Gary nulls végső anti aging program

We study other physiognomies to recognise them when we meet them; yet we do not study ourselves because we do not find it necessary to meet ourselves. So many pictures we take, so many photos we share that it is safe to say: we are overusing our faces.

This overuse deprives the face of meaning. We gary nulls végső anti aging program using our faces as letters, as ID signs, and less so as words with meanings to read for.

And when we are, we try to limit and control the ways in which our faces can be read. Historically speaking the portrait is a means of immortalization and representation. It has always implied a desire to control: to show myself as I want others to see me and to be present somewhere where I am not.

This is the basic drive behind the compulsive selfie-taking, too: securing and extending our presence.

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My cell phone is ringing and I can see the photo of the person who is calling me. When I am sending an e-mail, when I am posting or commenting on something, the content shows up with my picture.

I am trying to control a very uncertain but at the same time the most visible part of myself. The desire to keep the face under control is a very strong one; so much so that it has been ever present throughout the history of pictorial representation, fashion or technological development. We would like to rule over our presence.

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I see this face of mine in the mirror because I look at my reflection the way I want to see myself. I arrange my features, I draw my face.

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Despite the technical possibilities available it is very hard to observe how my face is changing constantly. The arranged face was always a challenge for painters. Classical paintings did not depict the moment but that which was significant, i.

1. Чем глубже под землю уходил коридор, тем уже он становился.
2.  - Она направилась к двери.
3. Portraiture – Group exhibition

To achieve this condensed moment was an expectation to meet in classical art — a manifestation of faith in pictorial permanence. This burden on the face is stemming from the condensation of time.

The 18th century believed in the readability of face; they produced a substantial amount gary nulls végső anti aging program literature on the interpretation of physiognomy. Accordingly, different human characteristics were attributed to different facial features.

For instance, a beautiful face was supposed to correspond to a beautiful soul. The game of face reading, however, was essentially based on a distrust that implied the recognition of facial politics and the urgent task of interpretation as unmasking. However, the fact that we no longer believe in the direct readability of faces does not necessarily mean that we have given up on interpreting facial features and expressions. It may as well mean a gary nulls végső anti aging program of respect and patience.

I appreciate faces as instances of self-expression. The void could be filled with what I see around me, including the face of someone else. Trying to imagine our own visage pushes the imagination to the limits.

Being aware of and consciously using our face, however, belongs to our identity; indeed, to construct a face for ourselves is part of our identity formation. Just think of how we try to control our facial expression — and then the mimic wrinkles left behind. On occasion, we make efforts to put on a so-called appropriate face that is suitable under the circumstances.

De ez csak a kezdete annak, amit tenni akarnak. A Genezis 2. Bábelben az emberek már nem a mezei állatokat és az égi madarakat nevezik el, hanem maguk- nak akarnak nevet szerezni. Még csak nem is veszik fel Isten nevét hiába; egyszerűen nem érdekli őket Isten.

This kind of awareness can sometimes reach point zero, the inexpressive face; it is not only the control of facial muscles but a pictorial game — the puppet takes the stage. The routine acts of putting on a characteristic face or applying makeup could be exaggerated to the point of mask-like expressiveness. It is not just an important theme but a fundamental human experience and, as such, one of the possible explanations for the origins of art.

In the age of Diderot the popular interpretation of physiognomy was related to the interpretation of art works. Today the face as a means of self-expression could be related to the experience of art.

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So the group of uncertain, readable, overused and unreadable faces can be expanded to include the face as a piece of artwork. In the context of artistic representation, I approach the face from a different angle: I am no longer interested in interpreting the person, but the image.

Images of self-expression. They do not convey the essence of a person, just what the person shares of themselves.