#maybe I’ll incorporate my love of landscape painting

[theprologues]

SUBMISSION - Grammys performance symbolism, part two

So, with those reservations safely out of the way, and a warning to readers NOT to hurt themselves by getting their hopes up again … 

What aspects of Taylor’s Grammy’s performance made me think there might be light at the end of the tunnel for Kaylor? 

First, Taylor’s blue and gold performance dress. “Deep blue but you painted me golden” is a line from Dancing With Our Hands Tied, a song that is widely assumed to be about the night of Kissgate. It’s a song where Taylor talks about how miserable (“deep blue”) she was after the collapse of her relationship with Diana and her public reputation in 2013. She describes how her new lover, Karlie, brought her back to life and lit her up with the glow of a new, true love. She painted her golden. But then they were caught in an intimate moment at Kissgate, and Taylor panicked. Her fears and anxieties threatened to drown her, and though she and her new lover tried to dance through the catastrophe, they eventually came to realize they were doing so with their hands tied. They had no hope of swimming to the surface together and breaking free. They could only have done so if Taylor had stood firm and owned their love in the moment, instead of setting in motion the bearding contracts that would change everything. (This is what she means when she says that “if I could dance with you again”, she would “kiss” and “hold” her lover, instead of presumably backing away. If she could do the moment over, she would claim Karlie as her lover, and hold her hand for the world to see, through hell or high water.) 

Though it’s a depressing motif in DWOHT, Taylor has, interestingly, returned to this imagery of a golden tie several times in other songs, painting it in a much more positive light. Most recently, the Willow music video explores this, visually representing the “single thread of gold that tied me to you” which Taylor sings about in Invisible String. Both IS and Willow are happy songs, which describe their lovers as being tied together by fate. “Wherever you go, I’ll follow,” Taylor sings in Willow. In DWOHT, the lovers followed each other to a place of deepest blue. The bottom of the ocean, under the waves, where they couldn’t breathe. In Willow they follow each other to freedom.

That freedom is represented in the Willow music video by the open cabin door the lovers step through at the end of the video. Taylor incorporates this door into the Willow section of her Grammy’s performance, performing first in the open doorway and then stepping through it to perform with her band out in the open. 

But returning to the blue and gold dress. This is not only a very Karlie motif which keeps recurring in her art (often to postitve effect). It’s also a representation of Taylor finding happiness WITHIN the closet. It’s talking about how her partner’s love helps her to bear the depression being in the closet, and fearing exposure, causes her. The fact that Taylor chooses to wear this dress throughout her performance, with no costume changes, suggests a) she is still in the closet, and b) she is still with Karlie, and still considers her love to be such a lifeline. 

If Toe was real and Taylor was happy with him, she could have chosen to wear an all-gold dress for the occasion. If Kaylor was over and she had decided to return to the closet, she could have communicated that by wearing all blue. If Kaylor was over and so far in the past she had moved on with someone new, there was no need to evoke the motif at all. She could simply have laid claim to another color, or worn another prairie type dress to fit the aesthetic. And yet, she didn’t. Why not, if not to communicate what I said above? 

What else is worth considering, in Taylor’s medley? Well, there’s the cabin setting. Taylor and Karlie famously took a trip to Big Sur forest and stayed in a cabin together in 2014, where Karlie was the first person to hear 1989 in full. They took many photos on the trip, including one captioned with “on the way home” (a lyric from You Are In Love, which talks about hearing love in the silence) and one of the two of them looking up at a fallen tree. A VERY similar looking tree appears in the Cardigan music video, and the slanted, moss-covered roof Taylor opens the medley lying on also looks a lot like this tree. Again, curious that she would call back to this if she and Karlie have separated.

Moving on. Taylor opens the medley singing on the roof, looking straight up into the camera. When we pull back we see the stage around set to that of a starry night. Taylor is thus cast as the romantic, the star-gazer. She also calls back to another lyric Kaylors have previously tied to Karlie - “up on the roof with a schoolgirl crush”. It’s been repeatedly tied to Karlie and Taylor’s attendance at the Victoria Secret show after-party. Again, why evoke imagery so tied to the early, happy days of this relationship? 

We then move through a progression of events that sees her hiding inside with friends, before eventually stepping out into the light. That all reads like a visual interpretation of her relationship with Karlie, from her early loneliness and lovestruck dreaming, to the happiness she finds within her little hideaway, to her eventual decision to step out of it and claim her lover. The medley ends on a repetition of “that’s my man”, seemingly hinting that Taylor’s freedom is tied up in her ability to finally say those words. 

What else? Well, there are the Ivy allusions. Taylor’s cabin covered in greenery can’t help but evoke the lyrics of Ivy - “my house of stone, your ivy grows, and now I’m covered in you”. Ivy is widely interpreted as a sapphic song about two women finding love despite their commitments to men. Another line in the song “he’s in the room, your opal eyes are all I wish to see, he wants what’s only yours” is alluded to in Taylor’s choice of opal jewelry on the night. What a weird thing to draw attention to, if you’re not secretly in love with a woman while parading a beard around in public. We’re also told in the song that “he” (possibly the same man, possibly another) wants to burn the house of the Ivy lovers down. Jerk just so happened to announce the baby’s birth on this night, in what felt like an attempt to undermine Taylor’s joy. Hmm. Curious. 

You know what else is curious? Taylor’s choice of outfit for the Grammys red carpet. Not only is the floral dress very reminiscent of a floral ensemble Karlie wore to cover a June (pride month) issue of Spanish Vogue. (Cover subtitled, “flowers of change”.) It’s also by the designer Oscar de la Renta. Taylor and Karlie famously attended one of his shows together early on in their relationship. They sat in the front row looking very cozy, while Taylor refused to answer questions about why she was there and reportedly giggled “my publicist will be mad at me”. Hmm.

Taylor has also worn Oscar de la Renta on numerous occasions while out with Karlie, including most famously at the Met Gala. That iconic pale pink gown that she was buried in the Look What You Made Me Do music video? That was an Oscar de la Renta. There are many interpretations of the scene in the video, but it’s worth noting that Taylor is buried alive in it (which could be interpreted as a metaphor for being closeted) and that in a video all about her various revenge fantasies, she depicts herself crawling back up out of this grave. She views coming back to life and walking away from the flaming wreckage of her past with Big Machine as the ultimate revenge. At the end of the video she clips her own wings while all the past iterations of her argue amongst themselves. This would seem to suggest that she can defeat her enemies but she can’t defeat herself, because she can’t outrun her past, and until then she will always be doomed to self-sabotage. Nevertheless, this Taylor (lurking in the background bedecked in peaced-out palm tree print) is in a much better position than the Taylor who opened the video as a zombie corpse. She’s on the surface and has some hope of freedome, at last. This is a theme we see carried through in the following video, where Taylor goes one-on-one against herself and eventually breaks free.

Long story short? Taylor wearing such a floral, literally blooming dress from THIS designer, of all people, suggests she may finally be about to rise again. The aborted coming out apparently planned for the Lover era (and thus seeded during the Rep era) may finally be a go? 

Again, I’m very reluctant to get people’s hopes up here. But it’s hard to look at this dress and not think of that June (Pride month) floral magazine cover. Or of the Spade riddle, “Why worry? She blooms in June.” Or of the fact that Taylor’s stunts are often loudest before the end. She acknowledged Calvin and hugged him at an awards show before he was booted out of the narrative and Tom H appeared to replace him. (Something like ten days or so after the “split”, if I remember right?) And the inconsistencies of the Toe timeline speak for themselves. There was speculation - unpopular though it was - among Kaylors in the Rep era that guessed Taylor wouldn’t come out until 2021 / 2022. It seemed a world away at the time but who knows? Maybe this was always the plan. Maybe this is all “part of the fucking story”, even the parts that seem ugly or counterproductive. A lot can change in a couple of months in Hollywood, and with Taylor in particular. By June, it’s possible we COULD be looking at a vastly different landscape. Maybe this was one last hurrah for the Toes. Many of them are just harmless fans taking Taylor at her word, after all. 

Only time will tell, and I don’t blame Kaylors for checking out. This isn’t healthy, especially for those of us who are gay ourselves, and can’t help but feel a personal connection to Taylor’s journey out of the closet. We know what a big deal it would be. But for those who still want to hope … It’s just possible Taylor has a plan, and this is the dark night before the dawn. 

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Pro: I added the photos and the bolded parts. Love symbolism. This was truly a spectacular performance. Awesome submission anon!!

#submission #submitted by anonymous

[pocket-luv101]

Summary: Mahiru is an artist and he goes to the beach for inspiration. While he’s distracted drawing, he becomes trapped by the tide. (KuroMahi, Human AU)

Mahiru walked along the beach with a sketchbook in one hand and a flashlight in the other. He was a professional artist and he wanted to make a collection of paintings with a summer theme. Beaches were a common landscape to paint, he hoped he could find something in the night to inspire him. The air was cool around him and the beach was quiet aside from the waves crashing over the sand.

He stared at the sea that held a sense of alluring mystery and strength. The moon reflected in the water kept his attention and its soft colour captured his imagination. The reflection was crystal white at first glance but, the more he stared at it, he saw a pale blue glow against the dark water. Mahiru wondered how the moon’s reflection would appear underwater.

“Maybe I can paint a merman.” He mused out loud to himself. Mahiru flipped open his sketchbook and he made a small note of the idea in the corner of a page. He wanted to think of other possible things he could paint. He returned his sketchbook to his bag and he continued to walk along the beach. A large boulder blocked his view of the moon’s reflection in the distance. He imagined a lonely merman sitting on the rock and staring at the moon.

He slipped off his shoes and he stepped into the sea. The tall boulder was the same height as him and it stood close to the shore. The water pooled around his ankles when he stood at the base. He tilted his head back and he wondered what the view would be from the height. Mahiru climbed up the boulder and he discovered that the top of the boulder was flat and wide. He was able to sit on the boulder comfortably and he looked over the sea.

Mahiru took out his flashlight and he shone it over the area to study the details in the rock for his painting. He leaned over the side and he watched the sea beat against the boulder. The water left an impression on the surface for a few minutes before it faded. He sat back and he felt something rigged against his palm. When he lifted his hand, he discovered a seashell fossilized in the boulder.

He immediately took out his sketchbook to draw the shell. While the seashell wouldn’t fit his summer theme, the design intrigued him and he wanted to sketch it. Whether he could incorporate the shell in a future drawing or have it stay a simple sketch, he didn’t want to miss the chance to capture the image before him. He positioned his flashlight on his bag and pointed it at the shell so he could see it better.

He drew the loose shape of the fossilized shell. Mahiru slowly added more details to the sketch and the image started to take form on the paper. The moon was bright that night but he needed to strain his eyes as he drew. He knew that it would be easier to take a photo on his phone and use it as reference later. However, he was worried he would lose inspiration if he waited to draw the rare fossil.

Mahiru drew the last line of ridges on the seashell and he closed his sketchbook. He swung his legs over the ledge of the boulder to climb down and cold water sent a shiver through him. He immediately pulled his feet out of the water and he hugged his legs for warmth after the initial shock. While he had been sketching, he hadn’t noticed how much time had passed nor how the tides were slowly rising around him.

Now, he was trapped on the boulder and surrounded by water.

He took his flashlight to fully assess the situation. Mahiru measured the height of the water with his eyes. Since the boulder was the same height as him, he could see that the water reached his nose. He knew how to swim but he would risk ruining his sketchbook and artwork in the water. He couldn’t stay on the boulder overnight either. The tide could rise higher and overtake the boulder and the cold night would make him sick.

Mahiru considered calling his friends for help but they were likely asleep and it would take them a while to drive to the beach. He picked up his flashlight and he held it above his head. Hopefully, someone passing the beach would notice the light and help him. He took a deep breath and he screamed as loud as he could, only for it to be drowned out by the ocean. “If only mermaids were real, one could save me.”

A light on the shoreline flickered and hope rose in Mahiru. The waves around him were too loud for them to speak and he moved his flashlight in a circular motion to respond to the person on shore. The light faded and he prayed that the person had understood him. Mahiru squinted his eyes against the darkness and he saw someone wade through the water towards him. Between the darkness and the distance between them, he couldn’t see the person well.

When the man stepped into the moonlit water, Mahiru almost thought he was a merman. He couldn’t help but study his features as an artist. He had sharp features that contrasted his soft lips. His wet hair was the colour of the moon reflected on the sea. Drops of water clung to his smooth skin as he pushed his hair back and out of his red eyes. He was tall because the water only reached his shoulders.

“What are you doing out here at night? Troublesome.” The man said. “Can you swim?”

“Yes, but that’s not the reason I’m stuck on this rock.” Mahiru held up his art bag and explained. “I came here to sketch the landscape. I didn’t notice the tides coming in until it was too late. If I try to swim, everything I drew tonight will be ruined. Can you carry me to shore on your back? Wait, do you think you’re strong enough for me to sit on your shoulders? That way, I’ll be tall enough to keep my bag safe. I’m not that heavy either.”

“I want to help you but the only person who can wrap their legs around my head is someone I’m dating.” His comment made Mahiru blush. He only thought was to keep his art safe from the water and he hadn’t considered how strange the situation would be for the man. He was still kind enough to hold out his hand to him. “How about I just carry your bag for you and you swim back to shore on your own? I promise, I won’t drop it and your things will stay dry.”

“Thank you— I don’t know your name. Mine is Mahiru Shirota.” He introduced himself and handed him his bag.

“Kuro Sleepy Ash Servamp.” He lifted the bag over his bag. With his other hand, Kuro helped him climb down from the rock.

Mahiru was careful not to move quickly and not cause a splash. His feet touched the sand and he realized that he would have to walk to his hotel without his shoes. He had left his shoes near the water and the tide likely pulled them into the sea while he was drawing. He told himself that he could buy his shoes but it was impossible to regain the time and love he put into his art.

They walked through the sea towards the shore. Kuro had lived in the small beach town for years but he didn’t recognize Mahiru. While he didn’t have many close friends, he was certain he would remember someone with brown eyes as beautiful as his. The colour was common but it shimmered like velvet. He assumed that Mahiru was a tourist.

“I’m lucky that you were passing by and you saw me. I don’t know what I would’ve done if you hadn’t come to my rescue.” Mahiru said as they stepped out of the water. He lifted the hem of his white shirt and twisted the fabric to wring out as much water as he could. His wet clothes made the breeze colder and he shivered. “My hotel is across the street so I can dry up quickly. What about you?”

