The Flickr Decorativo Image Generatr

Caja de Ahorros y Monte de Piedad

1904-1907

Architect: Francesc Lamolla i Morante

Casa Enriqueta Bergós

1908-1910

Architect: Francesc de Paula Morera Gatell

Casa Baró (La Vinícola)

1921

Architect: Joan Bergós i Massó

Dongdaemun, also known as Heunginjimun, is one of the Eight Gates of the Fortress Wall of Seoul, located in the Jongno district. Its name means "Great Eastern Gate," and it served as the main eastern gate during the Joseon Dynasty. The original structure was built in 1398 under King Taejo, renovated in 1453, and rebuilt in its current form in 1869. A key feature is its outer semi-circular wall, Ongseong, designed to enhance defense.

The surrounding area is a major commercial and cultural hub. Dongdaemun Market, established in 1905, includes over 30,000 stores and 50,000 manufacturers, offering a wide range of goods including textiles, clothes, and electronics. Traditionally known for night shopping, many shops now operate nearly 24/7.

Nearby is the Dongdaemun Design Plaza (DDP), a futuristic cultural complex designed by Zaha Hadid and opened in 2014. It was built on the former site of the Dongdaemun Stadium and played a major role in Seoul being named World Design Capital in 2010. The DDP includes exhibition spaces, shops, a rooftop park, and parts of the restored Seoul Fortress Wall.

The Dongdaemun History & Culture Park, also located on the former stadium site, displays archaeological relics from the Joseon period found during excavation. The park features museums and cultural spaces preserving the site's historical significance.

Jongno-gu, Seoul, South Korea

This photo marks the beginning of a series captured during my trip to South Korea this year—a journey filled with color, tradition, and discoveries. One of the most striking elements I encountered was Dancheong, the traditional Korean decorative painting that transforms temples and palaces into vibrant works of art.

In the heart of Seoul’s Jongno district stands Jogyesa Temple, one of the main centers of Korean Buddhism. Here, Dancheong can be seen in its full splendor, especially on the Daeungjeon (Main Hall), where vivid reds and emerald greens contrast beautifully with the natural wood tones. Every beam, eave, and column is adorned with hand-painted motifs such as lotus flowers, stylized clouds, and mythical creatures.

Dancheong is far more than decoration. It follows a strict system of patterns and symbolic colors based on the traditional Korean five-element theory (Obangsaek – 오방색): blue (wood), red (fire), yellow (earth), white (metal), and black (water). These colors are used not only for aesthetic harmony and spiritual balance, but also to protect the wooden structures from weather and insects.

Complementing this visual language are the Cheoma (처마), the multi-layered, upturned eaves characteristic of traditional Korean architecture. These structures are not only functional—distributing the roof’s weight and withstanding strong winds—but also enhance the Dancheong by casting shadows that make the colors come alive under sunlight.

Although the current temple building was reconstructed in 1938, the Dancheong is still applied using traditional methods passed down by generations of skilled artisans. This practice is officially recognized as an Intangible Cultural Heritage of South Korea. In 2023, a commemorative stamp was even issued in honor of this artistic tradition.

Cine Cusí (Sala Edison)

1905

Architect: Josep Azemar i Pont

Casa Vicenç Salleras

1904

Architect: Josep Azemar i Pont

Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual. This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting. In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset. Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'. This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant Tali Tamir August 2010

Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual. This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting. In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset. Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'. This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant Tali Tamir August 2010

Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual. This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting. In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset. Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'. This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant Tali Tamir August 2010

Mirit Ben Nun: Shortness of breath 'Shortness of breath' is not only a sign of physical weakness, it is a metaphor for a mental state of strong desire that knows no repletion; more and more, an unbearable glut, without repose. Mirit Ben Nun's type of work on the other hand requires an abundance of patience. This is a Sisyphean work (requiring hard labor) of marking lines and dots, filling every empty millimeter with brilliant blots. Therefore we are facing a paradox or a logical conflict. A patient and effortful work that stems from an urgent need to cover and fill, to adorn and coat. Her craft of layering reaches a state of a continuous ceremonial ritual. This ritual digests every object into itself - useful or discarded -- available and ordinary or rare and exceptional -- they submit and devote to the overlay work. Mirit BN gathers scrap off the streets -- cardboard rolls of fabric, assortments of wooden boards and pieces, plates and planks -- and constructs a new link, her own syntax, which she alone is fully responsible for. The new combination -- a type of a sculptural construction -- goes through a process of patching by the act of painting. In fact Mirit regards her three dimensional objects as a platform for painting, with a uniform continuity, even if it has obstacles, mounds and valleys. These objects beg her to paint, to lay down colors, to set in motion an intricate weave of abstract patterns that at times finds itself wandering the contours of human images and sometimes -- not. In those cases what is left is the monotonous activity of running the patterns, inch by inch, till their absolute coverage, till a short and passing instant of respite and than on again to a new onset. Next to this assembly of garbage and it's recycling into 'painted sculptures' Mirit offers a surprising reunion between her illustrated objects and so called cheap African sculpture; popular artifacts or articles that are classified in the standard culture as 'primitive'. This combination emphasizes the difference between her individualistic performance and the collective creation which is translated into cultural clichés. The wood carved image creates a moment of peace within the crowded bustle; an introverted image, without repetitiveness and reverberation. This meeting of strangers testifies that Mirit' work could not be labeled under the ´outsiders art´ category. She is a one woman school who is compelled to do the art work she picked out to perform. Therefore she isn't creating ´an image´ such as the carved wooden statues, but she produces breathless ´emotional jam' whose highest values are color, motion, beauty and plenitude. May it never lack, neither diluted, nor dull for even an instant Tali Tamir August 2010

