aesthesia

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Rising sun (cropped) - Artist unknown, Japanese - c.1904-1905 - via MFA Boston

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“Years ago a friend of mine had a dream about a strange invention; a staircase you could descend deep underground, in which you heard recordings of all the things anyone had ever said about you, both good and bad. The catch was, you had to pass through all the worst things people had said before you could get to the highest compliments at the very bottom. There is no way I would ever make it more than two and a half steps down such a staircase, but I understand its terrible logic: if we want the rewards of being loved we have to submit to the mortifying ordeal of being known.”

— I Know What You Think of Me, Tim Kreider for the New York Times

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Iris van Herpen Spring 2019 Couture

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Maria Lassnig - Schreiende ( Screaming ) - 1981

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Stephen Irwin - Rubbed

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Toshio Saeki

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Carlos Alonso (Argentinian, b. 1929), Manta Salteña. Acrylic on canvas, 250 x 150 cm

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(Atheris squamigera) variable bush viper

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sometimes it really just be like this

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Hilma af Klint (Swedish, 1862-1944)

The Tail of the Swan, 1914

The Swan (No. 17), 1914-15

Hilma af Klint’s paintings are diagrams of a spiritual plane that underlies the visual world. She was a member of a small group of women who would meet to access religious spirits with knowledge of the afterlife.

Gregor, one of the spiritual masters she contacted during these meetings, said to her that the paintings represent “All the knowledge that is not of the senses, not of the intellect, not of the heart but is the property that exclusively belongs to the deepest aspect of your being […] the knowledge of your spirit.”

Hilma af Klint, along with Frantisek Kupka and Wassily Kandinsky, was among the first European artists to create abstract paintings. She wanted to keep her paintings secret from the public until 20 years after her death.

More Hilma af Klint on hideback

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Hilma af Klint, The Swan, No. 04, Group IX/SUW, 1914-15, oïl on canvas, 150 x 150 cm

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Various Carnival “Haunted Fun Houses”

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