[id: four pictures in consecutive order, all depicting various paintings by anne magill. paintings are mostly soft greys and charcoals, all done in magill's characteristic style reminiscent of vague dreams, memories and out-of-focus photographs. superimposed on the paintings are bits of torn paper with text seemingly written on a typewriter. first picture is the painting on the journey home depicting a male standing over a body of water on a rocky shore. he's looking down at the surface, his back turned to the viewer. text split between two bits of paper reads: "face down in the water, I drifted away". second picture is the painting evening light. two people are sitting next to each other on the shore overlooking a lake or a river. the one on the left, centrally located in the picture, is a male sitting with his knees drawn to his chest. he's looking to the right at the person next to him. the person on the right is only partially visible and is looking at the water. in the distance, vague shapes and lights reflect on the surface. the writing, split between three bits of paper, reads: "from your considerate fingertips, from your courteously averted gaze, from your concerned tone of voice". third picture is the painting sea breeze. it depicts a man standing on a rocky shore, looking out at the sea. he's wearing a knee-length coat and keeps his hands in the pockets. sunlight reflects off the waves. there is only one piece of paper visible, with only one word on it: "love,". last picture is the painting menhir. it depicts a dark silhouette of a man standing with his back turned to the viewer. his head is down and his shoulders are slightly hunched. he's taking up most of the space; aside from him, only dark sky and vague dark horizon line is visible. the writing on a long, centrally located bit of paper reads: "I hope your kindness won't find me here". /end id]
full text:
face down in the water, I drifted away
from your considerate fingertips,
from your courteously averted gaze,
from your concerned tone of voice
love,
I hope your kindness won't find me here
all paintings used (on the journey home, evening light, sea breeze, menhir) belong to the unparalleled anne magill whom I've been a fan of since I was a wee lil guy able to google "art that makes me hurt".
check out more of her works and exhibitions here -> https://annemagill.com/
376. fathers, do not provoke your children to wrath
[id and full text under the cut]
[id: seven pictures in consecutive order, all depicting various black and white wood engravings by gustave doré, with blocks of glowing white and crimson text superimposed. every time the words "cain" or "abel" appear, they are written in crimson instead of white. first picture, "the death of abel", is a bible illustration depicting the moment after cain kills abel. cain is seen supporting himself heavily with his left hand on a rock; in his right he holds a club. he is looking down, but whatever he's looking at is out of frame. the sky above is obscured by dark clouds partially illuminated by lightning. the writing reads: "cain wrings all his stones of blood and sings praises of a kinder god. blood shifts into water fast, which he gifts himself at longest last. thirsty cain gulps water down, drowning pain and father’s frown." second picture is an illustration for divine comedy, "the vessel". two men dressed in robes are standing on the shore of a large body of water, covered with sparse vegetation. one is on his knees and the other leans over him, placing a hand on his back in a supportive manner. in the distance an elegant boat is seen approaching shore, seemingly manned by angels. the writing reads: "water's sweet and gentle ease nurtures wheat and cain when he says please. kinder god takes care of cain. he loves all flawed men and damaged grain. cain says please and gets to drink, on his knees cain prays, all parched and pink." third picture is an illustration for john milton's paradise lost, "god and his son". god, depicted as an old man dressed in robes and wearing something reminiscent of a laurel wreath. he's sitting in a grouping of clouds and below him a great number of angels can be seen. the writing reads: "the cruel god averts his eyes; lonely is the rule over his skies. no place here for such delights, only tragic grace and poignant rites. made to look from victim’s throne, betrayed abel grips a borrowed stone." fourth picture is another divine comedy illustration, "arrival at purgatory". two men dressed in robes are standing on the edge of a cliff overlooking a nondescript scenery. the writing reads: "meanwhile, cain loves every bud and his water turns as thick as blood. fruit and grain grow rich and strong, singing harmonies to cain’s sweet song. kinder god loves few blessed hymns, just those that laud cain, and those he sings." fifth picture is another paradise lost illustration, "angels of heaven blow their trumpets in victory". a group of winged dark silhouettes is standing on a hill that may be a mound of bodies. most of them are blowing long, slender trumpets. surrounding the hill is a mass of their opponents; some are monstrous, some appear human, but have bat-like wings. many of them are riding ghostly horses. the writing reads: "seraphim sing their cursed verse. they dream, envious of what’s perverse. abel sings his rue and rage, rings knells of requite, rampage. he trades puppeteers for stones, shades of fathers for crushing of bones." sixth picture is another bible illustration, "death on the pale horse". an almost skeletal man dressed in dark robes and holding a scythe is seen riding through the dark sky. he is looking to the side. his horse seems ghostly. behind him a cordon of humanoid monsters follows. the writing reads: "seraphim shake, abel’s out of breath. death shows little but sees all, it knows well abel won’t take the fall. though no fools will kiss the rod, for rules’ sake death asks:", and then in a separate block of text: “where is thy god?”. the question is written in crimson instead of white. last picture is another paradise lost illustration, "satan makes his way through eden". on the left there is a cliff covered here and there by bushes. below the cliff is a lush forest scenery - eden. it's either dawn or dusk. a dark silhouette with bat-like wings can be seen climbing atop the cliff. the writing reads: "abel’s eyes fix on the reaper", and in a separate block of text: "he replies: am I my jailer’s keeper?" the question is written in crimson. /end id]
