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Attension

@attension.art

Balance through asymmetry. Photographer and digital artist Michael Cardinale 📍Pittsburgh, PA Join My Free Patreon: https://patreon.attension.art #EastCoastKin

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Jesse Raub@jesseraub.online · 2d ago

PEOPLE WITH LIBERAL ARTS DEGREES: so while i see there is utility to the system, i’m more or less morally opposed to their current constructs and have big concerns over the business structure and environmental impact WEB CODER: so i met God today,

johnasavoia@konatachan.bsky.social · 3d ago

58 day pinhole exposure. I hadn't planned to harvest this one yet, but when I passed by I saw that the pinhole I had affixed over the tin had begun to come up, the tape had failed. Before the entire shot was washed away by overexposure I brought it home. The beginning of that overexposure makes it.

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Attension@attension.art · 6d ago

Reposting this one for today’s #minimal #BlueskyArtShow. Always one of my favorites #art #flashes #kunst #contemporaryart #patreon #artsky #photography #abstract #plants #garden #color #nightphotography #macro #EastCoastKin #ECK #pghartist #pittsburghartist

Attension@attension.art · 4mo ago

🔅Patreon Release🔅 https://www.patreon.com/posts/157929936 If I had to choose only a single color to work in it would be this. #art #flashes #kunst #contemporaryart #patreon #artsky #photography #abstract #plants #garden #color #nightphotography #macro #EastCoastKin #pghartist #pittsburghartist

Very low depth of field close up image of two leaves of a tropical plant, the opening between the leaves at center. Deep magenta light illuminates this heavily vignetted photo.
The Kimono Gallery@roger1952.bsky.social · 2w ago

Tiger [detail] (Ryûko zu no uchi) Tora zu 龍虎図 Soga Shôhaku late 1770s MEDIUM/TECHNIQUEOne of a pair of hanging scrolls; ink on paper DIMENSIONSImage: 133.5 x 53.6 cm (52 9/16 x 21 1/8 in.) Overall: 217.2 x 71.1 cm (85 ½ x 28 in.) CREDIT LINEWilliam Sturgis Bigelow Collection

Created in the late 1770s by the legendary Edo-period master Soga Shōhaku (1730–1781), this detail from a Dragon and Tiger scroll pair (Ryūko zu no uchi - Tora zu) presents one of the most brilliantly eccentric depictions of a tiger in Japanese art history. Contorted into a crouching, almost self-grooming posture, the creature arches its back in a dramatic curve, its massive, razor-clawed paws planted heavily against the ground while a sinuous tail snakes along the bottom edge of the paper. Shōhaku deliberately bypasses naturalistic realism in favor of startling psychological intensity: the tiger’s wide, bulging eyes stare directly at the viewer with manic fervor, its bared fangs and flared whiskers blending predatory menace with a touch of theatrical wit. The fur is rendered through a painstaking array of ink textures, combining bold, undulating stripes with soft, stippled spots across its flank—reflecting the historic East Asian tradition of depicting tiger and leopard traits together, as native tigers were unknown in Japan and modeled after imported pelts and Chinese paintings. Shōhaku was a leading figure among the Kijin ("Eccentrics") of 18th-century Kyoto, a group of fiercely independent painters alongside Itō Jakuchū and Nagasawa Rosetsu who openly rebelled against the restrained, formulaic style of the orthodoxy-bound Kanō and Tosa academies. Looking back to the expressive power of Muromachi-period monochrome ink painting, Shōhaku revitalized traditional motifs with grotesque distortion, dramatic brushwork, and biting irony. Within the classic Dragon and Tiger paradigm—where the tiger represents terrestrial power, wind, and the yin principle balancing the celestial dragon—artists typically depicted the feline as a stoic, majestic guardian. Shōhaku subverts this expectation, transforming the creature into an uninhibited, deeply idiosyncratic force of nature brimming with raw individual energy.