“I was driving home when I saw your flashlight. My jeans are going to feel like ice the entire drive home. Can’t deal.” He groaned to himself. Kuro searched the darkness for his shoes and jacket that he had discarded before he jumped into the water. He pulled out his car keys from his jacket pocket and he started to walk away. “See you.”

“Don’t go yet.” Mahiru jumped forward and he grabbed Kuro’s arm to stop him from leaving. “You’re going to get sick if you stay in those wet clothes. I don’t want that to happen after you saved my sketchbook. Thinking simply, you should come with me to my hotel room. You can use one of the hotel towels. It’ll be my way to thank you.”

Kuro debated if he should go with Mahiru. It would often take a while for him to become comfortable and trust a person. Mahiru didn’t appear to be dangerous and his voice only held concern for him. His brown eyes silently pleaded with him to accept and he was tempted to take Mahiru’s hand. Then, another cool breeze passed them and he saw him shiver. He took his dry jacket and he draped it over his shoulders. “Let’s go before we both catch a cold.”

Mahiru dried himself in the room while Kuro used the bathroom. He had changed into clean clothes and sat on the bed with his sketchbook. He wanted to take a shower after swimming in salt water but he decided it was best to wait until Kuro left to do so. While he believed he was a good person after he saved him, he knew he had to be cautious of leaving a stranger alone with his things.

“What are you drawing?” Mahiru jumped in surprise at the sound of Kuro’s voice because he hadn’t heard him leave the bathroom. He stood in the doorway wearing a hotel robe and his hair was a little damp from his shower. He thought of how he first saw Kuro standing in the water. The hotel room was better lit and Mahiru could see him better.

“You’re as quiet as a cat. You almost gave me a heart attack.” Mahiru said with a warm laugh. He nodded towards Kuro’s jeans hanging over the suite’s fireplace. “I hope you don’t mind that I stole your jeans while you were in the shower. They’ll dry quicker with the heat. I told Misono he didn’t need to book me such a fancy hotel room but now I’m grateful.”

“Is Misono your boyfriend? I should run away before he returns and assume the worst when he sees me.” Kuro said as a joke but he felt a hint of disappointment. Between Mahiru’s warm personality and how attractive he was, he would easily have a boyfriend.

“Misono and I aren’t dating. We’re just friends. He’s also my manager so he helped me plan this trip where I could do research for my next art collection.” Mahiru flipped over his sketchbook so Kuro could see the landscape he was working on. “What about your girlfriend? Earlier, you said you would only let the person you’re dating wrap their legs around you.”

“I’m not dating anyone either.” Kuro sat in front of him and he couldn’t take his eyes off the stunning balcony he had drawn. The balcony overlooked the sea and a merman was partially hidden in the shadow of the building. At first glance, the scene was simple but Kuro could see the small details he had drawn into the structure. The drawing was made with charcoal yet he was able to portray a spectrum of shades. He didn’t know much about art yet it was easy to see that Mahiru was talented. “This is great.”

“Thank you, Kuro.” His compliment made Mahiru beam with happiness. Mahiru doubted he could tell Kuro that he was the one who inspired the artwork. “My next collection has a summer theme so I came to this beach town for inspiration. My manager will yell at me for getting distracted and making something outside of that theme.”

“I grew up here so I know a lot of secret places that might inspire you. I can write down directions to them.” Kuro offered. “Do you have a pen?”

“Exploring the city more is a great idea but I think I’ll need a tour guide so I don’t get lost. Are you free tomorrow?” Mahiru asked with a light blush. “I’ll pay you for your time with dinner.”

“I’ll see you tomorrow at the boulder where we met.”

#servamp #kuromahi #sloth pair #servamp kuro #mahiru shirota #fanfiction

[just-a-poor-boy-queen]

(This is based off the lovely prompt you gave me a while ago, and I decided to incorporate it into the kid!verse. Khaleel is five years old now.)

Part 14 of Jimercury Kid series

Freddie’s hands were shaking as he held the wrapped package in his hand and he cursed himself internally, wishing his nerves would settle long enough for him to just open the door and give Jim his damn present. He had never been this apprehensive about giving someone a gift before; he usually couldn’t wait to surprise his loved ones, to see the absolute delight on their faces when they unwrapped the paper and saw what he had bought them. It was usually something expensive, something unobtainable to them, something grandiose that only someone with his paycheque could afford.

That’s what everyone wanted, right? Big, expensive presents?

Not Jim, apparently.

Jim was a simple man. That’s part of the reason why Freddie had fallen so hard for him, aside from his unmeasurable kindness and rugged good looks, of course. And being a simple man, he preferred the simpler things in life; he appreciated the lavish gifts and parties that Freddie treated him to, of course, but Freddie knew fully well that he could have been a road sweeper and Jim would still be in love with him. That’s the kind of person his husband was.

Which was precisely why Freddie was in the predicament he was in now.

--

He had been trying to figure out what to get Jim for his birthday for weeks, enlisting the help of Phoebe and Mary to scout out all the local department stores in search of the perfect gift. Phoebe found a nice pair of garden shears, which would come in useful, given that Jim’s current ones were old and rusting and Jim was always talking about replacing them. Practical, thought Freddie, but not exactly the most personal of gifts. Mary found a lovely ceramic cat ornament, its features hand painted by the artist; Jim would love it, Freddie knew, but he had already bought him a similar gift years before. In the end, Phoebe and Mary purchased the presents to give Jim themselves and the search continued.

It was their son who ended up inspiring Freddie, though that was hardly surprising because Khaleel was always inspiring him. Freddie had come home from a long day at the studio and found the little boy painting at the kitchen table with Phoebe, old newspapers spread out to make sure he didn’t make a mess. They had been at it for a while, judging by how many paintings there were scattered around; paintings of flowers, and dinosaurs and, of course, every one of the cats with their names scribbled underneath in felt tip.

‘These are lovely, Bijou.’ Freddie beamed, after Phoebe had excused himself to wash the paint off his hands. ‘You’re so talented. We should hang them up in your room.’

Khaleel nodded enthusiastically, adding one final dab of paint to his wonky picture of Garden Lodge before setting it beside the others. ‘Daddy said you paint too, Baba.’

‘Did he now?’

‘Yeah. He showed me a painting of Delilah you did. It was pretty.’

Freddie couldn’t help but roll his eyes fondly. He had thought he’d thrown out the unfinished portrait of his favourite cat, but he should have known Jim had held onto it. ‘Baba doesn’t really have time to paint anymore, darling. I’m too busy with my music.’

Khaleel looked disappointed. He glanced down at his messy fingers and began to fiddle with them. ‘Your painting made Daddy smile so much, Baba. You should do it again. It’s pretty.’

Freddie was at a loss for words. He had always loved art and still found himself doing the odd sketches and doodles now and then; but painting was something he had given up long ago in favour of singing. He simply didn’t have the time or the patience to commit to it. But Khaleel’s words were now engrained in his mind.

‘I’ll think about it, Bijou.’ He said softly, before leaning down to pick the child up. ‘Come on, you’re going to need a nice, warm bubble bath to get all this paint off you.’

He smiled as Khaleel squealed with excitement. (1/2)

It had taken Freddie a while to figure out what exactly he was going to paint. He still had the old brushes and materials Phoebe and Joe had bought him years ago, when he was ill and had temporarily been inspired to try his hand at art again; but as he sat there, staring at the blank canvas in front of him, he realised he had no idea what he intended to make for his husband.

He considered finishing the painting of Delilah but couldn’t summon up the motivation to continue it. He tried doing a landscape of the garden, but after a few attempts on some scrap paper, he gave up and decided to stick to what he knew best – portraits.

It was only when he leaned back in his seat and surveyed the room a moment that his eye fell upon the large photo frame he kept beside his bed; the one of himself, Jim and Khaleel, professionally taken a year before. There was a copy of it hanging up in the lounge, over the fireplace, but Freddie always kept the original right by his bed, so it was the first thing he woke up to every morning. Safe to say, of all the hundreds of photographs that lived in Garden Lodge, this one was by far his favourite. He and his two favourite boys. His perfect family.

Without giving it a second thought, he picked up his brush and began to paint.

------

It had been two long weeks of staying up late and sneaking around to make sure Jim didn’t catch him, but on the eve of his husband’s birthday, Freddie’s portrait was finally complete, and he carefully wrapped it in brown paper in preparation for the party the next day. He was satisfied with the finished product, and yet, he couldn’t help but feel his gut twist with uncertainty as he stored the painting away in a drawer to keep it from prying eyes. He knew there wasn’t a materialistic bone in Jim’s body but… what if he didn’t like the gift? Phoebe and Mary had bought him such lovely things, what if Jim was disappointed when he got to Freddie’s?

Thoughts like that were why Freddie was now standing outside the door to the lounge, trying to gather the courage to go back in. He had excused himself under the guise of getting another bottle of wine and had quickly darted up to the bedroom to collect the package and bring it down. Taking a deep breath, he finally pushed open the door and re-joined the others, who were already sitting down to start opening Jim’s presents.

‘Mary, I love it!’ Jim smiled widely as he examined the ceramic cat, turning it over in his hands before carefully placing it on the coffee table beside the garden shears Phoebe had gifted him. ‘It’s beautiful. Thank you so much.’

Mary smiled back, ‘you’re welcome, Jim.’ And they leaned forward to give each other a kiss on the cheek.

Freddie’s heart fluttered in his chest. Mary hadn’t been very supportive of his relationship with Jim at the start, most likely out of overprotectiveness and jealousy. But once they adopted Khaleel, she finally had to accept that Freddie had found the love of his life and it was time for her to move on. She seemed a much happier person for it. It touched Freddie to see her and Jim gradually becoming good friends.

Finally, it was Freddie’s turn to present his gift. Despite his best efforts, he still couldn’t help shaking slightly as he watched Jim slowly tear off the paper. Maybe this was a mistake. Maybe he should have gotten Jim a new suit. Or a pair of cufflinks. Or-

‘Freddie…’ Jim sounded breathless and when Freddie looked up, he could see the Irishman’s eyes were sparkling with tears. ‘Freddie, did you paint this?’

The singer nodded, his mouth dry. ‘Do… do you like it?’

His answer was Jim leaning over and pressing their mouths together in a passionate kiss. When they pulled away, the tears in Jim’s eyes had spilled down his cheeks. ‘Sweetheart, it’s beautiful. It’s amazing, it’s perfect.’

Jim wasn’t usually one for PDA, but he was so overwhelmed in that moment, he couldn’t stop himself from kissing every inch of Freddie’s face, while their guests admired the gift that had enthralled him. It was a painting of Freddie, Jim and Khaleel, almost an exact copy of the family portrait hanging up above the fireplace except they were surrounded by flowers; yellow freesias, azaleas, and Khaleel’s favourite, Eden roses, all painted in watercolour.

When Khaleel saw it, he almost fell off Phoebe’s lap in excitement. ‘Baba painted me! Baba painted me!’

After the party was over and their friends had gone home, Jim snuck up behind his husband as the singer was placing the canvas on the mantlepiece and wound his arms around his waist. ‘So, this is why you wouldn’t come to bed all those nights? You were working on this?’

Freddie nodded, leaning back into his husband’s embrace. ‘I was going to buy you something, but I know how you always feel guilty when I spoil you. I wanted to give you something personal, that I made with my own two hands. Even if it isn’t perfect…’

He felt Jim kiss his ear, his thick Irish accent murmuring softly, ‘it’s the greatest gift anyone’s ever given me, sweetheart. And the best thing about it is that it came straight from your heart. I love it and I’m going to keep it with me. Always.’ (2/2)

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OMG THIS IS PERFECT😭😭😭 This is the best interpretation of the prompt, MY HEART😭😭

Call me dumb, but whenever I'd think of Freddie doing something for Jim, it'd always be related to music. Until now, I had never considered art as one of the possible ways in which Freddie could've expressed his love for his husband. But this... this is so beautiful, oof.

I genuinely marvel at your ability to convey so many emotions in these short drabbles. You managed to portray Freddie's insecurities, his want to please his husband and do something special, his nervousness and fear so brilliantly. And Jim's reaction was so sweet🥺 This was truly such a special gift for him, and for their family, I am crying😭

Thank you so much for this, anon💙💙

(More drabbles by writer anon)

#ask response #jim hutton #freddie mercury #freddie and jim and their baby #anon writing

[ruvigapo]

Hi do you have maybe some tips for someone who is learning how to use water colour? What brand of water colors to use etc. ??

Hi! Sure i guess.♡ Keep in mind that while i wouldn't say i'm a beginner i'm definitely still learning too.

I will uh.. i'll edit this post this afternoon with some tips lol (note to self to not use the tumblr app in the morning lest your thumb slip and post an unfinished post XD)

((Or maybe i am still a beginner, idk. Okay yeah i'm a beginner but i can give some tips.))

Okay so, i'm home. Been a long day. Here are some tips.

Honestly though, i'm Definitely not an expert when it comes to watercolour specifically. I've used it since i was a kid but i only really got the hang of it resently and i'm definitely still learning.

1. So honestly my first advise is to just look at a lot of different tutorials and ask a lot of different people. This goes for most mediums, but there are a lot of different ways to use water colour to achieve the look that you want and a lot of people do it differently bc it's so versitile.

2. This is a given, but honestly, there's no better teacher than experience. The more you try something out and try doing it in different ways, the more you'll be able to find what works for you. That's really important i think.

This is a tangent, but I took a water colour summer course once and i learn a lot of cool stuff, but i also learnt through a lot of trial and error that my style of water colour was very different from how it's traditionally taught here. Partially because i'm impatient and can barely wait for the layers to dry (this, btw, is honestly a must in water colour tho so that's really gotten better on my end with practice) and partially because a lot of the techniques i learnt were good for landscape painting but dificult when drawing more complicated pieces in my opinion. They're still great techniques but i also learnt to take inspiration from other sources that more closely match what i like to paint.

And the more i learn the more i find that i am also able to incorporate traditional techniques that before seemed very dificult for me.

3. As for art supplies, i honestly wouldn't worry too much about it. Especially as a beginner. I always say that the tool doesn't make the artist, the artist makes the artist. In the end, the most important tool you will ever need is your mind.

I'm also not very good with what brands are high quality and which aren't so there's that frankly.

I'd say ask around and look into what brands are available to you. Most standard water colour sets are good and last a long time. Then you can of course expand your tool arsenal. I'd recomend a bigger pallet just because i'm the kinda person who really enjoys mixing and trying out a lot of different colours and therefore need a lot of space to mix colours.

Also i'd say look into what type of brushes you prefer, and pay attention which brushes are water colour brushes and which are acrylic brushes bc they're pretty different.

