A combination of Grungy texture, different overlays with retro, swirl, splatter and grungy brushes.

Pain which has been kept and stored inside.  Afraid of sharing and letting it out.  

Anyway here it is.. Enjoy reading!

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This was my second entry "Heartache", still from the same event "Deviant Heart Contest".

The contest allowed the participants to submit two entries so i took the opportunity in order to increase the chance of winning the event.

This entry emphasizes the pain i felt when i got hurt because of so called thing LOVE. ^^

Since i'm done configuring the site, I'll start posting now my works from previous to present. I will also be posting some works done by my friends and other artist which i fave most.

Ok, first artwork of mine was  this, "Saint Valentine".

Actually i made this for the purpose of joining the "Deviant Heart" Contest in Deviantart Community. The contest was all bout making a Heart themed art which they called "Deviant Heart" which means "Deviant" differing from a norm or from the accepted standards of society.

The contest aimed in creating a Heart theme Deviation that differs from the norm of what people typically see in Deviantart Community or is different from every artist.

The contest serves also as a way of celebrating the Month of Hearts.

It's a chocolate cake with vanilla frost.

Is it really a cake?.. yes it is! It  so happend that she didnt find the right tool in frosting, that's why it looks like it was murdered.

In the real world of baking, artistry in frosting makes a cake lovely. It adds flavor and beauty. But for us it doesnt matter, as long as it is not for presentation purposes. What matters is that how it taste, never mind the looks.

Anyway, making the cake how the way you want it is still an art. ^_^

This art movement took form in the late 19th Century, and is widely considered to be started in Paris, by Claude Monet, who painted 'Impression Sunrise'.

Another scene from Paris. Renoir's painting of the paris street, bustling with life. This painting, and the style used, is often painted by students studying the impressionist style.

The point was not to copy the scene before them but rather the impression, emotion and movement that scene implied.

Perhaps the most famous impressionist , who came slightly later was Van Gogh. Certainly the art world loves him.

This was my first Oil Pastel based painting.  An Abstract painting inspired by the memories of my dearest bestfriends.

 Feeling self-reproachful over my past actions and the things i failed to do being a friend made me inspired of creating this simple piece of artwork. 

Art, categorically, is mimetic expression; that is, all art is an imitative representation of an idea: an object, or sensation, or sound, or event, etc. Accepting that criticism differs from stating an opinion in its attempt to 'improve' a work of art, it follows that true criticism, then, deals largely with an artist's perceived ability to represent an idea.
Every artist, however, and also every critic, has their own unique perspective.  This is the trick of criticizing art; for if everything is relative, then so is improvement, and so for whose benefit is this improvement, the artist, the critic, or a universal audience?  One could say that a "good" critic makes suggestions that one can agree would 'improve' a work of art.  

This cohesive desire, the satisfaction of agreeing with a critic on an improvement, implies a desire for finding a universal quality in art that any who are willing should be able to appreciate.  The first and foremost goal of the critic is appreciation; if a critic does not attempt to understand the representation, no conclusions about the effectiveness of the work can be made.  Relative perspective cannot be avoided, as it shapes all synthesis, but a critic must be wary of what appeals specifically and what appeals to the audience.
It is impossible to assess effectiveness without considering purpose (how can something be effective if it serves no function?).  The debate on the purpose of art is timeless and scopeless, but rather than estimating its intended function, let us instead observe and describe the effect of "successful art" upon the audience and assume that what occurs from "successful art" through the reaction of the audience IS the purpose (which seems a fair assumption, even if an over simplification, since both artist and audience are satisfied by "successful art"). 

This effect can be referred to as katharsis, from the Greek, translating into either clarification, purification, or purgation; there are enthusiasts and dissenters for each translation, but my interpretations are that all three are integral to the purpose of art: the successful artist imitates an idea and produces a representation of it, and in doing so, purifies or refines aspects of the idea seen as needing emphasis, purges the 'foreigness' of the idea by confronting it, and through this purification and purgation the artist and audience both get a clarification of the idea.  In this manner it can be said that purgation deals with the scope of an idea (the size and perspective of it governs the aspects of the work the artist and audience are confronted by, i.e., a work of art cannot deal with what is not presented by it, either actually or in implications such as a title or caption) and that purification deals with the focus of an idea (in refining the facets that are represented, the artist no longer affects what is being presented so much as how what is being presented is synthesized or interpreted).

The role of the "good" critic, then, is to promote the universal accessibility of a work of art without obscuring the original representation.  In producing the work the artist confronts the idea to purge the ignorance of it, and in being presented to the work the critic does the same.  The effective critic should concentrate on the purification of the idea, then, because the 'angle of approach,' or desired boundaries of an artwork, as it were, are part of the purgation and is the artist's domain - the critic must correctly interperet the idea an artist seeks to purge the 'foreigness' of and instead of altering the perceived original idea should endeavor to focus more clearly upon it.
  

The difficulty in criticism lies in the discretion between the focus and scope of a work of art: it is the artist's prerogative to provide the scope of a work with enough focus to represent the idea in a way that can be recognized accurately by the critic - it is the critic's duty to accurately recognize the scope represented and to analyze and improve the focus so as to make each audience member's relative synthesis as close to the artist's original represented idea as possible.

System requirements for Adobe Photoshop CS3 Extended, Windows version, include a system based on an Intel Pentium 4, Intel Centrino, Intel Xeon or Intel Core Duo or compatible processor running Microsoft Windows SP with Service Pack 2 or Windows Vista Home Premium, Business,Ultimate or Enterprise (certified for 32-bit editions). The system also needs to have at least 512 MB of RAM and 1 GB of available hard disk space (additional free space is required during instalation) and a DVD-ROM drive.

A Monitor with at least 1,024 x 768 resolution and a 16-bit or greater video card is required. Some 3D features in Photoshop CS3 Extended require a DirectX 9-capable graphics card with at least 64 MB of VRAM.

The Macintosh version of Adobe Photoshop CS3 Extended requires a PowerPC G4 or G5 or multicore Intel Processor Macintosh running Mac OS X v.10.4.8. You’ll need at least 512 MB of RAM and 2 GBof available hard disk space (still additional free space is required during product installation). You’ll also need a DVD-ROM drive for installation. As with Windows version of Photoshop CS3 you’ll need a display capable of at least 1024 x 768 resolution with a 16-bit or greater video card. Some 3D features in Photoshop Extended requires OpenGL 1.4-capable graphics card with at least 64 MB of VRAM.