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Tag: South Korea
Getting into the business of environment (September 23 2012) Getting into the business of environment (September 23 2012)

Amantha Perera the Sri Lankan journalist and foreign correspondent has published an article on the Inter Press Service titled ‘Getting Into the Business of Environment’. Perera states “Regulations that stand in the way of conservation programs lower their likely success, experts warned at the World Conservation Congress of the International Union of Conservation of Nature in South Korea. They say there is mounting evidence to show that with participation of communities, businesses and other groups, conservation efforts have shown better results. “Generally we find that protection efforts are more effective if they involve participation by different stakeholders,” Bastian Bertzky, senior program officer at the UN Environment Programme and the World Conservation Monitoring Centre (UNEP-WCMC) … “Wherever there are businesses involved, non-governmental organisations involved, the higher their participation, better the management.” Bharrat Jagdeo, the former President of Guyana, while acknowledging the increasingly essential role private companies played, struck a note of caution. He warned that companies may try to gain undue advantage by linking with nature-friendly programs and agencies like the IUCN. Jagdeo proposed that if private sector companies are willing to take part in conservation programs, there needs to be strict criteria that tests and evaluates their willingness to change and sustain that change. “There is a need for a litmus test, to test their willingness to engage and change,” he said. Former South Korean minister for environment Maan-ee Lee suggested that governments should keep a close focus on companies willing to invest in conservation and environment friendly projects. “Governments should look at giving incentives to such companies,” he said. Lee called for a consensus among different governments because “big multi-nationals are going beyond national borders.”


Inspired by Inter Press Service image source Dart Centre

Pieter Wezeman the 42 year old Dutch Senior researcher with the SIPRI Arms Transfer Programme with expertise in Arms flows and procurements claims the Asian states are the largest of the arms buyers of the world. In an article published on the Press Service News Agency, Thalif Deen following his interview with Wezeman states “China, India and South Korea – three of the most vibrant economies in Asia – are also beefing up their military arsenals with new weapons systems from the United States, Russia, Germany, France and the UK… beating out the traditional frontrunners – the rich, oil-blessed Middle Eastern countries. India was the world’s single largest recipient of arms, accounting for 10 per cent of global arms imports, followed by South Korea (six per cent of arms transfers), Pakistan (five per cent), China (five per cent) and Singapore (four per cent). The five biggest arms suppliers in 2007-2011 were the United States, Russia, Germany, France and the UK. With the exception of Germany, the four other suppliers are veto-wielding permanent members of the UN Security Council. The top five suppliers accounted for 75 per cent of all international arms transfers.”


Inspired by Thalif Deen image source Thella Johnson

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.

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