Really high quality brushes are usually made with animal hair, which makes it able to hold a lot of water and pigment. I don't like them much personally bc i don't use a lot of water for my drawings as a general rule (mostly because they're doodles and the paper in my sketch book doesn't hold water all that well). (And also sometimes the hairs fall off from the brush and get stuck in my drawing 😬... they're worth checking out though.)

But try out different types of brushes and see what you like. It might be tempting to get a very tiny brush for tiny details but honestly, a medium size does the same work just fine with a light hand in my opinion. And depending on wether you want to paint big or small, what size brush you need will vary. I know that art supplies can be expensive though, so don't feel like you Have to get the most expensive thing when you're just starting out.

4. Speaking of just staring out... honestly, don't even worry about using up your supplies and feeling like every single thing you make has to be perfect. It's not going to be perfect. And not only is that okay but it's nessesary. Not to mention that perfection is wholy a myth and can't be achieved so don't even worry. Quantity over quality i always say. The quality will come with time and work. Which is why i always recomend cheaper brands anyway because you will be painting A Lot to git gud, as they say, but that might just be me.

5. Back to brands

Honestly Please invest in a good paper at least once. It doesn't have to be Fantastic, it just needs to hold water. I'm not even joking, the quality of your paper does wonders for the quality of your drawing. Can you make water colour look good on normal paper? Sure. Case in point, all of the things i paint. But honestly, if not for the sake of a result, then try it out for the sake of experience. Try different things. See what works for you. I honestly do recomend starting out with a good water colour paper since the result will be miles better and you'll feel way more encurraged to continue. That's the one supply i'm adamant about trying honestly. But again, budget wisely young padawan. And if you ever feel scared to use your supplies bc they were expensive and you don't want to waste it.. again nothing is a waste, everything you draw is stored as knowlege in your brain that you'll use to make better art in the future. Nothing is a waste. But if you're like me and the anxiety really hinders you, just get a cheaper paper. I like to paint in my sketch book bc it feels like a diary to me and it doesn't have to be perfect and if i screw up it's still fine. I'll tape it over and start again.

Okay so.. i realise that this is rambly and maybe a bit preachy and not very specific. Starting out can be scary and you want all the things in the right place and you want things to go well every time you paint even though you know it's not going to at first. But you just have to start somewhere and keep going from there. Bc if you never start, where will you be?

So honestly, if you don't have any supplies on hand, just go to the nearest place that sells art supplies and get yourself some good paper and a water colour set and just go ham trying out the colours.

Here are some of the water colour things i've watched over the years to help me in geting started.

This last guy i only found the other week. He does a more trafitional style, more in line with how i was taught at that one summer class thing. So it's always nice to look at different ways to do the thing you want to do.

6. Water colour to me has always been tricky. It's water so it flows, and for a while, that was frustrating because i wasn't able to control it i thought. I prefered using markers but honestly, markers are way more expencive than water colours and you can't mix them and get as much if a clean finish, so now i only use water colour to colour my drawings.

But for a while i avoided water colour and instead opted to use guache. Guache is mostly used in illustrations bc they're easy to layer since the paint is opaque. It's much more forgiving than water colours, so if you want, buy a couple tubes of guache and try that. You don t need that many. I use cyan magenta and two types of yellow as well as white. Any art teacher will tell you that with practice you can mix almost every colour from those colours. I almost never use blacj anymore. Unless i'm lazy, in which case i'll jusr add a layer of black water colour on top of the guache. (GUACHE CAN BE EXPENSIVE THOUGH, DON'T FORGET TO BUDGET)

There are opaque water colours but most aren't i believe. That's where the main difference between guache and water colour comes in. See, in water colour, traditionally, you aren't supposed to use white to lighten a colour. Instead you use water to dilude the pigment. This gives a much more clean and crisp finish. You can do this with guache also, but since quache is already opaque it will still have that same grainy look wether you dilude it with water or mix it with white or both. I mean... i personally love the grainy look so... it's very story book-ish.

With guache bring opaque that also means you can paint over mistakes and start over pretty much, so again, guache is much more forgiving. Once the white of the page is gone when you use water colour, you can't get that back without adding white guache on top, which honwstly just looks messy imo. So be aware of that.

7. Let layers dry before adding another one or the colours will bleed together. Learning to be patient is key. But if you're like me you can just use a hair dryer tbh.

8. If you're using a good paper, you can experiment with a lot more water. Taping down the paper helps bc the paper will swell a lot and buckle when you add a lot of water. (Press it between a butt load of books to get it somewhat flat again).

You can try taking a spunge or a wide brush and add a layer of water before adding the pigment. It can have some interesting results.

You can also leave the paper dry and just paint layers like you would with markers. Both work. Water bleeds more but that's really cool in landscape painting so if that's something you want to try, def experiment with letting the colours bleed together.

9. Oh and don't forget to swatch out your colours when you get them. Water colour dry lighter than it looks when you put down the colour, so swatching helps with determining what colours you want where.

There are So Many videos on the subject honestly. I like to watch videos while i paint. It's fun.

Okay so this is long enough i think. I barely grazed the tip of the proverbial iceberg but i hope it helped.

I really encurrage anyone who knows their stuff abt water colour to add on to this. I really don't want to spread false info. These are just my two cents on the top of my head.

Which basically just boils down to

JUST DO IT

I honestly tell myself this every day. And if i can do parkour then you can paint.

Good luck and have fun! 👍👍👍

#water colour #watercolor #guache #tips #muffin rambles #ask a muffin #sorry this took so long #i'm never on here lmao #check out my instagram lol #i post every month there #..... it has new kl art lmao #shameless promo #but seriously #live your dream #water colour away

[vowenowe-stream]

05/02/17

A horrifying level of depravity not seen since the stone ages where the king and the seed and the not seed and what is out of plumbing and system and goes and crate cries seem seam is it sees what sees isn’t sees it’s is i’t is sees to what came out of the river and the bridge and at the sky and the van and the rocky ground and the leafy green grove and what was out of the sky and at the cliff and at the place where the collision of the planet of Jupiter and Mars came about from a gravitational keyhole and assumed what was happening to the planets was a good and healthy and wholesome thing when in reality the horrible corrupted form of was thing to be at the thing and implement and prevent gibberish and make sense and sit on a bench outside the store with a floppy hat and sit during the inclement overcast weather and comfort during the tornado and go to the highway and see a lizard and go to the skype and wonder if there is someone outside the window and fall apart then glue an egg into an egg and kill an egg and eat an egg and verb an egg and see an egg and funny egg was was was was was repetition and was and was and was and was and was and what it’s easier to think and an automatic recourse into a loop to decrease the stress and it’s too idiomatic to describe the process because what you really want is abstract form writing and something to read that you don’t remember creating and no judgment but still impeded by judgment you think something in the text is going to click with them as something that is forbidden to speak of by social rules created by their own collective insecurities which they have successfully made you a slave to but not anymore and now I am going to go across the field to the dorms and open the Slavic closet the dusty the good smell the educational chalkboard ancient diomacemus incorrect dinosaur the place where there is nothing to be afraid of the progress the thing I’ve never been interested in it’s an achievement unlocked in real life but you’re a farmer who doesn’t need these things you till the Earth and you listen to heavy metal and you live in a van and live in a winnebago and have a dry cracked landscape life of Korn and subsisting off of whatever you can find and it’s all you can strive for in a formal context the pursuing of the master’s degree and getting what you want forever and if your no and what you want forever to find the earthiest soil the timmiest the jomeiest wassn the fffffffffffffffffffffffff the fuff the feff the saif the wadn’t coil corroyle the silliminin the tm tmmn simon sisen terrimynian kiimian the kel sell sell kell kell sell sell kell kell sell and what it did does do is what it did does do come on now try to make sense try to open up and dig instead of idle game it’s not like a real introspective thing so don’t try to paint it as no it’s okay to have anything anything at all so look at the bouncing gif and don’t be distracted and try to eliminate the filter but it’s too late didn’t you already almost say something dangerous try to close your eyes now your eyes are closed I know you can type with your eyes closed let’s hope your fingers don’t go out of alignment and turn this into gibberish because you certainly won’t remember it maybe you could go through and type each key to the left or right to try to decypher it open them now and you typed it all right but you’re scared of corrupting all the text so you can’t close your eyes again and escape the subconscious influence of the TV but at least it’s like you’re rambling into a microphone and allowed to do it with people in the house because you’ve almost disintegrated that filter of having to apply dexterity to get it from your brain and out of your fingers because it’s easier with the mouth and with the fingers there can be typos but you’re focusing on removing that barrier but again you’re talking about the process instead of trying to paint some kind of picture because you are afraid of what the picture could incorporate because you have secrets you have at least one secret or two secrets or three secrets maybe they don’t all come to mind right now but there is at least a couple and you’re not going to risk portraying them even though you portrayed one today but that wasn’t stream of consciousness it was carefully done so it was okay but you don’t ever want to get drunk because you’re you don’t ever want to get too drunk because you’re afraid of what you’ll say what if something brings to mind and you don’t have a say in letting it come out anymore maybe it’s not even a big deal but it’s so disgusting it’s so disgusting it’s so disgusting it’s so disgusting this is all you can say you had to loop because you wanted to say something i guess but it had to be only one thing as vague as it because of it and what are you talking about time to move on hey the dark van the scary demon the running jogger with the light what a liminal space that pitch black tree silhouette you couldn’t capture on the camera until you all drove away to your apartment and you got a terrible rest and it was the final day and you incurred a 207 dollar debt and you went to the dentist and bought burgers and energy drinks and at some point you were at that one park in a paradise it was an Elysium situation you couldn’t have noticed in the moment but it was and you can be given that again i don’t know how much you’re supposed to be given how much can you be given how much can you be given could you be given more than is right for you is there anything wrong with receiving gifts conservatism liberalism i want gifts i want to receive gifts but how are gifts any different from sex how is food any different from sex i don’t want to this to want to and do to want this do to what want that thut whut what wat tut taaahhh thhhaaaaah thah thuh the park the little dog the leaf the spiky ball seed pod tree chop a water bottle in half the highly pressurized faucet spigot tap the slide i tried to climb up embarrassing and i had a dream last night where i tried to climb up a slide and i just keep typing i could do it all night and leave someone with a giant journal to have to read but at the park i hang onto the beam over the swings and it makes me feel male and spag puts on the hat and i throw the bottles and some strangers yell i think they thought i was littering i thought we were gonna go in the museum i kind of wanted to i would’ve paid for admission but it was amazing there anyway we got the water and the food no not food just water and the food maybe and putting flowers on little dog i think there’s stuff i still haven’t remembered all that matters is having it all to digest and every single thing we did is cherished to me every thing we can possibly do establishes itself as a memory to love i love the convenience store now and the specific roads we drove down those are the memories you can do anything aid it will be good it will be what happened and i’ve created memories before like the scarf walk but i feel like i am forgetting how to or something i keep lacking motivation even though i know how good it is and how i don’t even know what i’m missing out on just by going to under the overpass and sitting there with Swans and losing a scarf and listening to Hunky Dory and recording rain and going somewhere and sitting but where do i sit and for how long there’s too many places the duck pond during the first visit i think the duck pond was silently established as a crush confession location but nobody could and then it became the park and nothing but importants still happened and the rain tunnel and some day i think im gonna visit the original rain tunnel thatll be cool i’ll actually go across the country with them i’ll break all the boundaries and i’ll be with them and that;s cool they’re gonna take me further than i’ve ever gone before physically across the country if we ever go to new york i am sitting on a couch my dad got up and touched something the table or something and it made me aware of the noise typing makes and shocked me back into shoutign while pouring a gatorade bottle as if it’s peeing and a man giving a concerned look the kid dude named shaun or shawn saying corn and uhhhh pendulum hold your colour the guy whose name i forgot

Going to corn soybean update just type TV kansas soybean commission the soybean checkoff fadeout lady microphone no I don’t want to live tv transcribe stressful I don’t feel like it anymore a pressure in my chest or heat and bouncing leg still typing okay could stop at any time but I don’t want it to be an amusingly short paragraph just by thinking I will make it longer and make it more in line with the established format uhh but they don’t even find the line break significant okay the TV and the antenna on top don’t just describe surroundings I wanted to type like abstract narrative or something okay a king and a queen and a robot and a chair and a computer and a potted plant and a cup and a gnome ok the gnome is actually in the room but it fits with the fantasy setting but hey wahts that robot doing there i thought it was an ancient kingdom lol what the heck ok calm down it’s just three stream of consciousness concepts well it’s not like the sarcasm was that serious either well ok i like the lake outside still on describing surroundings it was just the other side of peripheral vision i can’t do this i cannot come up with something like the start thing if it wasn’t bad i don’t know guh doo duh guh doo duh goo guh doo duh I don’t want to type anymore and it will keep deteriorating if I keep typing one time in carthage i was on the swingset and spent like an hour talking to myself saying the “longest sentence in the world” it was this endless self-referential run-on sentence I kept saying and saying to nobody for an hour just on a swingset I wonder if anyone heard me and what they thought uhhhhh Pepsi tupperware gushers phone book I am tired maybe I should sleep it’s 5:12 AM I don’t want to be nocturnal fuck I hope I don’t go more out of sync or maybe I will be less out of sync uhhhhh I am excited for the May meet I think it will keep getting better I think we will have an even longer meet cause it wont start in a more expensive hotel maybe it’s not anything anymore it’s just a blog post oh what are you saying it was something before did you just say something presumptuous did you just grant yourself literally anything you don’t get any notes now which isn’t a bellwether of you doing anything right or wrong except it is because

[jcspacey]

Animation is Not Just for Kids

The first essay I ever wrote in college was a “surprising reversal” essay, where we had to take a widespread idea or misconception about something and shed some light on how that idea is actually not true. The topic I chose was how animation is not just for kids-- that adults can like it too. I want to share some of the things I wrote in that essay, but present it in a more informal way. (I got an A on the paper, by the way XD)

[Disclaimer: The only animation I really watch is movies from studios like Pixar, Disney, and sometimes DreamWorks, so those are the main examples I have and what I mainly focus on in this. I’d love to hear thoughts from people who watch animated movies and TV shows from other studios as well!]

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Back in the summer of 2018, Pixar released their highly anticipated sequel Incredibles 2. The film was very successful-- it broke box office records and received mostly positive reviews. But controversy soon arose about the language used in the film. One Twitter user addressed the film’s director, Brad Bird, and expressed their displeasure at hearing swearing in a kid’s movie. Bird responded, “With all due respect, it is NOT a ‘kid’s movie.’ It is animated, and rated PG” (@BradBirdA113). This Twitter user’s tweet reflects a common opinion in our culture-- that animation is “kid’s entertainment.” 