full text:
cain wrings all his stones of blood
and sings praises of a kinder god
blood shifts into water fast,
which he gifts himself at longest last
thirsty cain gulps water down,
drowning pain and father’s frown
water's sweet and gentle ease
nurtures wheat and cain when he says please
kinder god takes care of cain;
he loves all flawed men and damaged grain
cain says please and gets to drink,
on his knees cain prays, all parched and pink
the cruel god averts his eyes;
lonely is the rule over his skies
no place here for such delights,
only tragic grace and poignant rites
made to look from victim’s throne
betrayed abel grips a borrowed stone
meanwhile, cain loves every bud
and his water turns as thick as blood
fruit and grain grow rich and strong,
singing harmonies to cain’s sweet song
kinder god loves few blessed hymns,
just those that laud cain, and those he sings
seraphim sing their cursed verse
they dream, envious of what’s perverse
abel sings his rue and rage,
rings knells of requite, rampage
he trades puppeteers for stones,
shades of fathers for crushing of bones
to take the cruel god comes death
seraphim shake, abel’s out of breath
death shows little but sees all,
it knows well abel won’t take the fall
though no fools will kiss the rod,
for rules’ sake death asks: “where is thy god?”
abel’s eyes fix on the reaper;
he replies: “am I my jailer’s keeper?”
all illustrations used are wood engravings by gustave doré. they are as follows:
the death of abel (the bible)
the vessel (divine comedy)
god and his son (paradise lost)
arrival at purgatory (divine comedy)
angels of heaven blow their trumpets in victory (paradise lost)
death on the pale horse (the bible)
satan makes his way through eden (paradise lost)
[id: three pictures in consecutive order, all depicting parts of a watercolour and gouache painting by hugo simberg, "the garden of death", with yellowish, outline-only writing superimposed. first picture is the central part of the painting: a skeleton clad in black robe is seen standing behind a long counter or crate made out of planks, with various potted plants lined up on top. the skeleton is carefully cradling a blue flower to its chest; the skeletal smile gives off an eerie feeling of joy. the writing reads: "I had a garden. and then it came, pointed at the flowers and whispered in my ear: darling, those are weeds." second picture is the top-left part of the painting: a skeleton, also clad in black robes, is seen tending to flowers lined up on a different counter, closer to the viewer. it has its left hand propped up on the counter, the skeletal hand visible, while its right is holding a green watering can, watering red, small potted flowers. the skeleton seems to be looking down at the flowers intently. the writing reads: "so there I was, standing, waiting for it to pull me out of the ground." third picture is the top-right part of the painting: a skeleton, also wearing a black robe, is seen standing behind the farthermost counter with its back turned to the viewer. the skeleton is partially obscured by tall reddish flowers. perhaps because of how the robe is designed, the skeleton seems to be hunching. the writing reads: "forever nothing but a garden-variety inconvenience." /end id]
full text:
I had a garden
and then it came,
pointed at the flowers
and whispered in my ear:
"darling, those are weeds"
so there I was,
standing,
waiting for it to pull me out of the ground
forever nothing
but a garden-variety inconvenience
painting used: the garden of death, painted in 1896 by a finnish artist hugo simberg
[id: three pictures in consecutive order, all maintained within a washed-out, reddish-green colour palette. they all have blocks of text superimposed, the font seemingly splitting into a solid, reddish part, and slightly offset white outline. first picture depicts a part of the antelope canyon, a famous slot canyon. photo looks to be taken from the bottom of the canyon. characteristic winding sandstone formations can be seen twisting upwards, leading to a narrow opening in the top right corner of the picture, through which light is pouring down. the writing reads: "you're a riverbed that watched a drought. sleepless and still as death. a poem for the dying world." second picture depicts a part of wat rong khun, the white temple in chiang rai, thailand, an art exhibit designed and constructed by chalermchai kositpipat. in the picture, hundreds of hands are reaching upwards. upon closer inspection, it becomes clear not all of them are human; some of them, like the one in the centre, have sharp claws and demonic appearance. the writing reads: "I'll crawl out of the earth of your anguish. I'll burrow out of your hold with my claws." third picture depicts a close-up shot of a predator's skull, perhaps a mountain lion. the skull is missing its lower jaw, and one of the canines closer to the viewer is damaged. near the nasal area, some mostly decomposed tissue is still visible, along with bits of fur. the writing reads: "the crack of your bones in my teeth will sound sweet like a love letter." /end id]
