ceiling lights square spot

Square spot light images

Transparent light images

Modern old fashioned ceiling lights

Light ashes of the singularity images

Ceiling led lights

Space light for tube lights

Striking images lights on

Jaguar warning lights images icons

A tall, dark building stands in the middle of the frame, bathed in a green light. The building is only partially visible through the thick fog that engulfs the scene. The fog seems to be glowing green, adding to the eerie and otherworldly atmosphere. Several street lights on poles are visible in the foreground, barely cutting through the darkness with their weak light. A single figure is silhouetted in the bottom left of the frame, walking toward the building. The image is composed in a way that emphasizes the sense of mystery and isolation, with the building as the central focal point. The use of dark colors and fog creates a sense of foreboding and unease. The green light emanating from the building suggests an artificial or unnatural source, adding further to the mysterious and unsettling mood of the image.

A deep purple male fox/wolf hybrid fursona with navy blue natural lightning bolt pattern across his body he has emerald green eyes wears a purple plaid hoodie with a light grey hood and a black pair of square frame glasses

A tall, dark building stands in the middle of the frame, bathed in a green light. The building is only partially visible through the thick fog that engulfs the scene. The fog seems to be glowing green, adding to the eerie and otherworldly atmosphere. Several street lights on poles are visible in the foreground, barely cutting through the darkness with their weak light. A single figure is silhouetted in the bottom left of the frame, walking toward the building. The image is composed in a way that emphasizes the sense of mystery and isolation, with the building as the central focal point. The use of dark colors and fog creates a sense of foreboding and unease. The green light emanating from the building suggests an artificial or unnatural source, adding further to the mysterious and unsettling mood of the image.

A serene landscape at dawn, symbolizing new beginnings and hope. Soft pastel colors like light blue, lavender, and hints of gold can be used to create a calm and peaceful atmosphere. An black woman standing at a distance, facing the horizon. The figure is looking forward, symbolizing the act of moving on and looking towards the future. Behind the central figure, there are faint, shadowy images representing past traumas. These shadows are depicted as fading or being absorbed into the ground, indicating that they belong to the past and should stay there. Near the shadows, there could be subtle, semi-transparent outlines of monsters growing larger as they move closer to the central figure, symbolizing how recounting trauma can feed and enlarge those past experiences. Rays of sunlight breaking through the horizon, bathing the central figure in light, symbolizing hope, healing, and moving forward. The light diminishes the shadows and monsters, showing that focusing on the future can diminish the impact of past traumas.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green mini skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In Medellín, Colombia, in 1977, an upper-class home typically featured a mix of modern and traditional Colombian architectural styles. The house would often have a large, whitewashed or pastel-colored façade with clean lines, accented by red clay roof tiles. Large, wrought-iron gates or fences enclosed the property, leading to a well-maintained garden with tropical plants, such as bougainvillea and palm trees. Expansive windows with wooden or ironwork frames often provided natural light while maintaining a touch of privacy. Many homes had a spacious balcony or veranda overlooking the street, adorned with decorative railings and potted plants. The overall look was elegant yet unpretentious, reflecting both sophistication and connection to local heritage.