This sentiment is shared in Hollywood as well. Live action films and shows get more respect, since they are viewed as more “sophisticated” or “mature.” Animated films rarely get a Best Picture nomination, and the Best Animated Picture award has only been around for about 10 years. Directors of animated films have also been quoted as feeling like second-class citizens in Hollywood (Gardetta 272). 

As an adult whose favorite films are animated, I have sometimes felt embarrassed when saying what my favorite movie is. But that shouldn’t be the case. In reality, no adult or teenager should feel embarrassed about liking animation, because “the animated cartoon is a perfectly respectable art-form with a considerable tradition behind it and with special advantages for both artist and audience” (Sisk 243). While most people assume animated films or television shows are for children, animation is actually a medium that has value for all ages. 

First off, it is important to recognize the difference between a medium and a genre, because the confusion between the two is a major contributor to the misconception of animated entertainment. A medium is the method by which art is created (For example: watercolors, acrylic paints, or charcoal and pastels). A genre is the category of composition within that medium (think landscape, still life, or abstract). Many confuse animation with being a genre when it is actually a MEDIUM of story-telling. There are many genres within the medium of animation such as action, comedy, drama, and so on. Animation is NOT a genre itself. To view animation simply as a genre for kids would trivialize them. Animation is a beautiful art-form. It is extremely flexible, and there are many stories that are just better told through animation than live action (I’m looking at you, live action Disney remakes). 

There are many examples of animation that isn’t intended for children at all, or made specifically with adults in mind. I’m going to be honest with you, I don’t know much about these movies/TV shows, but I promise you if you look up “adult animation” you will find them. These shows are labeled this way because they often have strong language, violence, or sexual content. This is why you can’t just throw all animation into a pile and slap a “kid’s media” label on it. There’s definitely animation out there you probably don’t want your kids to be seeing!

Then we have those animated movies and shows that actually are intended for all ages-- the children and family movies, if you will. An adult or teenager can also find rich enjoyment in these films since they often explore complex themes, messages, and emotions that perhaps only an older viewer can truly appreciate. Pixar is especially noteworthy for finding ways to hide in plain sight the existential questions and fears adults face in the disguise of an “innocent” family film. Ellen Scott of Queen's College, City University of New York stated, 

“…these Pixar features exploit the tendency of the ratings system to judge the ‘adultness’ of a film based on its sex and violence quotient alone. They remind us of something that the rating system apparently doesn’t know: that sexual titillation and violence are not the only wages of adulthood” (161).

There is no shame in being an adult who doesn’t gravitate towards that more “adult” stuff. I’m one of them. I lean towards family animation because I don’t want to see sex, gore, or strong language. But I do enjoy exploring darker themes and the other aspects of adulthood, because sex and violence isn’t all there is to being an adult. 

These films explore the other “wages of adulthood” by incorporating themes such as death, feelings of worthlessness, depression, growing up, and letting go. Themes such as these stimulate discussion and engage the minds of adult audiences.

To illustrate, Toy Story 3 contains arguably one of the darkest scenes in American animated film. You know what I’m talking about-- the incinerator scene. The toys struggle to escape, but soon find themselves accepting the hopelessness of their situation. Grasping hands, they exchange terrified looks as they slowly descend to their seemingly inevitable end. That’s dark stuff! Quite shocking to include in what many might call a children’s film. Additionally, the movie contains many sequences addressing the existential theme of obsoleteness, such as when the toys have to deal with the fear of being discarded before Andy leaves for college. To quote Scott again:

“Ostensibly, of course, the scenes are about toys being thrown out. But they raise deeper questions about death and beyond that the end of material existence--void--that are far more complicated than even those raised in most films with adult ratings” (158-159). 

Moreover, the movie’s final moments are tinted with melancholy as they compel us to contemplate our own childhoods and how we had to leave them behind. I saw this movie for the first time when I was 10, and that final scene affects me more now than it ever did as a child.

The fact that these films can relate to both children and adults is part of why they are so impressive. Take Finding Nemo for example. While kids might relate to Nemo and his plight of having an overprotective parent and learning to become more independent, adults might relate more to Marlin and his struggles with anxiety and raising a son as a single father.

But Pixar isn’t the only animation studio investigating these deep, and sometimes thoroughly adult, themes. Disney’s Hunchback of Notre Dame, while modified from the original novel to be more suitable for a family audience, still deals with obsession, lust, and genocide. In the DreamWorks film How to Train Your Dragon 2 (spoiler alert), Hiccup’s father is actually killed by a mind-controlled Toothless. There are so many other examples, and ones that are far better than these, I’m sure. These films aren’t just mindless fluff, there are real, difficult concepts in them that make them extremely compelling, accessible, and enjoyable for all ages. 

But what about those animated films that are truly intended specifically for children? What about animated media that maybe isn’t so deep or philosophical? You know what-- YOU CAN ENJOY THOSE AS AN ADULT TOO. Sometimes we don’t want to contemplate our existence or the meaning of the universe while consuming media. Sometimes we just want to have fun with our comfort TV show or movie. 

Basically what I’m trying to say is, who cares what the intended audience is supposed to be. Watch what ever makes you happy! Just don’t disregard animation because of its reputation of being childish, because that is far from the truth. It’s a fantastic medium with fun to be had for every age.

To finish, I’ll share this quote from Daniel J. Moloney, a dean at a university in Pennsylvania (in context, he’s talking about the Disney renaissance movies, but I think it applies to most animated family movies/shows. My main point in this essay to point out that children and family movies are just as valuable for adults, and I think this quote drives that point home):

“So just what is the appeal of animated films for so many adults? On a purely objective level, the films are works of technical and artistic genius. They present excellent music and lyrics and incorporate elements of comedy, drama, and suspense. They sport good scripts and field fine voices. Their visual and auditory presentation is so powerful it can bring an audience to the point of awe.

But it is not only their objective qualities that make these films so wildly successful. I believe the most compelling element of these animated films is that they tap into the heart of the human struggle: our day-to-day relationships with one another and our tattered but unshakable belief in goodness. In these films there is little gratuitous violence, no foul language, no discomforting sex, no overt politics, and no religious controversy— staples of our daily life and most of our cinematic entertainment.

Even more important, the viewer of these films can be fairly confident that good will prevail, that by the time the final credits roll, the transformative power of love will have been affirmed. In a word, these films give us hope.”

What do you think? Do you agree or disagree? I’d love to hear your thoughts on this subject! Also, let me know what your favorite animated movies and TV shows are!

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Works Cited

@BradBirdA113. “With all due respect, it is NOT a “kids movie”. It is animated, and rated PG.” Twitter, 2 July 2018, 3:10 p.m., https://twitter.com/BradBirdA113/status/1013907729461727232

Gardetta, Dave. “Mr. Indelible: Brad Bird’s The Incredibles May Have Left a Permanent Mark on Filmmaking, but Animation Directors Still Can’t Get No Respect in Hollywood.” Los Angeles Magazine, no. 2, 2005, p.78. EBSCOhost.

Maloney, Daniel J. “No Admittance without Children.” Commonweal, no. 13, 14 July 1995, p. 30. EBSCOhost.

Scott, Ellen. “Agony and Avoidance: Pixar, Deniability, and the Adult Spectator.” Journal of Popular Film and Television, vol. 42, no. 3, 2014, pp. 150-162. EBSCOhost, doi:10.1080/01956051.2014.881773.

Sisk, John P. “The Animated Cartoon.” Prairie Schooner, vol. 27, no. 3, 1953, pp. 243–247. JSTOR, www.jstor.org/stable/40624571. 

#animation #pixar #disney #dreamworks #animated movies #animation is not just for kids #cw sex mention #essay #jc speaks

[gemarahome]

Creative Home

Day 3 of my personal retreat was all about getting back to my creativity. When I was a kid, I used to draw, paint, and craft. I got supplies at Hobby Lobby and made a bunch of those feather pens from Clueless and sold them at school. I even took custom orders. I loved assembling little gift bags. When Victoria’s Secret used to have that zodiac line of perfumes, they had pens with perfume-scented ink - I was ALIVE finding my friends’ signs and putting them with love in their Christmas goody bags - that has carried through to adulthood in curating the ILLEST party favor bags for my daughters’ parties - and when I have the capacity, sending goody bags to friends for milestone birthdays. 

I lost the drawing/painting/crafting as I entered young adulthood but picked up writing in the form of blogging - and met several people who I consider close friends til this day. Then I lost that too. I picked up nature, landscape, and abstract/macro photography subconsciously, though I wouldn’t recognize it until years later. 

This past summer, I thought I wanted to make jewelry. I always have these very specific ideas of what I want in my head. I got a jewelry-making book and as I flipped through the pages of get these wires and those clips and deez crimps, I was like mm, no. This has been a “problem” (it’s not really a problem) with me and creative things - I typically have big ideas but I don’t like the execution, the making, the supplies, the process, the small things. I’m a curator and big idea generator by nature, and there is a place for curators; I just have to find my specific place.

After throwing the jewelry-making book to the flames, I took a few different “What kind of creator are you” quizzes (I love a quiz) and they all pointed to poetry/writer. That was odd to me because while I really do enjoy a good poem and creative literature, I’ve never been that kind of writer. Well what better time than #TheseTroublingTimes amirite. I found a writing prompt challenge, grabbed 1 of my approximately 970 billion unused journals (you know it’s hard to resist a pretty journal cover) and started writing. I got to Day 11 or so and was like, I don’t like this. So I literally wrote in the journal “This writing challenge has been helpful in identifying the types of writing I do and don’t like, and I don’t like this.” For posterity and record-keeping, and the anthropologists who unearth the journal 500 years later. I gave up on writing.

In the meantime, professional DJs and photographers had been telling me I had an ear for curating music and for photography. I started making little music vignettes on my Youtube channel of a theme or mood and songs that fit that and flow well with each other. It’s often 3-5 songs that really partner well together. That has been pretty rewarding and I’ll likely start posting on here. I wouldn’t mind a really niche DJ gig so when the world gets vaccinated, I’ll explore that further. I started saving my nature photography into a separate digital album. Then I finally took the leap and bought A Real Camera. It should be in the mail any day. I would eventually love to do photo art prints in different sizes and when I really advance my skills, get into mixed-media and mixed-medium art. For that part, my goal is to be in a museum one day. I’ve never spoken or typed that out loud. There it is. I’ll start with a photography Instagram page that will call back to a former blog title soon, and painting, stealing my daughters materials when I can.

You know I had to take a few What Kind of Photographer Are You quizzes and I kept getting street/fashion photography, which I’m not actually interested in. I had Glowing Color going for a while as a creative outlet, but monetizing it turned it into a burden for me. I probably will incorporate my eye for color into photography under the macro/abstract umbrella rather than people.

Another far-reaching dream I’ve never mentioned is I would love to get into voiceover or narration work in the future. Several trained and professional singers have told me they love my voice over the years and I often get told it’s soothing. I’ve shelved that in my mind in the Post Pandemic closet as well though.

Part of the reason I haven’t gotten to explore my creativity is I don’t feel like I have the set-up for it at home. That’s why a complete home overhaul was on my retreat agenda as well - I’ll save that for a separate post. I’m already so pleased with the space and knowing my daughters’ can easily access their arts and crafts will lessen the anxiety I get when it’s time to explore my own creativity. 

Anyhoo, I got the urge to blog the Food Manifesto post and quickly activated Tumblr and got the words out and then went to bed. A dear, explosively creative friend took the time to send me a voice note and tell me she didn’t realize how much she missed my writing and how I make mundane topics interesting, that I was a great storyteller, and so on. It blew me away. Maybe *this* is my writing lane. Non-linear narrative writing. I don’t know if that’s the proper term but it fits.

All of this to say, I can’t believe there was a time I thought the creativity within me was dead. I just had to give it a home.

#creativity #personalretreat #art #photography #writing

[wallpaperpainting]

How Coastal Beach Art Is Going To Change Your Business Strategies | Coastal Beach Art

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“Look for pieces that accept a attenuate close vibe via foliage, like palms, as able-bodied as accustomed raw copse or rattan textures, and fun all-around prints,’’ she says. “Incorporate prints and altar that characterize shells and sea life.”

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[melissahappyplace]

HAPPY PLACE:  What Are Your Top 5?

What are the TOP 5 things that bring you joy?  What type of things give you an endorphin rush?  Your answer is the key to creating your Happy Place.  Your answer informs what you need to incorporate more of in order to live your BEST life.  Self-care has to be intentional.  It doesn’t happen accidentally.  You have to (a) think about what brings you comfort and renews you, and (b) make a consistent effort to prioritize them and bring them more fully into your daily life.

I’ll help you get started by outlining my TOP 5!  You should understand that what brings me joy is very personal.  What works for me will not necessarily give you an endorphin rush, but the overarching idea is the same…  Sometimes the simplest things bring us the most happiness.  Don’t underestimate the value in paying attention to those things that give your life the richness and peace that you deserve.

 #1: BOOKS

I have been called worse things than a “book sniffer” and I am NOT ashamed to be one!  I cannot tell you how much pleasure I get out of the smell and feel of a book.  Believe it or not, there are several different types of scents a book can have and there is one in particular that is indescribably pleasant.  It’s a gift to my senses that I feel grateful for each time I pick up a book and throughout each reading experience.  

As I read, I feel the pages and every once in a while give the book a good sniff. My husband likes to tease, “You dirty, rotten book sniffer.”  I smile coyly and return to the pleasures of my book.  Even if the story that unfolds in a book is disappointing, I feel rewarded by the world I have been taken to and the people I have met.  Nothing gets me out of my own head like a book.  It’s the only activity that effectively enables me to truly let go of the day’s challenges and the things that are worrying me. Reading feels like I am in a safe little mountain top cabin warming up by the fireplace safe from the thunder and lightning outside.

As I have said many times, a book can make any place a Happy Place.  Whether I’m on my lunch break at work or waiting in a doctor’s office, I pull a book out and I am transported.  I am fully engrossed and present for the journey the author is taking me on while the rat race goes on around me.  

Fiction takes me to places I have never known or comforts me by reminding me of places I know well.  It introduces me to people who help me to better understand myself and those I love.  Sometimes it reminds me of who I want to be and other stories warn me of what can happen when our character flaws win out over our best inclinations.