full text:
you’re a riverbed that watched a drought
sleepless and still as death
a poem for the dying world
I'll crawl out of the earth of your anguish
I'll burrow out of your hold with my claws
the crack of your bones in my teeth will sound sweet like a love letter
photos by:
vlad chetan
yaopey yong
marc pascual (makamuki0)
first picture is navajo antelope canyon, second - the white temple in thailand (wat rong khun). both locations are incredibly beautiful - visit if you can, or at least give them a quick google
[id: three pictures in consecutive order, all featuring paintings from the anubis collection (anubis. thin places) by joanna karpowicz. paintings are acrylics on paper, all dominated by cool blues, indigos and greys, all depicting the egyptian god of death, anubis. the pictures all have glowing light blue writing superimposed, the font reminiscent of neon signs. first picture is the painting hotel. it's night. anubis is shown from the back taking up the central space at the very bottom of the painting. he's wearing a dark coat and is walking down the empty street towards a dingy hotel. a red neon sign spelling "hotel" is visible, but the light is dim, muted by the blue night aura. the artist's signature can be seen in the bottom right corner. the writing reads: "I am found at airports and gas stations. I am found when I'm sitting on benches, huddled shyly together in massifs of their shopping malls." second picture is the painting into the magic kingdom. it's night, too, and anubis is shown from chest up, also from the back, but this time he is slightly turned, so the outline of his snout is also visible. he is taking up the bottom left corner of the painting, looking out at the sight before him: a dirt road covered in snow and beautiful snowy mountains with three distinctive peaks in the distance. a car can be seen driving away, already very small. a small splotch of light from its reflectors is lighting the way, and two red rear lights are visible, but they're rather low, dominated by the wintery aura. the writing reads: "I am found when I'm driving on the highway at night. I am found when I'm fading away in hospital waiting rooms, before doctors remind me of my existence." third picture is the painting remember the snow?. it's night, presumably winter. a rural town scenery is seen, with a heavy construction near the left edge - perhaps a church, as a structure reminiscent of a bell sits on top of it. the construction is surrounded by bare trees, and a solitary one can also be seen in the centre-right portion, a lot closer to the viewer. on the right, a grey road is visible, with two cars driving, their lights small. at the very edge there is a grouping of small buildings. anubis is near the centre of the painting, small in the distance, seemingly looking straight at the viewer. he has his hands in his pockets. a path covered in snow is leading from him to the viewer, as if they were standing on two opposite sides of the path, facing each other. the writing reads: "I am a liminal space masquerading as a person. this is why I am never at home." / end id]
full text:
I am found at airports and gas stations. I am found when I'm sitting on benches, huddled shyly together in massifs of their shopping malls. I am found when I'm driving on the highway at night. I am found when I'm fading away in hospital waiting rooms, before doctors remind me of my existence.
I am a liminal space masquerading as a person. this is why I am never at home.
paintings used are as follows: hotel, into the magic kingdom, remember the snow?, all by the wonderful joanna karpowicz. you can find more of anubis and her other amazing works here.
[id: five pictures in consecutive order, all depicting blurry, out-of-focus photos of rainy scenery and wet roads, all maintained within a cool, bluish colour palette. all have bright, blurry writing superimposed. first picture is a close-up shot of raindrops on a car window; blurry car lights are visible beyond. the writing reads: "it could be me. these are the things I know:", and there is a line art picture of two umbrellas next to the text. second picture is a close-up shot of a bike leaning on a cement construction. the bottom half of the picture is occupied by a large puddle in which the bike's reflection is visible. the writing reads: "the smell of asphalt after rain. the way spokes break away from the wheels." next to the writing, there is a line art picture of a boy crying, with a raincloud hovering over his head. third picture depicts a curving wet road in the woods. the writing reads: "the impact, the force, the feeling of teeth flying out of my mouth." underneath the writing, a line art picture of three loose teeth is visible. fourth picture depicts a dirt road in the woods, partially obscured by branches. on the right, a little crying girl is barely visible. the writing reads: "it could be me. I close my eyes and cover my ears." next to the writing, there is a line art picture of two closed eyes. fifth picture is a close-up shot of wet pavement. near the upper edge, car wheels are barely visible. red car lights reflect in the puddles, partially colouring the sidewalk red. next to the writing in the centre, there is a line art picture of a bike. the writing reads: "I am forever six, and my friend never stops dying." /end id]
full text:
it could be me.
these are the things I know: the smell of asphalt after rain. the way spokes break away from the wheels. the impact, the force, the feeling of teeth flying out of my mouth.
it could be me.
