I'm not sure if it's been asked, but where do these names come from and what's the earliest manual where they appear? Capo Ferro has mentioned something similar in his manual but he's probably not the first one to use this naming system. Overall, it's quite fascinating to see this naming system being used for hundreds of years.
And also, how did "Quart" became "Carte"? Who is St. George in "St. George's Guard"? Why didn't people just call them guard 1, 2, 3, 4, etc. since the system no longer give figurative names to guards?
In her career as a professional artist, Nathalie Tierce has worked on projects as diverse as productions for Shel Silverstein, Andrew Lloyd Webber, The Rolling Stones, period dramas for the BBC, feature films such as Martin Scorsese’s Shutter Island and Tim Burton’s Alice in Wonderland and painting murals for Disney. Her relationship to theater and film nurtured her desire to connect to people through storytelling in her paintings and drawings. Born and raised in New York City, Nathalie received her formal training at Pratt Institute in New York and The École Nationale Supérieure des Beaux-Arts in Paris. She then spent ten years in Europe refining her craft as a painter. She frequently exhibits in galleries in the Greater Los Angeles area and maintains a studio in Glendale, CA where she lives with her sculptor husband, and son. I had a typical American childhood exposed to the violence and slapstick of cartoons. In my youth, I was fascinated by the artwork of Mad Magazine, Edward Gorey, then later R.Crumb.
The Work:
The “Fairy Tale Remnants” collection is my experience of ingesting the subliminal messages of advertising, news headlines, politics, and social propaganda. These regurgitated plots are scenes from a comedic tragedy.
The artwork is the roadmap for the stories. The artwork starts as random mark marking and scribbles, using everything from colored pencils, pastels, and paint (with maybe some sand or coffee grains thrown in with whatever else I can find). From there, I search within the stains and scrawls and find the shapes that become the figures. The figures become the allegory.
These images give form to human compulsion I can understand with my eyes. I use the genre of fables and to give them shape. Robots, animals, and dinosaurs embodying some aspect of ourselves, battle out impossible scenarios, without serving up any moralistic lessons at the end of it. Real-life desires and conflicts are re-imagined without adherence to gravity or logic. Predatory characters fight for their interests without the benefit of civility. These dramas play out without any moralistic outcome as one individual is at the mercy of another’s desire.
These visual stories embody our collective struggle as human beings and relationship to fear, aggression, persecution, and longing. Mixed up with this emotion is a bit of silliness combined with the knee jerk reaction to the surreal.
User nathalie_artist will be answerin
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J'ai un ami à moi actuellement (oui, je sais le fameux ami, mais ce n'est réellement pas moi) qui s'était connecté sur Facebook au taf, il cassait du sucre sur des collègues et quelques uns de ses supérieurs (ne jugez pas le comportement svp). Sauf qu'il a oublié de se déconnecter et une collègue à lui a fouillé son compte en son absence, à récupérer les dites conversations et menace de les diffuser...
Selon moi il n'est pas en tord du tout, mais que peut-il faire pour arrêter tout ce manège qui me semble bien illégal ?