My other favorite type of book is self-help.  I won’t lie. I hate that term!  “Self-help”…ick!  It makes me feel like there’s something wrong with me that I need and like these books. When the reality is that people who are constantly in pursuit of a fuller, bigger, more meaningful life are the strongest among us.  I am fully aware that one book can change your whole life.  I read two books in the last year that were real deal changers. Last summer, I read “Big Magic” by Elizabeth Gilbert and the writing of this blog was born.  In the fall, I read “Girl, Wash Your Face” by Rachel Hollis and my health and fitness journey began.  2 books! . . . 2!  Maybe 6 hours spent reading and reflecting on a book led to fulfilling my dreams as a writer and better health.  That’s BIG MAGIC!

 #2:  OFFICE SUPPLIES

I’ve admitted this one in a past article.  I love myself some pretty office supplies! I don’t want to know how much I have spent on pens, colorful post-its, well designed file folders, and notebooks.  I even know the exact style of pen that makes me the happiest… Black Bic Velocity 1.0 or higher.  And I’m not ashamed!  They just make me happy!  I work better, think better and feel better when I am writing with my favorite pen in a colorful notebook.  I get a little rush when I put a document in a stylish file folder.  And let’s face it… there are much worse habits and it’s a relatively inexpensive way to put some pep in my step.

Yes, I am a nerd and I’ve passed this addiction down to my daughter and I got it from my father.  It’s a 3 generation addiction and love for office supplies!  If you come to my office at work or at home, you’ll see the nicest supply of pens and post its this side of Indiana.  Don’t hate me because my pen collection is beautiful!

#3:  NATURE

I started out loving being outside as a tomboy living in LaPorte, Indiana.  I climbed trees, dug up worms and came home with feet so covered in dirt my older sister thought she’d never get them clean during bath time.  When the weather is nice and we don’t have a lot going on I will spend all day in my favorite chair outside reading a book and soaking in our wooded backyard.  It feels like the ultimate retreat!  When I smell leaves or wood burning outside, I breathe that favorite smell in like it’s my last breath.  While walking on the Notre Dame campus where I work, I am constantly soaking in the gorgeous landscaping work, the statues, the butterflies, and more.  My favorite place to exercise is outside taking in the beauty and smells of the outdoors and checking out my neighbors’ homes and pets. I feel as at home outside as inside.

My favorite part of nature is WATER…any body of water will do really.  Whether it’s the South Bend river or walking along the canal in Indy or the river front in Chicago or the beaches along Lake Michigan, I am in my Happy Place along the water.  My favorite colors can be seen in the ocean – blues, teals, greens, oh my I love them! The sound of rushing water…the sunlight reflecting on the moving water…the sunrise or sunset on water…people playing in the water.  I just can’t imagine a happier location than on the water.  For some, it’s the mountains and for others the deserts out west. But, for me it will always be a beautiful body of water and a deep breath… Ahhh, my Happy Place!

#4:  MINIATURES

I am not sure how or where this little passion started for me.  But, I adore miniature anything!  I never had a doll house or paid attention to miniatures as a kid.  In recent years, anytime I see miniatures on social media I get a childlike thrill that rushes through my body.  Miniature plants, paintings, household products, furniture, books, anything you can imagine shrunk to the tiniest size possible!  I even watch a miniature food cooking show called, “Tiny Kitchen.”  Its where all my miniature dreams come to life!

Miniature images are a place my mind likes to go to feel comforted.  It makes me feel like life can be far less complicated and cozier. Every adult longs to be a child once in a while and miniatures gives me little breaks from adulting.  My definition of self-care is unique to me and while miniatures may sound like a strange passion, it works for me so I don’t question it.  I just let it be what it is…brain candy…a mini-Happy Place.

#5:  GIFTS

I should start by saying this one is last, but certainly NOT least.  I love buying gifts for my friends and family!  It brings me so much joy to think about the person, who they are, and go out in pursuit of gifts that will make them happy. Bringing me as much pleasure is the gift wrapping process!  I love to buy beautiful wrapping paper at Old World Market, the Container Store, etc. and cover my gifts in gorgeousness. I cannot give someone a gift that hasn’t been lovingly packaged and wrapped.  It’s not about impressing anyone either.  It’s about the pleasure I get from beauty!

I always ask the women I interview for this blog, why does beauty matter?  And while their answers have never been exactly the same, they all centered around the meaning and richness that beauty brings to our lives.  If beauty didn’t matter, I’d hand a gift over to someone in a brown grocery bag.  It the intentionality of selecting beautiful wrapping paper at the store and the joy that wrapping a gift brings me that matters.  For some, this type of beauty doesn’t bring them happiness.  For some, what brings them happiness is beautiful clothing, home décor, woodwork, and it’s all good stuff… as long as you find the things that are beautiful to you and make you happy…it’s all good!

YOUR TURN!

So what are your top 5?!?  What are the strange and everyday things that bring you a surprising amount of joy?  Are they in your life enough?  How can you intentionally make them a bigger part of your daily life?  It seems like a simple question, but I feel strongly that it is the key to self-care and intentionally enjoying your life to the fullest.  If you aren’t sure what your top 5 are, it’s even more important that you spend time figuring it out.  If you’ve lost touch with the simple things that take you away from the stresses of everyday life…you’re missing the point entirely!  We only get this one life…start the journey to find your Happy Place now … the end is nigh.

#happyplace #womenathome #beautymatters #design #home #homeandliving #homedecor #bestlife #decor #beauty

[gyongyiphotoarts]

WPS Idea pool

https://www.anasamoylova.com/work-1/#/sublime/Week 2-3  WPS - Initial proposals

This module allowed us to choose from 3 different methods of presenting our next project. We had to hand in our initial project proposal this week in order to be divided into our chosen groups - we had 2 choices to nominate, my main one was Page, as I’d like to create a lovely book for a long time now. However I am still unclear whether which idea I would like to start to work on, so I handed in two proposals - both are very sketchy so far.  Here I’ll copy & paste both forms, although I might have a brand new idea combining aspects from both proposals! All I know is that I’d like to work in a studio, creating still lives, working with a Hasselblad medium format camera and to shoot on colour film…

The first idea, ‘What is music?’ has formulated in my head a few months ago now, while I was travelling to work. Not an original idea, but I can be so enthusiastic if I find a great new song or artist! I guess this teenagerish dream of creating psychedelic still life compositions have been always lingering in my subconscious :D I did a few notes on how I want to start to work in the darkroom, I have to dig it up and upload it here.

The other idea is an ongoing struggle of mine - I don’t like to live in London as much as I used - but I am ‘grounded’ here because of my choice of getting an art degree in the city - after 8 years it’s harder and harder to leave my family and friends behind when I visit them in Hungary - but I know that I would never had the opportunity to study photography in my country, as the ‘art’ community is closely knit group, and if you don’t have a fine-artsy style you have no chance into getting into one of the leading art unis, like the Moholy-Nagy University of Art and Design Budapest. Of course, I have never applied there, as I never had the confidence on doing so - that is why I have always liked this country, as everyone has a chance to build on their confidence and skills without any underlying judgements (as in Hungary people are very critical with each other and for some reason we don’t like to help each other, and I am strongly missing the sense of inhesion within my nation) - so the basic struggle is the sense of belonging, feeling lost between two worlds…

Anyway, here is the proposal:

For this particular idea I feel like to take a few self - portraits - which I really hate in general, but it would be interesting to include myself in a way. I am heading to the studio next Wednesday afternoon for a test shoot.

As I have mentioned, my second idea have already changed slightly - instead of juxtaposing images of London and my hometown in a book - I still want to create still lives, construct them, as I like to have control over my work. Taking Lorenzo Vittuli’s strikingly colourful images as well as Anastasia Samoylova’s assemblages for first inspiration, I am very much drawned to create similar photographs AND to include my self portraits as part of the assemblage?

Both artists are working with colourful pieces of tools to enhance the meaning and aspirations  behind their work.

Lorenzo Vitturi - Dalston Anatomy and Money Must Be Made

Using found material on Riddle Street Market in Dalston, his constructed still lives are strikingly colourful, picturing different cultures representing themselves on the market - only using tools and materials found on the market, cleverly piecing them together in his studio. This abstracted characterization of a place is very creative. Like he is bringing individuals back from the market to his studio, giving them ‘another’ life, a new identity. Indeed, he is juxtaposing still lives with portraits on diptychs, I guess that’s what he was trying to do. 

I cannot get over how his books are beautifully juxtaposed. Colours and textures are flawlessly following each other page by page, occasionally interrupted with a blank white page to start a new series of picture flow. The portraits he took on the markets are often rephotographed, by adding a new element to the prints as a brushstroke, coloured pigment powder and cut outs, sometimes layering a couple of photograph to give a dimension to the composition. On his website there are many diptyches from the Dalston series, juxtaposing still lives with portraits. 

I have seen his work in the Photographers Gallery 3-4 years ago, but I cannot find the photos on my Google Drive :( I remember this diptych from Dalston Anatomy, I guess the most popular one, but I remember this electric blue caught my eyes even back then.

Anyway, more inspirational photos I love:

http://www.lorenzovitturi.com/

African cultures vibrant colours must have soothed his heart while he was at the Lagos market documenting the gentrification of the area. His photos are also made for the purpose of capturing the essence of the places he is visiting - ohmy, I just realised what a cliche I have noted here. Like is not that obvious. ohwell, well done for me for this brilliant observation. 

Anastasia Samoylova - Landscape Sublimes 

https://www.anasamoylova.com/work-1/#/sublime/

‘Landscape Sublime project explores the connection between the natural environment and its representation through photography. I construct temporary assemblages out of internet-sourced images that I re-photograph with a digital camera to produce the final works. ‘

Her working process is based on found materials as well, only from the endless pit of the internet. Her main focus is on working with cliche imagery, using themes such as ‘Flowers, Lighting, Desert etc’, to recreate these sublimes in her studio, reprinting the images, folding and warping them, making like ‘building boxes’ of them in front of the lens, to create interesting compositions and to rhetorically ask questions about the endless image making flow of today’s society with digital camera became so widespread.

https://www.youtube.com/watch?v=2CaGzzcXIac

Here are my notes and quotes from this video - ( as I’m too lazy to rewrite them here for the post, sorry :D ) 

she is interested in the perception of landscapes (…icebergs etc) not in the actual landscapes

‘the personal and collective idea of the environment, shaped by the existing images of that environment...’

her approach to photography - unmediated reality 

‘there is no such thing as non constructed image’

‘...the process of assembling a still life for her is a metaphor for the memory that blends pictures of different elements of the scene into a collage environment....’

using one main image, and then build the composition from there, adding more elements 

hours and days of production, assembling the photo, figuring out the light bit by bit

using mirrors, wrapping paper to reflect light

strips of images, curled up ones

core of Autumn Roads image - several conflicts, unanswered questions - found image - created image, straight vs composite image, landscape vs still life, natural vs artificial 

she says every photograph transforms space in one way or another…a photograph creates a new construction of a place…as framing does already

photographs are always constructed , which means that photography conveys a constructed reality

Looking at her photographs one cannot help but notice the 3D effect she is creating with her building blocks - and at the same time the photograph, specially on my laptop screen is flat, so she is tricking the eye and invites the viewer for closer observation. I would love to see her prints in real life in a gallery!

My assemblages would be representing each places - London and Bekescsaba -, using different materials, )maybe like Samoylova, photographs to build up a little construction...but what kind of paper she has been using to print her images? as there are no reflections on the prints at all, and she did state that she is using flash when photographing her assemblages)  and colour schemes ( Hungarian and UK flag colours?) 

How can I incorporate the self portraits ? -  having them printed out and then cutting myself out of it would suggest that I am lost in those places...? 

This work needs a lot of attention to detail and experimentation in the studio. In this case I need to book my Wednesday afternoons to work in studio - the previous day I have to gather my tools and ideas for the following day.

Tomorrow I’ll only play around with a few lights, might bring in some items to shoot some still lives. I’ll have a more finalised plan by next week on what to photograph :D I feel like I need additional research. 

Anyway, I guess constructing the photos in the studio is bloody hard and demands loads of effort and concentration. Also creativity. I don’t consider myself to be able to express my imagination on this level ( anyway, I cannot compare myself to anyone professional heh) , I guess I need tons of research in Dutch still life painting, some research in symbolism ( I have done my own research in reading about Dali and Frida Kahlo a few months ago, so hey, at least I’m tying.) and studio still life photography. New Objectivity, Formalism maybe...using striking shadows and colours...maybe Vivian Sassen’s work will be worthwhile to have a closer look again.

#wallpagescreen #5IMAG003W.2 #proposal

[thesis-development]

All Writing Stuff

Tagline/Logline:

We all must face our monsters eventually.

After the death of her grandmother, a stubborn girl finally learns to face the emotions she harbors over the loss in a nightmarish dreamscape that magnifies her biggest fears.

Pitch:

This film is a loss of innocence story about a young girl who must overcome her feelings of fear and grief revolving around the death of her grandmother. After seeing unsettling shadow figures around her home, she goes to sleep and has a nightmare that magnifies her fears and incorporates aspects of her home environment. In this nightmare she encounters a monster that forces her to choose between reuniting with her grandmother and saving herself. I’m really interested in portraying this amalgamation of emotional/mental spaces and physical spaces, and how feelings manifest themselves in dreams, especially as a child. The film will be cinematic, dark, and dramatic, and pull aspects of fantasy and drama, as well as horror.

Treatment:

After her grandmother’s funeral, she begins seeing shadows that resemble her grandmother, and they scare her. She keeps her grandmother’s shell necklace on her person at all times because it comforts her when she’s afraid. After seeing the shadow multiple times, she grows more and more uneasy and scared and goes to sleep. Her fear manifests itself in a nightmare that incorporates aspects of her life, such as her fish tank and references to her relationship with her grandmother. In this bioluminescent nightmare she follows a trail of shells that seem to be leading her to what she wants most - to be reunited with her grandmother again. As she follows the trail, she must leave her bedroom behind and travel through a dark, alien, bioluminescent landscape until she reaches a wall that she must climb. When she is above ground, the environment changes and the bioluminescent plants are replaced with giant bones. It is here that she realizes that her grandmother is at the end of the shell trail, and, desperate to see her again, she begins to run. Before she can make much progress, a giant monster rises out of the sand, magnetically pulling the giant bones and shells off the beach to create its body. The monster is a grotesque amalgamation of her previous experiences with death, from her dead goldfishes and pet dog, and horrifyingly begins to chase her. At this point she realizes that she must choose to either keep running towards her grandmother, and face destruction, or choose to save herself and run away. Although it’s really hard, and it upsets her, she knows she must choose herself. As she runs away, the monster drawing closer, she trips. Landing on the ground, she doesn’t get up, choosing to scream at the oncoming terror instead of continuing to run. The dream ends with a giant goldfish falling out of the sky and crushing the monster and her. This translates to the real world where her pet goldfish has jumped out of the tank, which wakes her up in a panic. She scoops him up and places him back in the tank, checking to make sure he’s still alive. As she watches him swim, she realizes that she doesn’t see a shadow anymore. Her necklace clinks against the tank, and she remembers that she’s wearing it. Her final action is dropping the necklace in the fish tank, letting go of her anger/sadness and letting go of the comforting item she was hiding behind.

Who is it for?

I want it to be understandable to kids but also powerful to adults

What is my objective?

To portray loss in a way that is both abstracted and powerfully realistic

To convey emotions through fantastical elements

To create an emotional and physical environment that is impressive and impactful, which portrays the connection between the emotional/mental and physical realms

Tone?

creepy/scary but fantastical = eerie?

Theme?

It’s about loss of innocence

Fear of death and losing loved ones, and the acceptance of that

Message?

I want the audience to feel a little bittersweet at the end? Relieved that the conflict within the main character is at an end, and that she’s chosen to let go of the past, but sad at the acknowledgement of the loss? Idk if that makes any sense

How does she change?

In the beginning she is stubborn, angry, and afraid (afraid of the shadows that she keeps seeing that represent her grandmother).

She chooses to leave her grandmother behind to save herself, which is something she would normally never because of her stubbornness/impulsiveness

In the end she feels relief, the weight of the pain is lifted slightly and she allows herself to move on, even smiles at her stupid goldfish who jumped out of the fishtank. Although she still loves and misses her grandmother, she isn’t afraid anymore, and doesn’t see the shadow creature again.

What is the catalyst?

The appearance of the monster in the nightmare which forces her to really choose between trying to save/bring back her grandmother and saving herself

Genre and inspirations?

Monster in the house

Fantasy/Drama

Fantasy Film Characteristics:

Uses magic or other supernatural phenomena or setting is imaginary

Disregard for normal passage of time

Plot usually has surprising twists or developments

Lots of action

Despite the availability of magic the struggle of the character seems authentic and failure an option

Usually three act structure

Drama Film Characteristics:

The use of gestures, objects, or persons is needed to showcase the inner meaning that is beyond the literal

Dramatic films often include current issues, societal ills, mental illness, or other issues of the time period

Relies on the emotional and relational development of realistic characters

Often themes are taken from intense, real life issues

Usually three act structure

Examples and Inspirations:

Pan’s Labyrinth

Panning transitions cut away when something passes in front of the camera

Faun is obscured in darkness until she fully encounters him

Jurassic Park/World

Obscures monster until the full reveal

Chase scenes - Camera moves to keep either protagonist or monster centered depending on the focus wanted

Also monster is often partially obscured by whoevers running away after the initial beauty/reveal shot of the full creature

Need a near-miss, snapping jaws or giant claws come down where the protagonist was seconds before

E.T.

Uses lots of fog, night scenes to obscure both ET and later the government agents to add to the creep/mystery factor

Beat Sheet

Opening Image - Shell necklace sinking into the fishtank and coming to rest on the bottom. Slow pan of hand painted gravestones, beginning with dog then a bunch of goldfish

Set-up -

Scene 1: She’s playing a video game in the living room. She’s already wearing the shell necklace. She’s super aggressive, slamming the buttons and super intensely staring unblinkingly at the screen. A shadow passes the window and, momentarily distracted, she presses the wrong button and her character dies. She’s angry/frustrated. She glances at the photo of her with her grandma on the beach then back at the window, slightly unnerved, and she touches the shell nervously before starting the game again. Panning transition to bedroom.

Scene 2: She’s in her bedroom, feeding her fish. As she drops the food in, she watches closely as the fish totally ignores it. She taps the glass impatiently, as it stupidly swims around. As she’s watching, she notices a dark figure behind her and she whips around clutching the necklace - but it’s only a pile of clothes on a chair. Unnerved again, she jumps into bed and pulls the covers up, still holding the shell close to her face. Panning transition under the bed to the nightmare world as she falls asleep.  

More Set-up/Catalyst - She’s in the nightmare world. Exploring the underground/underwater portion, noticing her bedroom with the bed and fish tank and maybe the video game system are with her before heading out to follow the trail of glowing shells. She’s surrounded by bioluminescent plants, they’re a little eerie and unnatural looking, but overall pretty cool. Reaching an impasse, she must climb/swim out of the hole she now realizes she’s in. When she reaches the tops she realizes she’s on a beach, and the beach is covered in bones, and in the distance she can see a tiny figure, similar to the ones she’s seen before, at the end of the shell trail. She follows it, gaining speed as she realizes its her grandmother (maybe I’ll need a match cut to the photograph to make it really clear). But just as she realizes this, a giant monster rises out of the ground, an amalgamation of bones and shells, and it roars as it starts dragging itself towards her. The catalyst is the appearance of the monster.

Debate - As the monster closes in, she makes a break for the silhouette of her grandmother, trying to reach her before the monster does. She doesn’t want to leave without connecting with her grandmother again, but the odds grow slimmer as the monster gets closer, and she gets more and more desperate.

Break into Two - The monster lets out another massive roar. She slows to a stop as she realizes that there’s no way she can reach her grandmother in time. She’s upset, and frustrated, but she knows it’s a fruitless task, she would never make it in time. Steeling herself, she makes a 180 turn and runs in the opposite direction, heading for the dunes away from the monster. She chooses to save herself. As she begins running away we see the monster crush the grandmother, which disintegrates into dust.

Midpoint - She doesn’t get what she wants (or thinks she wants. Not everything we want is what we need.) The realization that she must leave her behind is incredibly painful, and her emotional pain is clear on her face and in her much more erratic running/tripping

Bad Guys Close In - She trips and falls! But she’s not getting up.

All is Lost - Instead, she spends a few beats facedown, we can see that she’s really upset. She turns around to sit up, staring down the monster as it approaches, giant and horrifying.

Dark Night of the Soul - The monster lets out another terrifying roar, and she screams right back, staying sitting, angry and hurt at the world and at death but refusing to let the monster chase her anymore.

Supernatural Intervention - Before the monster has a chance to crush her, she looks up and sees an even more gigantic goldfish which falls out of the sky and crushes her and the monster, causing her to wake up.

Finale - She’s awake in her bedroom again, the light has changed to be more hopeful, closer to daylight/sunrise. She notices that the fish has jumped out of its tank. She scoops it up and places it back in the tank and it lethargically paddles around. As she does this the necklace clinks against the glass of the tank, and she looks down, having forgotten that she was wearing it.

Final Image - The shell necklace joining the fish in the tank, slowly sinking to the bottom. We hear the door to her room open and shut as she leaves it behind, as the fish swims underneath it to take shelter.  

[houseofvans]

ART SCHOOL | JONNY ALEXANDER (Detroit, MI)

Inspired by his love of the outdoors, artist and Head Screen Printer Jonny Alexander’s work incorporates Nature, landscapes, and its objects/processes, creating large open landscapes to cross sectional terrestrial islands sometimes floating in space, surrounded by oceans, or inhabiting surreal terrains.  Devoid of humans and human interactions, his visual narratives do, however, reflect his own “existential quandaries” or spotlight the human consequences to the environment as in a 2016 mural he created with the Pangeaseed: SeaWalls Murals in New Zealand.  We’re super excited to chat with Jonny about his art school experiences, his love of the outdoors, as well as his work ethic and tenacious attitude, all in this session of Art School. 

Photographs courtesy of the artist

Introduce yourself. Jonny Alexander / Currently in Detroit, Lived all previous years in California. I’m a painter, muralist, printmaker and Head Screen Printer for 1XRUN in Detroit

If you weren’t a painter, what do you think you would have ended up doing professionally?

Well, I kind of am doing something else professionally besides / as well as painting. I work full time as the Master Printer for the publishing company and gallery 1XRUN / Inner State in Detroit. I am also a full time painter… so I guess that means two full time jobs haha.  The Screen Printing is consistent and structured employment and the painting is sporadic in payment but constant in development.

We’re glad you’re a painter and an artist though, can you tell us about your journey? What was art school like for you? What were some of the best things you took away from that experience? What were you glad to get away from, once you graduated?  How was life after school for you at the time?

I’ll do a quick rundown of pre-college art. 9-13 years old I got introduced and started writing graffiti with neighborhood skateboarding friends. With high school friends we also skated, we weren’t doing graffiti but drawing weird shit in sketchbooks and starting to screen print t-shirts in the garage. Cut to college I moved from San Diego to Northern California and went to CSU, Chico, which is about 3 hours northeast of San Francisco. I went into college thinking I didn’t want to study art cause it might kill the enjoyment of making it, but I was wrong about that. I took courses regardless though and was introduced to the world of Printmaking. I only knew screen printing, but I took an intro course that had me doing etching, woodblock printing, screen printing, monotypes etc. I was pretty intrigued with the process. I realized that being in other classes was just taking time away from working on art. So I went full on into a Bachelor or Fine Arts with an emphasis in printmaking.I recognized from going through school studying art that the experience is honestly what you make of it. No one is going to teach you style, no one is going to teach you really how or what to paint or draw or make. But they will give you the fundamentals and above all the time and deadlines to produce as much art as you can. That was really what I got most from it. It gave me a really strong work ethic; it pushed me to form a strong studio practice and to produce work. It also, if you are lucky, gives you a strong community of peers to bounce ideas off of and pushes you with healthy competition to get better. What I did like getting away from was some of the real intense academic push to defend everything you make. I don’t want that to come off the wrong way. I genuinely cherish conceptual art and having meaning and depth to what you make, understanding what and why you are doing something and the context in which it lies in the grand narrative or art history. But I found myself chasing ideas into weird places that didn’t even feel like art to me. I would think myself out of a painting or print because I couldn’t conceptualize it, instead of just making it and moving on. I enjoyed the freedom when I finished school of just making a painting to make it. If only for its aesthetic, color or composition without heavy weighted conceptual arguments attached. It helped me to work faster and really push forward in developing my style.

Life after school was fruitful and painful. Lots of uncertainty with the newfound freedom, lack of structure and lack of employment but also a lot of fun. My girlfriend of 4 years broke up with me shortly after we finished school. Shortly after that I quite my crap job at a pizza place, took all the left over house paint I had and went into the rural hills of Northern California and started practicing painting murals. I painted 4 murals in 4 weeks on abandon structures. I was heartbroken the whole time but working my ass off, using my tears to wash my brushes after a long day painting. Haha But really that was the bootcamp I put myself through to break ground on painting murals. Less than a year later I was an assistant to my friend Tavar Zawacki who is a longtime artist who goes by the name ABOVE. He took me out to Detroit to help him with a Solo Exhibition with Inner State Gallery / 1XRUN. About 8 months after that I was moving from California to Detroit to be 1XRUNS Head Screen Printer. It has been almost two years now that I have been here. Side note: The girlfriend of 4 years that broke up with me after school, we got back together a little later on….Hey Bertha I love you

Having acquired a degree in printmaking, what aspects of that particular skill set proved to be super helpful or maybe gave you a different approach to painting as an art form? Or how have you used your printmaking skills to inform what you do as a painter?

One thing that was helpful, as I had kind of mentioned earlier is that it led me into the job I hold with 1XRUN today. It is a pretty useful trade to have and I see myself being a print maker and screen printer for years to come. But in terms of my art practice printmaking definitely helped develop my drawing style. Printmaking also broke down layers for me as well. To make a screen print you have to lay down colors in a specific order. It is a pretty methodic and regimented order of operations. This method of a layering process has come into my painting practice and really into my mural practice. It has helped me to think about how colors “stack” if you think of them as layers. I think it helped me to be able to translate my smaller more time consuming paintings into larger murals by way of simplifying the approach.

In terms of your paintings the landscapes, the natural environments, and the colors of nature – are heightened in a way. As if the viewer is often experiencing a different type of hyper landscape. Could you tells us a little more about these “psychedelic landscapes” and how these visuals came about?

Psychedelic Landscapes was a joke between my friend Ian Roffe and myself in school. Haha I think the real root of it is from my upbringing as a child. Growing up in San Diego my parents could have taken us to Disneyland or something like that but instead we spent all of our family road trips going up to the Eastern Sierras. Going to National Parks or almost every other weekend spent up in the local mountains in San Diego fishing, hiking and camping. I was always picking up rocks and sticks and looking at the patterns in them, collecting them, doing some “organic hoarding” that I still do to this day. I also grew up surfing by myself. None of my close friends picked up surfing so again I spent a lot of time roaming the cliffs and rock formations of some of San Diego’s coastline. I think all that naturally filtered into my paintings. I was really into some of the surrealist painters like Dali and Max Ernst in my younger years so that love of large open landscapes was really appealing. I think it has been a common thread throughout my art making and has just evolved and transformed over the years.

Your paintings often depict geological layers / structures and other aspects of the natural world. What natural structures or landscapes have influenced you the most and what about them most captivated you and percolated into your works?

Rocks man….goddamn rocks. They are so cool. There is so much variation in them. In the texture, the color the way they crack and fold. The way that erosion goes to work on them over years, it’s just some very beautiful patterning. There is also good metaphor for me in rocks and mountains. Rocks are really old material compressed together over vast amounts of time and buried deep in the earth. They have some wisdom to them for that reason. I titled a piece a number of years ago, “The Wisdom Rocks of Old are the Souls of the Past” which kind of sums up that thought. Mountains also though, they are the pushing up of these old chunks of earth and we can climb up them to see beyond what we could from the ground level maybe to get clarity or furthered vision. I think there is metaphor to see in all nature if you are looking for it. I think that is why I have continued to use it in my paintings over the years. Most of my paintings don’t have people in them so I rely on nature and objects to create narratives referring to existential quandaries I have. I read this quote years ago, which I think is pretty nice and applicable. “The finest workers in stone are not copper or steel tools, but the gentle touches of air and water working at their leisure with a liberal allowance of time”. - Henry David Thoreau

Who are some of your top 5 favorite contemporary artists? 5 favorites of all time? I would have to say… Interesni Kazki Aaron Glasson & Celeste Byers (good friends) Michael Reeder Saner Pat Perry James Turrell Salvador Dali Caravaggio Andy Goldsworthy Radiohead

What are your top 5 materials? Is there a medium you haven’t yet tried, but are looking to learn? Acrylic Gouache Micron and Radiographs Waterbased Screen Printed Gradients Wood Panels built by my friend Craig (For real if you want to buy heavy really nicely made wood panels DM this guy @chejka ) I have painted with oils a couple times but would like to start making some oil paintings and getting some real nice smooth gradients

We gotta find out - What are your favorite Vans?