I close my eyes and cover my ears.
I am forever six, and my friend never stops dying.
photos by: dhyamis kleber, dayvison de oliveira silva, marco trinidad, lucas pezeta, marlana broadway
356, part 1. ritual sacrifice and other homosexual activities
[id and full text under the cut]
[id: three pictures in consecutive order all depicting different fragments of the statue "lacoön and his sons". all pictures are maintained within a pale beige colour scheme, with neon grey and purple text superimposed. first image shows the son on the right, visible from neck down, who lifts his left leg trying to free himself from a sea snake wrapping around it. the writing is split into two blocks, the first one reads: ""I can love you when you're like this," he says. he ties me up and tells me how pretty I am. the rope chafes; I am shedding my skin. I am mutating. I don't know what's about to come out." the second reads: "quit your trembling," he says. "I'm here. what more do you want?"". second picture depicts a close up shot of the space between lacoön and his son on the right. lacoön's hand is visible, grasping a snake coiling around his son and himself. the right arm of his son can also be seen, with a snake curling around it, however, his hand is missing and only a marble stump remains. the writing is also split into two blocks. the first one reads: "he bleeds me dry like a dog. he tears me to pieces with his hands. I try to gnaw through my paws to escape, but I can't get past the bone." the second reads: "he eats me bite after bite, and chews thoughtfully." third picture depicts a close up shot of the son on the left. he is visible from hips up, and is trying to fight off a snake wrapping around his arms and torso. his right shoulder is in a position suggesting he is reaching up. however, the entire arm is missing and only a marble stump remains. he is looking up in dismay. the writing reads: "I am made beautiful on this plate, at least." the word "beautiful" is written in a bigger font and stands out from the rest. /end id]
full text:
"I can love you when you're like this," he says. he ties me up and tells me how pretty I am. the rope chafes; I am shedding my skin. I am mutating. I don't know what's about to come out.
"quit your trembling," he says. "I'm here. what more do you want?"
he bleeds me dry like a dog. he tears me to pieces with his hands. I try to gnaw through my paws to escape, but I can't get past the bone. he eats me bite after bite, and chews thoughtfully.
I am made beautiful on this plate, at least.
the statue is "lacoön and his sons". all photos by george m. groutas.
329. god, is this what I get? a knife to the neck and a lifetime of redhead jokes?
[id and full text under the cut]
[id: five pictures in consecutive order, all maintained within a vibrant blue-pink-violet colour palette, with bright white writing superimposed. first image depicts a shaggy dog growling and baring its teeth, glaring down straight into the camera. the writing reads: "pretty face, ugly head. feather-words and thoughts of led. nobody loves you, boy". second image depicts a close up shot of an angry, frowning teenage boy with curly reddish hair. he has his hood up and the bottom half of his face is covered by a red bandana. the writing reads: "cut your hair, dye it red. leave the heart, pierce the nose instead. nobody loves you, boy!". third image is a simple background with a blue-pink gradient and writing that reads: "aaah, this is it, mom. I figured it out". fourth image depicts a small lamb lying curled up in long, dry grass. the writing reads: "isaac, isaac, lay your head. though you cried, though you pled. nobody loves you, boy". fifth image depicts a portion of the painting "the sacrifice of isaac" by rembrandt. a young boy with bare chest is seen lying with his hands tied behind his back, and a hand of an adult man holding his head back, covering his mouth and baring his throat. the writing reads: "isaac, isaac, lay your head. god wants death but the ram has fled. and nobody loves you, boy!". sixth image depicts a portion of the painting "fallen angel" by cabanel. a muscular winged man is seen from the chest up, clasping his hands together, partially obscuring his face. only the upper half of his face is visible with his red curly hair snapping in the wind. his brow is curled over hooded, red-rimmed eyes with deep shadows underneath. a tear can be seen slowly rolling from the inner corner of his right eye. his gaze is full of hurt and rage. the writing reads: "isaac, isaac, mom's pride and joy. no one loves a redhead boy". /end id]
full text:
pretty face, ugly head feather-words and thoughts of lead nobody loves you, boy
cut your hair, dye it red leave the heart, pierce the nose instead nobody loves you, boy!
aaah, this is it, mom, I figured it out
isaac, isaac, lay your head though you cried, though you pled nobody loves you, boy
isaac, isaac, lay your head god wants death but the ram has fled and nobody loves you, boy!
isaac, isaac, mom's pride and joy no one loves a redhead boy
photos and paintings by: marek bubenik, paul seling, rembrandt, cabanel
for various reasons I’ve been thinking about cowboy wizards an unhealthy amount lately and thus those were born. is the neckerchief a cowboy version of the wizard beard trope? yes it is. is the guy drinking literal moonshine? yeah probably. do I hate drawing horses and backgrounds? yeah I do bud
