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Caylin Capra-Thomas, “Voice of the Woods on Fire”

Moths are clustering and flocking softly in vast numbers around the bomb, settling on it first as snow might fall on land then as coccolithophores might rock to ocean floor, building up in depth, thorax to thorax and wing to wing, leaving tiny glittering squares of wing powder, until they reach such vibrant density that it seems to those in the Green Chapel that they might contain anything, block out any source of light, soften any blow.

Robert Macfarlane and Stanley Donwood, from Ness, Ghostways: Two Journeys in Unquiet Places (W. W. Norton & Company, 2020; orig. pub. 2018)

littlealienproducts

8 x 10 print of matisse goldfish with cat from fuffernutter

50meters

Antonio Frasconi Illustration from A Book of Many Suns, 1962 (printed in Graphis magazine, issue 100)

arsvitaest-deactivated20260111

Collage by Colombian artist María Berrío (b. 1982)

museiums

artist: liv lee

the-final-sentence

As though the world was made for them to exist in it, as though they want not to tip their head back, take the whole damn thing in their throat.

Ryan Dzelzkalns, from “A Working Definition of the Monstrous” (via the-final-sentence)

thunderstruck9

Shane Cotton (New Zealand, b. 1964), Kei muri ngā mea i te rā / Things behind the sun / Dans les coulisses du soleil, 2021. Acrylic on canvas, 200 x 160 cm.