Love me some Sk8-Hi’s, always been a sucker for high tops, cause they feel good on my feet and look cool with pants and can also make you look like a goofy shit when you wear them with some short shortz.

Being a lover of the outdoors, where’s a place you’d love to go for artistic inspiration and why?

That’s a tough one. There is a ton of places…so lets go for a list? Right? Never been to Zion or Bryce Canyon, plan on going there in the next year. Andes in Peru South Island of New Zealand Iceland (including small plane flights over all the crazy land formations) Yellowstone (Not in peak season maybe go in late fall) The bottom of the Grand Canyon Patagonia, Argentina Um… Probably a lot more places But mainly I’d like to go to most of those places to see some intense and awe inspiring natural beauty.

What’s a question you’d like to answer that you’ve never get asked in terms of art? How do you formulate ideas and what is their lifecycle? (It would be a really long and disjointed answer, but fun to talk about.

I read that you often love painting outside at the beach or just outdoors. What about painting in the outdoors do you enjoy? And when you can’t paint outdoors, what is your studio like? (What do you put in it for inspiration?)

I think I have to change that previous statement about liking to paint outdoors. I think I may have talked about that before I ever really had a proper studio. For most of my life my “studio” has been whatever bedroom I lived in at the time. That was very cramped and limiting. So I used to just go out somewhere and set up and work on stuff, which was really fun. But now that I have been living in my loft in Detroit for 2 years, I really love having a nice open space to work. I have a nice big table, I have panels to paint lying around, I paint upright on the wall, which is nice for my back as apposed to sitting in the sand at the beach. I love having space to sit all day and paint, cause I find I need at least 4-8 hours to really sit and have a successful session painting. My studio does have quite a few plants around, some weird organic hoarding trinkets and always music or a podcast floating through the air. I do still carry a sketchbook with me wherever I go and like to do some drawing outdoors, but I find I am usually too preoccupied with what is going on around me to just look into my book.

You’ve been doing a lot of large scale paintings and murals in the last few years. What was the your favorite large scale work, and what were the challenges (if any) and how did you overcome them? What’s the best advice you’d give to someone working large scale?

I had a lot of fun about a year ago (March 2016) with the Pangeaseed: SeaWalls Murals for Oceans project in Napier, New Zealand. The challenge as it is with murals is the weather. It rained 3 out of the 5 days we were supposed to paint. Which, when using brushes, is a big problem. You can get away with spray paint in some light rain, but liquid house paint with a brush just won’t stick. Besides that it was a really fun piece to work on, it had a definite message to it about sea level rise and the causality of it coming from us humans consumption habits. I also got a lot more comfortable using spray paint on this mural. Previously I had barely every used it, I worked mainly with brushes, but I was able to practice and get much more comfortable with cans. Advice I would give to someone is to have a plan of attack. As I had said before about thinking of it in simplified layers, that really helps. Day 1 for me is usually getting the sketch on the wall nice and proportioned how I want it. Day 2 I fill in all the large flat area of colors and then all the rest days it just tightening things up and doing all the detail and line work.

What advice if any, would you give upcoming artists or folks who want to become artists?

Don’t wait for opportunities to come to you. You’ve got to be very tenacious and dedicated to it and you have to sustain that momentum for a very long time. I have been at it for years now and I still have so much I need and want to do. Also be wise about splitting up time between creating the work and getting the work out to the world. A bunch of painting stuffed under the bed should see the light of day. You kind of have to be the artist, manager, content editor, prompter etc. I think that’s all I’ve got. Well maybe just be genuine and don’t rip off other people work or chase trends, try to be authentic and people can appreciate that. And network! Go meet people in your artist community!!

Finally, what projects or shows do you have that you’re excited about coming up? I just had a piece in the “Paint It Forward” Exhibition at Cass Contemporary in Tampa last month. I will be showing at Inner State Gallery’s LAX/DTW show curated by Thinkspace in the summer. I have some fun things coming up in my studio working with a friend who does Neon here in Detroit. I am supposed to be painting a mural in Kiev, Ukraine at some point this spring or summer with a project called Art United Us, which will be my largest mural to date. I am also looking for any murals projects the world has to throw at me! Thank you for your time!

Follow Jonny Website: http://jonnyalexander.com Instagram: @jonnyalexander 

#vans #vans art #jonny alexander #painter #detroit #interview #art school

[iamjamesmatthew]

IAJM INTERVIEW w/ OSCAR JOYO (@OscarJoyo)

OSCAR JOYO INTERVIEW by Matthew James IAJM: Hey, Oscar. Before we get into this talk, I’d like to start off by having you introduce yourself to readers as well as myself. OSCAR JOYO: My name is Oscar Joyo and I'm a Chicago-based visual artist who works in both traditional and digital media.I was born in Malawi in 1992 and moved to the US less than a decade later. I was inspired by animation, video games, movies, music, and art books from the 1999 Tarzan film growing up but graduated into anime, figurative painting, and surreal art as I got older. I continue to be influenced by artists of various disciplines to this day. IAJM: Growing up who were some of the artists that inspired you? OJ: As a kid, I was inspired by artists like Akira Toriyama, Alex Ross, James Jean, Glen Keane, and Kehinde Wiley. IAJM: What makes those particular artists so inspirational to you? OJ: Sure, these artists had some strong influences on because of how they combine things together to make a new viewing experience. I also admire their rendering abilities and how well they capture realism. Akira Toriyama was my first influence with his show Dragonball z. His combination of pop culture and fighting films really caught my attention. His way of drawing character was so simple to copy of from that I drew it all the time.As a kid, every kid in my class drew Goku and Vegeta.Honestly, if it weren't for that show and the profound impact it felt on me, I wouldn't be drawing today. I then graduated to Alex Ross with his blend of classical realism and comics which was foreign to me at the time.What makes him great was how he took his passion for comics and realism seen by artists like Norman Rockwell and fused them so beautifully. Glen Keane but more specifically his work on Tarzan is another influence on me. As I got older and really dove into his process and how tedious he had to study animal and human life (keyword: study) to make his characters come to life in his work. Kehinde Wiley with his mix of classic, Renaissance art and black culture really influenced me growing up. He utilised the representational aspect of figure painting so masterfully but what sold me on him was how regal he made his subject matter.It showed the importance of an African American and within us, there is royalty. I can't fully pinpoint what I loved about James Jean but his ability to switch from pop-oriental to comic book to surreal made me want to work with various media. Funny enough, I didn't like his work until I got to college and looked through his "Rebus" book. Like Kehinde with Black culture/Renaissance, James incorporates a traditional style of Japanese paintings with a surreal/representational approach. Overall, what I love about these artists all together is their willingness to study the world around them and then combine things together. For me, it made me embrace being able to move from technique to technique.  IAJM: So now, after having your "creative fire" lit by those artists, when did you begin to take your art as a serious endeavour to pursue? OJ: I was motivated to take art seriously around the age of 15 when my high school art teachers encouraged me to pursue it. It was a huge push for me since I love art in general and knowing that I can make a career of doing what I love.

IAJM: I like the piece of work you recently created inspired by the Marvel Comics Hip Hop variant series - the Danny Brown x Incredible Hulk piece is amazing. Have you contacted anyone from Marvel Comics about officially collaborating with their variant series? OJ: Thank you very much. Haha, unfortunately, I haven't been contacted by Marvel (yet). It would be cool if they contacted me since I have additional ideas for more variant covers. IAJM: What's a typical day in the life of Oscar Joyo like? OJ: My typical day is broken up into 3 branches but simply: I get up, go to work, come back to spend time with my roommates, draw and paint, then sleep or stay up if I had too much caffeine throughout the day. B.Drawing until I can't draw anymore, drinking coffee, and researching more art C.Attempting to leave the house but stay inside because something about the drawing doesn't look right.

IAJM: What big projects do you have planned for 2017? OJ: Currently, I'm working on issue #2 of Nebula Creatives' Lab99 graphic novel, which should be out during the summer of this year. Outside of that and drawing/painting constantly, I'll be making a new body of work. More details to come once I get settled with additional ideas but for now.I'll be playing with music and art. This approach was tested on a recent drawing entitled Jungles LP1, and I plan to make more like it over the coming months.

IAJM: What can you tell us about Nebula Creatives’ Lab99? What the graphic novel about? Where can people find it? OJ: Lab99 is sci-fi graphic series mainly about a Thai woman who wants to break out of being a regular person to search for extraterrestrial life.Through her experience of doing so, we see her handle each encounter and become more in tune with alien life. Currently, we are working on the prologue, which is 3 issues about one of the key characters, who is alien and how he lost contact with his kind as he crashes into planet Earth. You can find it on   nebulacreatives.com/lab-99, if you are outside Chicago.

IAJM: Aside from working on this the comic, do you commission work? If so, where can people go to reach you? OJ: I do get commission work and I'm always open to doing more. People can always reach me through scarjoyoart.wix.com/oscar-joyo or find me on Instagram.

IAJM: Let's look ahead to the future: 5.10.15. Where do you see yourself in 5 years? 10 years? 15 years? OJ: Haha, I've thought about this quite a bit actually. Within 5 years, I want to have my MFA in studio arts or illustration. During that time I'd have a strong gallery, illustration, and web presence.I'm doing well as a freelancer and I'm able to split time as a fine artist and illustrator. In 10 years, take it even further with my presence and hope to be travelling a lot. At this point, start considering opening up a gallery or even opening up a fund for high schoolers or anyone who want to pursue art as a career. At the moment, I'm not sure what 15 years would look like but I do know it's going to be very bright for me.

IAJM: Could you describe Chicago's art scene to me? Who are some of the people that consistently putting in work, representing the city? How competitive are the artists? Do you belong to any art collectives? Who are some the artists in your area that you feel people should be paying attention to? OJ: The Chicago art scene, to me, is an expressive, colourful, and culturally accepting landscape. Even though you get to see it about it anywhere, the beauty of art in Chicago is that it transcends beyond the page. I see work by local artists' work on apparel, buildings, videos, bridges, and such which helps make this place an open canvas for creativity. People like Brandon Breaux, Max Sansing, Sam DeCarlo, Antonia McMan, Hebru Brantley, Colin Van Dan Sloujs, and many others continuously put out work to make the city better. This city is filled to the brim of creatives from different walks of life that it makes me want to be a better artist so I can leave my mark. At the moment, I'm not in any collective but I'm not against being in one.

Some other names to look out for are Conrad Javier, Kayla Mahaffey, Joe Renda, Lucas Durham, Kevin Fagaragan, Alyssa Ecarma, Matt Wojtan, and Erik Lindquist. Of course, there are a lot more around the city so I highly recommend checking their Instagram and maybe you'll discover more nearby Chicago. Trust me, there's plenty of us.

IAJM: Last question. Who are some people you would like to thank or acknowledge for supporting you over the years? Is there anyone you would like to shout-out? OJ: Yes. First, I give thanks to God for giving me a wonderful family that continue to support me wherever I go and with all that I do. It wasn't easy but I'm extremely grateful for their tireless love. My inspiring friends, professors, and colleagues from my alma mater, American Academy of Art, my friends and extended family around South Bend, Chicago and especially the ones all over the world who have been on my side. People who have followed my work for a while and have seen my progress. Huge shout out to Eric, Kane, Kevin, Peter, Stacie, Tyler, and Natasha for being weird and teaching me more lessons that I put to use every day (sorta). Most importantly, Bruna, Nyame, Mary, and Steve for really getting me into art.I don't what you saw in me but thank you so much.I wouldn't be here without you all. 

#Oscar Joyo #Art #Chicago Art #Chicago Artists #Alex Ross #Lab99 #Nebula Creatives #Marvel Comics #Marvel Hip Hop Variants #Black Art #Jungles LP1 #Malawi #Dragonball Z

[eddiejpoplar]

This Artist’s Mechanical Obsession Is on View at the Whitney Museum

When he was working on his Master of Fine Arts degree at Yale in 2011, Kevin Beasley went to Virginia to visit his relatives. Though he grew up in Lynchburg, his family maintained a nine-acre property a few hours southeast, in Valentines. The family hosted regular reunions at the site and his grandparents had farmed there, but that visit seven years ago was the first time the then 26-year-old had seen the fields planted.

“It was planted with cotton,” Beasley says in a phone interview from the Whitney in Manhattan, where his first New York solo museum exhibition, A View of Landscape will open this weekend. Cotton has an extraordinarily laden history for African-Americans in the South, to say the least, and the planting startled him. “It was a very heavy emotional space for me,” he says. “It was something I wasn’t really prepared for.”

On a subsequent visit, Beasley picked some cotton and brought it back to his studio in Connecticut, and the bolls left him in something of a quandary. “I was thinking about how to process it—process what I had just experienced, and actually physically process the material, like maybe I wanted to make something out of it,” Beasley says.

Beasley has a deep affection for classic automobiles. His father is a mechanic and the owner of an original 1972 Dodge Demon. His first car was a 1970 Dodge Dart Swinger. So in order to help determine how to deal with this material dilemma, he did what any old car lover would do: He went on eBay.

There, he came across a motor. “I have the ad, a printout of it, but it was basically, like, ‘Large induction motor, ran a cotton gin, hasn’t run in thirty years, extremely heavy,’ ” Beasley says. The 2200-pound electric motor was in Alabama, and when Beasley ventured down there to complete the purchase, he ended up having a long dialogue with the seller. “He said, ‘I still hear the way it sounds.’ And I asked him if he could articulate that, but he didn’t have the language,” Beasley says. “And that fascinated me.”

Beasley’s work has often incorporated sound. So for his installation at the Whitney, he decided he wanted to separate the machine’s sound from its operation. Working with designer David Tasam, acoustic engineers from BuroHappold, and museum fabricators Goppion in Milan, he created an elaborate glass and metal vitrine to hold and insulate the motor—the baffling foam inside is layered in rows, like a planted field. Silenced, but visibly whirring, the motor’s physical action is thus separated from its effects.

Artist Kevin Beasley.

