the insects, the deities, the festivals. Even the Sun and Moon are frequent characters in the stories. Legends and lore are told through Bhil paintings. Births and deaths are recorded. Religious occasions remembered. These paintings are even offered as gifts to gods and goddesses at the time of festivals.

(Bhil painting by renowned Bhil artist Ladoo Bai)

Today, we’re getting to see much more of Bhil art in the mainstream. Clay has been replaced by canvas, natural dyes with acrylic paints. The artists who would earlier paint on walls and floors of their village homes, are now recognized over the country and even internationally, their works sold for hundreds of dollars. But there’s something about this form of art that is so rooted, that a change in medium or even recognition, does not rid it of the honesty of its depictions.

(Bhil painting be Dubu Bariya)

Recognition and Change

One can find authentic Bhil art adorning the walls of the anthropology museum, Museum of Man, in Bhopal, Madhya Pradesh. This is the work of Bhuri Bai of Jher, one of the most well known Bhil artists of our time. Other contemporary Bhil artists to note are Ladoo Bai, Sher Singh, whose work is characterized by his distinctive colour palette of red, green and black, Ram Singh and Dubu Bariya.

(Bhuri Bai of Jher)

In recent times, Bhil artists have started including modern elements into their cast of characters. Buses and other transport are frequent themes. This is a perfect example of the truthfulness of the art form, that records life as it is, as it progresses. It is this honest simplicity that makes Bhil art so striking. There is something almost sacred in the dots that fill up the less than perfect shapes, telling us a story about life as it happens.

In the words of Bhil artist Sher Singh himself, “Everything in our lives revolve around art”. And if we are to judge by the Bhil art we see, we couldn’t agree more – it is indeed a colourful world the Bhils live in.

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Tips for oil painting on paper (and the best paper to use)

It could be said that paper is the bread and butter of traditional art making. It’s the surface most artists turn to when laying down their ideas, sketching out preliminary drafts, and documenting inspiration. For some artists—such as those working in pencil, watercolour, and acrylics, paper is also the go-to medium for completing their final pieces. But did you know, with the right paper and preparation, that it can also be used with oil paint? Whilst canvas is a more common surface for oils, there are many advantages to trying your hand with oil on paper. Here, we’ll outline some of those benefits, which paper to use, and our top tips for oil painting on this versatile and accessible medium.

Light Over The Port, oil on paper | Photo by Richard Whadcock

Main advantages of working on paper

Flexibility: Because paper can be easily rolled up and transported, it is easier, and more cost-effective to store and ship. It also allows for working en plein air, giving artists the freedom of cutting to size on location.

Cost effective: As paper is much cheaper than traditional mediums such as canvas and board, it offers a certain freedom.

Time saving: Though most paper options still require priming, it’s a much quicker process than stretching your own canvas from scratch.

Style and technique: Oil paint blends differently on different surfaces. Whilst canvas allows for very smooth gradients when the paint is wet, its pitted surface can prevent fine details, especially in small-scale work. Paper can be much better in this regard, allowing for finer strokes upon your first layer of paint.

Under a Texan Sky, oil on paper | Photo by David Raison

Best paper for oil painting

Traditionally, oil painters have avoided pape r Paper painting because solvents cause the paper to degrade easily, and it can become prone to cracking when subjected to changes in humidity. However, there are multiple ways around this. We’ve written previously on how to prime any paper and cardboard for oil painting, but there are certain types of paper that are more suited to oil paint than others. Let’s look at a few of these options: