Floral Poetry at Botaniska Trädgården

Nordic Sun + Botanical Garden + Digital Camera = …

Milla Kazimir in Sweden

Purple Iris Group in Monet Style

Milla Kazimir in Sweden

Pink head flowers in a white petal sea

Milla Kazimir in Sweden

Yellow lilies and a gourmand bee

Milla Kazimir i Sverige

Smily Daisies


Saxifraga trifurcata




Victims, each one, for his own survival, how many breaths divide us? Vittime, ognuno, della propria sopravvivenza, quanti respiri ci dividono? Victimes, chacun, de la propre survie, combien de souffles nous divisent?

Les circuits

Les pieds baissent dans la boue de l’obligation, étroits par les ronces de la nécessité, je ne pouvais que suivre la crue, la rapidité mécanique et assourdissant des événements quotidiens.
Un jour tu es mort. Le cancer aux poumons avait englouti toute la lumière des tes yeux, quelques mois après avoir obtenu ton retraite. La même lumière s’est cassée devant mes pieds, en ouvrant un vérité inconnue et jamais imaginée jusqu’à ce moment.
Je ne voulais pas dérailler de la crue pour fermer mes yeux définitivement. Ta mort était comme un ouragan que m’avais lassait nue et vide. Ta mort m’avait donné une nouvelle vie, sur le parcours de la connaissance.
Moi, j’avait choisi, finalement.

Another Life

Les circuits et la crue de la vie quotidienne

Mon parcours…

Il y a 4 ans j’ai décidé de suivre un parcours. Je ne dormais plus, j’étais fatiguée par le travail dans ma maison et dans les magasins, je passais trop de temps dans ma voiture pour aller travailler et faire mes courses. Pas de temps pour penser à moi et à mes désires. Un beau jour j’ai quitté le travail, vendu la voiture et j’ai changé de maison et des amis, j’ai tout changé, mon point de vue aussi. J’ai étudié pour le master en traduction et j’ai choisi de faire des traductions techniques pour vivre. Je traduis encore, dans ma maison; j’apprends des nouvelles choses presque tous les jours sur l’économie, l’informatique, le mécanique… Et puis, j’ai commencé à m’intéresser à l’existentialisme, aux philosophies orientales et à la méditation. C’est dans ce cadre que naît mon projet photographique sur l’existentialisme. Je voudrais voir plus de conscience dans les gens, plus de clarté et de sincérité.

Would you follow my path to freedom?

Existentialism Series

Finally, I created a new page on my Official Website. It’s called “Existentialism” and includes an unreleased collection of some of my photography artworks. LINK: Existentialism

Now the first work is Existence: there are many photos, as well as a poetry in English and French. “Existence” is dedicated to feelings and thoughts, reflections, questions, dilemma about human conditions in post-modern era, in relation to nature (seawater, waves and sunset) and urban places (underpasses, with their typical light/shadow situations). Consider these images as a time suspension, a moment to stay in silence with your inner side trying to feel yourself calm and quite.

“Existence” had to be published on a book, but I couldn’t find anything really affordable regarding print and distribution systems, so I ended up publishing it on Internet, free to everyone with an available Internet connection. Please share to friends, even if they are not connected!
Thank you, reader! Have a nice life!

Femicide N°1


Titolo: Femicide N°1

Autrice: Milla Kazimir

Dimensioni: verticale 20×30 cm

Tecnica: acrilico, medium e vernice lucida, tempera su tela e tavola

Data di realizzazione: gennaio/febbraio 2012

 Soggetto e interpretazione

Donna scuoiata su sfondo rosso e ombra di uomo stilizzato che sta per afferrarla.

La figura femminile è priva dei segni di femminilità esterni: pelle, che tanto ci accaniamo a coprire di creme; trucco e rossetto, con cui esaltiamo la bellezza esterna; capelli, strapazzati dalle tinture e dalle messe in piega, per avere un’immagine accettabile; seni e apparato genitale, escavati, vuoti e secchi, contro l’idea generale che li vuole pieni, sia di latte, di sangue o di altri liquidi; i rivoli rossi di sangue fresco e il giallo della carne in putrefazione sono il simbolo dell’inutilità della femmina se le manca tutto quello appena descritto.


L’ombra dell’uomo stilizzato sogghigna e mostra la sua arma fisica, sta per acchiappare la figura femminile. La figura è stilizzata a indicare il suo rappresentare tutti i maschi violenti, manifesti o meno. Appare collegato alla femmina con sottili fili neri: l’interdipendenza è sempre presente, anche, e a volte soprattutto, nei momenti di violenza. Ma forse vuole rappresentare maggiormente la superiorità del carnefice, spesso perdonato dalla femmina, fino all’atto risolutivo.

Lo sfondo è rosso, il colore del sangue che versiamo lottando ogni giorno contro discriminazioni di diverso tipo, economiche, culturali, o semplicemente “perché siamo nate così”.


Ulteriore interpretazione

La crudezza della scena non ha lo scopo di spaventare, inquietare o nauseare lo spettatore. Queste potrebbero essere reazioni momentanee, prima di arrivare a quella vera: lo scuotimento, il risveglio dalla rassegnazione e dalla disperazione, come trovarsi di fronte al proprio toccare il fondo. Quello scuotimento necessario a prendere coraggio e dire di non volersi più sentire come la femmina del dipinto, a denunciare o a scappare e chiedere aiuto. È il momento dell’annullamento della dignità per riconoscerla e recuperarla.
Per chi si sente meno coinvolto dal tema della violenza sulle donne, vuole essere l’occasione per far prendere consapevolezza dei sentimenti che si possono provare in determinate condizioni.

Ispirazioni artistiche

Il trattamento del soggetto femminile e i filamenti neri sono stati ripresi dallo stile di Francis Bacon (vedere sotto); per la figura maschile non esiste una vera e propria ispirazione se non quella dei fumetti e dei cartoon, con un lieve rimando al giudice Morton di “Chi ha incastrato Roger Rabbit”. Gli occhi della figura femminile invece si ispirano a una scena tratta dal film “L’esorcismo di Emily Rose”.



Title: Femicide N°1
Author: Milla Kazimir
Dimensions: 20×30 cm (7.8×11.8in) Portrait orientation
Technique: Acrylic, glossy medium and varnish, and tempera on canvas and wood
Date: January/February 2012

Subject and interpretation

Flayed woman on red background and shadow of a stylized man who’s going to grasp her. The woman figure was deprived of her external female signs: the skin, with persistence over-covered by lotions and creams; make-up and lipstick, which improve the external beauty; hairs, badly treated through dies and sets, in order to get an acceptable appearance; breasts and genital organs, excaveted, empty and dried, against the broad idea which wants them full, whether of milk, blood or other fluids; fresh blood red rivulets and rot yellow flesh are symbols of female lack of utility, if she misses all the above described things.
The stylized man’s shadow is sneering and showing his physical weapon; he’s going to hold the female figure. The man is stylized to show that it represents all hidden or evident violent men. He appears to be linked to the woman through thin black filaments: interdependence is always present, also, and sometimes above all, in violent circumstances. Perhaps, though, it shows more likely the torturer predominance, often forgiven by the woman, until the ultimate act.
Background is in red color, like blood we pour fighting every single day against any discrimination types, from economical to cultural, or simply because “we were born that way”.


One more interpretation

The roughness of the scene was not thought to stimulate fear, disappointing or sick into the viewer. These emotions could be temporary reactions, before reaching the actual primary emotion: to be shaken inside, to feel the awakening from resignation and desperation, as when one hits the bottom. It’s the same shakening needed to take heart and say not want to be like that painted woman any more, to denounce or escape and ask for help. It’s time to annihilate each one’s dignity, to recognize it and recover it.
To those less involved by this theme of violence against women, this painting would be an opportunity to take awareness of feelings which could be experienced in certain conditions.

Artistic inspirations

The female figure treatment and the black filaments recall Francis Bacon style; for the male figure I hadn’t a particular source of inspiration, except from comics and cartoons, with a light reference to Morton judge from “Who Framed Roger Rabbit”. The female eyes, instead, were inspired by a scene from “The Exorcism of Emily Rose” movie.

Bacon Francis, Three Studies for a Crucifixion, right panel; oil and sand on canvas, 198.2x144.8cm; 1962, NY S. R. Guggenheim MuseumFrancis Bacon, Three Studies for a Crucifixion, 1962. Scanned image from Francis Bacon Skira Mini Art Book

Antique Clocks

I love old clocks, the magic perfection of mechanical pieces, springs and hands, touching one another together to speak the language of time.
I took these photographs during my visit to British Museum and Greenwich few weeks ago, then post-edited applying “time-machine” effect. If you are generally an old-school, history lover, you surely appreciate them 😉

 This clock panel is part of the exposition into Greenwich Observatory. A paradise for clock lovers, as you can imagine…

 Another clock group from Greenwich Observatory. A must-see museum for science addicted!

These photographs are published also as part of my portfolio on www.marymillaft.com/photogallery