1916

Mirit Ben Nun
Born August 8, 1966

These paintings express a personal need to delineate images and fantasies abundant with color and emotional explosion. Signs, lines and the materials appear of their own volition
and develop as an external language bridging the eye, the hand and the painted surface.During the making of a painting the power of the shapes emanate from an unconscious
and concealed inner dimension.Line by line, painting after painting while repeating shapes and patterns, a creation
evolves into new shapes and patterns. With a determination that reaches obsession, Mirit Ben-Nun keeps on returning to her art of meticulous decoration. A strong presence of
primitive ornamentation provides the artwork with a tribal facet on one hand and a feminine touch on the other, encompassing embroidery, bead threading and weaving
among others. Ben- Nun’s beautifying urge carries within it an archetypal strata, mythic at times, which empowers her authentic expression.

Dr. Gidion Ofrat and Ami Steinitz

Mirit Ben Nun
Born August 8, 1966

These paintings express a personal need to delineate images and fantasies abundant with color and emotional explosion. Signs, lines and the materials appear of their own volition
and develop as an external language bridging the eye, the hand and the painted surface.During the making of a painting the power of the shapes emanate from an unconscious
and concealed inner dimension.Line by line, painting after painting while repeating shapes and patterns, a creation
evolves into new shapes and patterns. With a determination that reaches obsession, Mirit Ben-Nun keeps on returning to her art of meticulous decoration. A strong presence of
primitive ornamentation provides the artwork with a tribal facet on one hand and a feminine touch on the other, encompassing embroidery, bead threading and weaving
among others. Ben- Nun’s beautifying urge carries within it an archetypal strata, mythic at times, which empowers her authentic expression.

Dr. Gidion Ofrat and Ami Steinitz

Decorado

During the years, Mirit Ben-Nun has participated and exhibited in Art Shows in Israel and around the globe.
Mirit Ben-Nun has sold individual art pieces to private and institutional collectors and holds permanent art installations in a variety of locations throughout Israel and the world.
She had art showings at the Berlin Hilton in Germany, in China and in Italy. In the city of Mari, Italy her art is permanently placed on a plaque in a public location.
In 2018, the Internal Designer, Mrs. Yael Alaloof asked Mirit Ben-Nun to be part of her project at the Holon Institute of Technology. Mirit Ben-Nun went on to graciously donate one of her paintings to be printed on a wallpaper which was placed in the Conference room in Holon Institute of Technology (HIT), building 7, 2nd Floor.

During the years, Mirit Ben-Nun has participated and exhibited in Art Shows in Israel and around the globe.
Mirit Ben-Nun has sold individual art pieces to private and institutional collectors and holds permanent art installations in a variety of locations throughout Israel and the world.
She had art showings at the Berlin Hilton in Germany, in China and in Italy. In the city of Mari, Italy her art is permanently placed on a plaque in a public location.
In 2018, the Internal Designer, Mrs. Yael Alaloof asked Mirit Ben-Nun to be part of her project at the Holon Institute of Technology. Mirit Ben-Nun went on to graciously donate one of her paintings to be printed on a wallpaper which was placed in the Conference room in Holon Institute of Technology (HIT), building 7, 2nd Floor.

During the years, Mirit Ben-Nun has participated and exhibited in Art Shows in Israel and around the globe.
Mirit Ben-Nun has sold individual art pieces to private and institutional collectors and holds permanent art installations in a variety of locations throughout Israel and the world.
She had art showings at the Berlin Hilton in Germany, in China and in Italy. In the city of Mari, Italy her art is permanently placed on a plaque in a public location.
In 2023, Mirit was invited by the Head of the Building Dept. in Ichilov Hospital in Tel-Aviv, Israel to show her art in Permanent exhibits in the hospital’s departments which were recently remodeled and renovated.
Mirit gladly accepted the invitation and consequently today the following paintings are permanently exhibited at:
•8 acrylic paintings on canvas (1 m X 1.20 m) in the IBD Department, Ichilov Hospital, Tel Aviv
•11 Acrylic paintings on canvas at the Lung Dept, Ichilov, Sorasky building, 1st floor , Ichilov Hospital, Tel Aviv.
•38 Acrylic paintings of women on drawing blocks, framed (34.5cm X 24.5cm) located at the Breast Health Clinic, Ofer building, ground floor, Ichilov Hospital, Tel Aviv

La Cabeza de Medusa es una icónica pintura de Caravaggio realizada en 1597 sobre un escudo de madera. Representa a Medusa en el instante de su decapitación por Perseo, con un rostro lleno de horror y dramatismo. Actualmente, se encuentra en la Galería de los Uffizi en Florencia.