Imagine the secrets the trees are keeping
art blog(derogatory)

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@magonka
Imagine the secrets the trees are keeping
a very scrappy comic about just goin with it when u have a good day
Minoan fresco. Aktotiri settlement, Thira, Greece
Tree of Life from Palace of Shaki Khans, Azerbaijan
Inuit carving of a tupilaq (spirit), from Argnagssalik, East Greenland, 1931–32. National Museum of Denmark.
In Greenlandic Inuit religion, a tupilaq (tupilak, tupilait, or ᑐᐱᓚᒃ in Inuktitut syllabics) was an avenging monster fabricated by a practitioner of witchcraft or shamanism by using various objects such as animal parts (bone, skin, hair, sinew, etc.) and even parts taken from the corpses of children. The creature was given life by ritualistic chants. It was then placed into the sea to seek and destroy a specific enemy.
The use of a tupilaq was considered risky, as if it was sent to destroy someone who had greater magical powers than the one who had formed it, it could be sent back to kill its maker instead, although the maker of the tupilaq could escape by public confession of their deed.
Because tupilaq were made in secret, in isolated places and from perishable materials, none have been preserved. Early European visitors to Greenland, fascinated by the native legend, were eager to see what tupilaq looked like, so the Inuit began to carve representations of them out of sperm whale teeth.
Today, tupilaq of many different shapes and sizes are carved from various materials such as narwhal and walrus tusk, wood and reindeer antler. They are an important part of Greenlandic Inuit art, and are highly prized as collectibles.
Antun Masle, Ružičasti stol / Pink Table, 1966.
The Little Mermaid (1968)
snoopy of the day
Michael Cunningham, The Hours
art + lemony snicket
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Summer Solstice
by Stacie Cassarino
I wanted to see where beauty comes from without you in the world, hauling my heart across sixty acres of northeast meadow, my pockets filling with flowers. Then I remembered, it’s you I miss in the brightness and body of every living name: rattlebox, yarrow, wild vetch. You are the green wonder of June, root and quasar, the thirst for salt. When I finally understand that people fail at love, what is left but cinquefoil, thistle, the paper wings of the dragonfly aeroplaning the soul with a sudden blue hilarity? If I get the story right, desire is continuous, equatorial. There is still so much I want to know: what you believe can never be removed from us, what you dreamed on Walnut Streetin the unanswerable dark of your childhood, learning pleasure on your own. Tell me our story: are we impetuous, are we kind to each other, do we surrender to what the mind cannot think past? Where is the evidence I will learn to be good at loving? The black dog orbits the horseshoe pond for treefrogs in their plangent emergencies. There are violet hills, there is the covenant of duskbirds. The moon comes over the mountain like a big peach, and I want to tell you what I couldn’t say the night we rushed North, how I love the seriousness of your fingers and the way you go into yourself, calling my half-name like a secret. I stand between taproot and treespire. Here is the compass rose to help me live through this. Here are twelve ways of knowing what blooms even in the blindness of such longing. Yellow oxeye, viper’s bugloss with its set of pink arms pleading do not forget me. We hunger for eloquence. We measure the isopleths. I am visiting my life with reckless plenitude. The air is fragrant with tiny strawberries. Fireflies turn on their electric wills: an effulgence. Let me come back whole, let me remember how to touch you before it is too late.
Li Qingzhao, tr. by Jiaosheng Wang, from Complete Poems; "Tune: The Pertridge Sky,"
A Shot. // Cate Blanchett by Robin Sellick - 1994
“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… It remembers little things, long after you have forgotten everything.”
— Aaron Siskind
[A white fortune cookie paper with black text on the front and an icon of a bee. It reads: There are big changes ahead for you. They will be good ones!]
Fatima Ronquillo (Philippines, 1976) - The Artist's Eye and Hand with Jasmines and Sweetpeas (2022)
Christina Ramberg, Untitled (Women Covering Head), ca. 1968, felt-tip pen on paper, 7 ¼ × 4 ¼". © Estate of Christina Ramberg.
Medieval stained glass fragment incorporated in a later window at the church of All Saints, East Barsham (Norfolk)
image from here