@mycrushon

an art collection/inspiration blog. 🔞

[frostedmagnolias]

Sky Blue Flannel Dinner Dress

c. 1909

Augusta Auctions

[horsesarecreatures]

Quarter Horse Filly

[pastart]

Charlie Rojas (2025)

[chromaticabrasions]

caramel frappe give me the strength to clean my room

[chromaticabrasions]

caramel frappe PLEASE

[chromaticabrasions]

#this art is so evocative. it feels like a goya painting 

thank you so much this is the highest compliment

[tintheelvenking]

OP did a lovely job with this piece. The pose they picked is a difficult one to do correctly and dynamically- the doubling over is hard to illustrate without making it look weird or poorly drawn, the low seat of the “pelvis” making the figure dip down lower (to emphasize the clutching motion of the hands) is a hard perspective to imagine without a reference. I liked the way OP chose to draw the shoulders, evoking both the hunching of shoulders that would be present in a fleshier painting and drawing out the strong, dynamic curve of the body.

The blood, the desperate clutch, the crying and the pose all suggest something religious, making the post all the more impactful with its drawing- The caramel frappe does not answer the subject, just as God does not answer the subjects of paintings who depicted the same theme.

It’s also intriguing where OP chose to put details. In amostly minimalist creation, the (relatively) detailed frappe, hands, and face guides your eyes in a a dynamic way- from the frappe to the face, then follows the line of the body out to the end of the legs- making the art more interesting to the eye.

I have a theory about the colors that I’m not sure is true, but I think the subject being black and white separates it from the frappe, which is fully colored. The blood, neither frappe nor person colored, acts as a connector between the two– the only ways the two subjects can connect are through touch and sight, both of which causes the human subject pain. Then again, I may be reading into things too much idk

[chromaticabrasions]

okay this is my favorite comment on this entire post

[louisegluckpdf]

umm how to be a dog by andrew kane. btw.

[louisegluckpdf]

in case you didnt fucking know

[kitties-of-flickr]

The devil within… my sofa

2010

[wolfblod]

Art by me, 1st grade

[the-cozy-room]

Hannah Queen - I’ve found heaven and it looks like this: a bed on a porch, beside a babbling creek.

[femmeinvelvet2-moved]

Lesbian wrestling party Valentine Violence by Sex and Rage, February 2025

[thunderstruck9]

Austin Hayman (American, 1989), Let The Boys Play, 2025. Oil on canvas, 28 × 22 in.

[sesiondemadrugada]

Noelia Towers.

[batmanbeyondrocks]

Black Menswear modelled by Black Men

Creative Director Rock Mitchell

[kowabungadoodles]

[cinematicjourney]

Death in Venice (1971) | dir. Luchino Visconti

[vibrantessence]

[our-queer-experience]

we DO grow old and happy. btw.

[imconfusedallthetimehelp]

And you find love and it stays with you.

[irisbleufic]

Older women are so, so beautiful, and older trans women are no exception. Celebrate the beauty of our elders! Celebrate trans beauty!

[our-queer-experience]

^^^

[stayingmachine]

I wanted to share some more of these, specifically trans women of color. The images I'm posting are from a project called To Survive On This Shore and it's an interview project. I am only posting a handful so it's so worth checking out!

This is Linda, 60

Alexis, 64

Helena, 63

Kendrah, 72 (!!)

Tasha, 65

It was deeply healing to me to discover this project. The site has selected photos and attached interviews and it's definitely worth your time. I didn't include any because the focus of this post imo is transfems but there are a lot of beautiful interviews with transmasc people too if you're interested! But that'll have to be another post 💖

[houndmother]

for those interested, the photographer is Jess T. Dugan. The link to this particular project is as follows:

To Survive on This Shore — JESS T. DUGAN

[gaybichon]

i think i found my new favorite artist on twitter

(source)

[gaybichon]

👆 me

[funeral]

Chefetz and Bromberg, “Talking With ‘Me’ and ‘Not-Me’”