An elaborate system of microphones inside the vitrine captures the motor’s sound. It is then manipulated through a synthesizer and piped into a separate room. The resulting aural experience is haunting and visceral—special speakers under the listening room’s benches provide a throbbing tactile kick. Directional speakers on the ceiling make the audio experience distinctive in different parts of the room. The sensation is akin to being rendered, or ground down. (While in Italy working with Goppion, Beasley had very different aural experience. “My first drive in a Ferrari was at the Goppion facility, because the owner had a 612 Scaglietti,” he says.) Three large resin sculptures line the passage between the two spaces, incorporating cotton picked on Beasley’s family property, and comment on his family history, the transatlantic slave trade, and the motor’s acquisition.

Beasley’s love for cars transcends his father’s formative influence. As an adolescent obsessed with drawing and painting, and seeking a profession in which he could put these skills to real-world use, he pursued a career as a car designer. He was accepted to Detroit’s prestigious College for Creative Studies, and even made the selective sophomore-year cut to join the automotive design department. But desiring the ability to define his artistic practice more independently, he, as he says, “walked over to the fine-arts department,” and earned his Bachelor of Fine Arts degree there.

Being a rising art star with previous group exhibitions at the Whitney and MOMA/PS1 and representation by Chelsea gallery Casey Kaplan has not diminished Beasley’s fascination with the automobile. His work at last year’s Frieze Art Fair, “Sport/Utility” consisted in part of a crushed 2008 Cadillac Escalade ESV [pictured above], a commentary in part on the brand’s overt policy forbidding direct sales to black owners during its first 30 years of existence, and the subsequent manner in which black consumers, once they were welcomed into the fold, helped to save the marque during the Great Depression. He is the proud owner of a Dodge Grand Caravan, which he describes as “perfect for being an artist. I can stuff whatever I want in it.” And he also has a 2010 Challenger R/T that used to belong to his dad and which he’s since customized.

“I put a supercharger on it, new cat-back Corsa exhaust, headers, Stop-Tech brakes, an Air Lift suspension. I went all the way,” Beasley says, of the work. He also remains definitively interested in automobiles from a physical and intellectual standpoint. “I’m trying to figure that out, what this thing is about cars, about the way they look, the sculptural form of them. But also thinking about it consciously, and the conundrum,” he says. “My car is now more of a gas-guzzler than it was before. It’s a conundrum I feel like I’m willing to embrace, and I’m also trying to understand what it means.”

Ultimately, the Challenger’s challenge may remain unanswerable. “Maybe I’ll crush it,” Beasley jokes, laughing. “I don’t know. We’ll see.”

The post This Artist’s Mechanical Obsession Is on View at the Whitney Museum appeared first on Automobile Magazine.

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#IFTTT #Performance Junk Blogger 6

[jonathanbelloblog]

This Artist’s Mechanical Obsession Is on View at the Whitney Museum

When he was working on his Master of Fine Arts degree at Yale in 2011, Kevin Beasley went to Virginia to visit his relatives. Though he grew up in Lynchburg, his family maintained a nine-acre property a few hours southeast, in Valentines. The family hosted regular reunions at the site and his grandparents had farmed there, but that visit seven years ago was the first time the then 26-year-old had seen the fields planted.

“It was planted with cotton,” Beasley says in a phone interview from the Whitney in Manhattan, where his first New York solo museum exhibition, A View of Landscape will open this weekend. Cotton has an extraordinarily laden history for African-Americans in the South, to say the least, and the planting startled him. “It was a very heavy emotional space for me,” he says. “It was something I wasn’t really prepared for.”

On a subsequent visit, Beasley picked some cotton and brought it back to his studio in Connecticut, and the bolls left him in something of a quandary. “I was thinking about how to process it—process what I had just experienced, and actually physically process the material, like maybe I wanted to make something out of it,” Beasley says.

Beasley has a deep affection for classic automobiles. His father is a mechanic and the owner of an original 1972 Dodge Demon. His first car was a 1970 Dodge Dart Swinger. So in order to help determine how to deal with this material dilemma, he did what any old car lover would do: He went on eBay.

There, he came across a motor. “I have the ad, a printout of it, but it was basically, like, ‘Large induction motor, ran a cotton gin, hasn’t run in thirty years, extremely heavy,’ ” Beasley says. The 2200-pound electric motor was in Alabama, and when Beasley ventured down there to complete the purchase, he ended up having a long dialogue with the seller. “He said, ‘I still hear the way it sounds.’ And I asked him if he could articulate that, but he didn’t have the language,” Beasley says. “And that fascinated me.”

Beasley’s work has often incorporated sound. So for his installation at the Whitney, he decided he wanted to separate the machine’s sound from its operation. Working with designer David Tasam, acoustic engineers from BuroHappold, and museum fabricators Goppion in Milan, he created an elaborate glass and metal vitrine to hold and insulate the motor—the baffling foam inside is layered in rows, like a planted field. Silenced, but visibly whirring, the motor’s physical action is thus separated from its effects.

Artist Kevin Beasley.

An elaborate system of microphones inside the vitrine captures the motor’s sound. It is then manipulated through a synthesizer and piped into a separate room. The resulting aural experience is haunting and visceral—special speakers under the listening room’s benches provide a throbbing tactile kick. Directional speakers on the ceiling make the audio experience distinctive in different parts of the room. The sensation is akin to being rendered, or ground down. (While in Italy working with Goppion, Beasley had very different aural experience. “My first drive in a Ferrari was at the Goppion facility, because the owner had a 612 Scaglietti,” he says.) Three large resin sculptures line the passage between the two spaces, incorporating cotton picked on Beasley’s family property, and comment on his family history, the transatlantic slave trade, and the motor’s acquisition.

Beasley’s love for cars transcends his father’s formative influence. As an adolescent obsessed with drawing and painting, and seeking a profession in which he could put these skills to real-world use, he pursued a career as a car designer. He was accepted to Detroit’s prestigious College for Creative Studies, and even made the selective sophomore-year cut to join the automotive design department. But desiring the ability to define his artistic practice more independently, he, as he says, “walked over to the fine-arts department,” and earned his Bachelor of Fine Arts degree there.

Being a rising art star with previous group exhibitions at the Whitney and MOMA/PS1 and representation by Chelsea gallery Casey Kaplan has not diminished Beasley’s fascination with the automobile. His work at last year’s Frieze Art Fair, “Sport/Utility” consisted in part of a crushed 2008 Cadillac Escalade ESV [pictured above], a commentary in part on the brand’s overt policy forbidding direct sales to black owners during its first 30 years of existence, and the subsequent manner in which black consumers, once they were welcomed into the fold, helped to save the marque during the Great Depression. He is the proud owner of a Dodge Grand Caravan, which he describes as “perfect for being an artist. I can stuff whatever I want in it.” And he also has a 2010 Challenger R/T that used to belong to his dad and which he’s since customized.

“I put a supercharger on it, new cat-back Corsa exhaust, headers, Stop-Tech brakes, an Air Lift suspension. I went all the way,” Beasley says, of the work. He also remains definitively interested in automobiles from a physical and intellectual standpoint. “I’m trying to figure that out, what this thing is about cars, about the way they look, the sculptural form of them. But also thinking about it consciously, and the conundrum,” he says. “My car is now more of a gas-guzzler than it was before. It’s a conundrum I feel like I’m willing to embrace, and I’m also trying to understand what it means.”

Ultimately, the Challenger’s challenge may remain unanswerable. “Maybe I’ll crush it,” Beasley jokes, laughing. “I don’t know. We’ll see.”

The post This Artist’s Mechanical Obsession Is on View at the Whitney Museum appeared first on Automobile Magazine.

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Sometimes a work of art, developed over years, can become premonitory in unexpected and unsettling ways. When sculptor Cody Arnall began work on the installation Who’s Got a Price on Their Head? in August 2016, he could not have predicted the election of Donald Trump, the escalating tensions with the nascent nuclear power of North Korea, and the rise of aggressive, hateful rhetoric in our nation’s highest office. Just a week after Arnall’s installation opened at LHUCA in Lubbock, in January 2018, people in Hawaii were ducking and covering and saying goodbye to their loved ones, believing that their lives were about to end by ballistic missile. It was a false alarm, but nuclear annihilation suddenly felt like a very real and imminent threat, yet again.

Arnall’s installation incorporates footage of the 1946 Baker Shot nuclear test in the Bikini Atoll, an event of extreme power and carnage. The film, sourced from the WPA archives, is projected onto a six-foot-tall wooden fence at the back of the gallery, providing a background of unimaginable — yet familiar — violence. Arnall’s grandfather, Robert E. Arnall, was assigned as a telegrapher in the Bikini Atoll, and was witness to the event.

“As a kid I remember being afraid of him,” Arnall tells me, sitting at his kitchen table in the house he and his wife, artist Lindsey Maestri, just bought in Lubbock. He soberly related the abuse his father suffered at the hands of his grandfather, and the lineage of paternal aggression passed down from father to son. In his work, Arnall is interested in exploring “shared histories,” finding common ground in personal stories and the culture at large. “Finding that link between family history and that aggressive American mentality,” he says, serves as “a way to communicate to viewers these larger global issues going on right now.”

Fear, aggression, dominance, and denial — the underlying conditions of some American lives — may be hereditary, Arnall suggests. “That’s the stuff that I’m really interested in,” he tells me, “that tension and potential for deception and aggression. And that’s coming into my work right now.”

Lately, Arnall has been collecting debris on walks with his dog, Ralph. “Lubbock is so windy, there’s shit everywhere,” he chuckles. Arnall is 34 years old, with russet hair that he often keeps under a cycling cap. He moved to Lubbock in 2016 to take a position teaching sculpture at Texas Tech University. He is originally from Tulsa.

He shows me a sculpture in progress in his studio at TTU, where he has been vacuum-forming plastic into an ambiguous cloud form, which will incorporate the collected debris and hold audiovisual elements. He sifts through a pile of detritus on a table and hands me a bit of mangled metal. There’s a spoon bent into the shape of a taco and beer cans that have been crushed repeatedly by the trash trucks clamoring through Lubbock’s alleys, flattened like pennies on a train track. Plastic bits, bright and faded, wires and coathangers, and trimmer line in every color.

There are two different kinds of sculptors: those who start with an idea and then gather materials that best express that idea, and those who start from a specific material. Arnall is definitely in the former camp. “I have no material allegiance,” he says emphatically. “The body of work that I had going into graduate school was all based out of steel, and I really loved that material. Then of course you get broken down in grad school, you don’t have a lot of money, and so I started experimenting like crazy.” His studio became “a pile of materials and objects” where he would build these “crazy arrangements,” in a kind of three-dimensional sketching.  

“As a sculptor I’m very specific about the materials I collect: what they mean, what they communicate, how they’re arranged,” he says. No one material holds more importance than any other. In addition to more conventional sculpture materials like wood, concrete, and steel, Arnall favors utilitarian things that are generally overlooked for their ordinariness — brooms, buckets, pillows, lamps. His use of zip ties to construct and connect his sculptures became something of a signature over the years. To him the zip tie represents the way he works: immediate, honest, efficient — “like a handyman,” he says. And with a nod to the everyday American reality and “the idea that fakery is all around us,” as he puts it, he utilizes materials known for their artificiality — Formica, Astroturf, fake flowers.

In his MFA thesis exhibition at Louisiana State University, Baton Rouge, in 2010 — cheekily titled This Doorknob is on the Ceiling — the detailed materials lists of each sculpture doubled as titles. A title like Filing Cabinets, Fish Tank, Fluorescent Fixtures, Fluorescent Bulbs, Lamp, Light bulb, Linoleum Flooring, Electrical Receptacles, Electrical Wiring, Paint, Sawdust, Wood Glue (2010) demystifies the process of making the sculpture. “I want people to know [what’s in the sculpture],” he reflects. “It comes from being an educator.” Naming each material lays bare the quotidian contents of his sculptures and allows the viewer to approach it with their own connections to the individual materials. “I’ll never say ‘mixed media,’” he scoffs.

The combinations of objects in these early sculptures are striking, strange, and sometimes downright funny. Baseball Helmets, Parking Cone, Shoe Laces (2010) takes on a kind of Charlie Brown-like anthropomorphism. And the heady mixture of Americana that is Igloo Cooler, Baseball Helmet, Ketchup Bottles, Corncob Holders, Plastic Bathroom Cups (2010) can be, absurdly, “worn as hat.” The casting of material objects in his sculptures also makes reference to art history, with a wink. They are definitely Duchampian — snow shovels make an appearance — while, perched atop an upended filing cabinet, an empty fish tank also hints at Hirst and even Koons.

Arnall has looked to the YBAs for inspiration (on seeing Sarah Lucas’ work for the first time, he says, “I was like, ‘You can do that?’”), and the influence of earlier British artists like Richard Deacon and Tony Cragg appears in the movement and flow of forms in Arnall’s work. He also names Jessica Stockholder, Terence Koh, Ann Hamilton, and David Altmejd as key figures he’s looked to repeatedly. Of equal, or maybe more, importance, however, are artists closer to home, with whom Arnall has shared a close connection. “I’m more influenced by my friends than famous artists,” he acknowledges, pointing to friends, teachers, and studio mates like Christopher M. Lavery, Mike Calway-Fagen, Kyle Triplett, and David Carpenter.

In 2014 or 2015, Arnall’s work rounded a corner. After a short stint in Houston post-grad school, he was living in Kentucky working as a preparator and technician at Murray State University, while commuting to Nashville to teach at Vanderbilt University. “At that time, doing all that time driving, you think about things more,” he says. Moving on from collections of disparate objects that revel in randomness, in this recent work the objects are imbued with more personal significance.

In The Elevated Section of the Christopher Columbus Transcontinental Highway (2014), a form built out of traffic cones, tar, carpet padding, and zip ties is suspended by thick boat ropes from a wooden framework over a thin strip of blue sand. A recording of seagulls plays from a speaker nearby. The work references a time in Arnall’s life while living in Baton Rouge when he would regularly drive along Interstate 10 the two hours to Lake Charles, Louisiana to visit his ailing great-grandmother. “Travel [had] started to rub itself off in my work, and I had time to think about my great-grandmother and her death,” he says, “and think about connecting these things together: travel, traffic, water, death.” It was “the first time that I’d really bitten off a whole bunch of thinking and tried to make work about it and try to tie all these things together, materially.”

It’s Lonely Out Here (2015) speaks to his experience living in an isolated farmhouse outside of Murray, with no internet, and a flip phone serving as his only communication to the outside world. “Across the road was a pond, with frogs and other wild life,” he explains, “[and there was] a lot of coyotes in the area.” The installation alludes to this landscape with bundles of salvaged wood arranged like thick grasses, around a wooden door laying flat on its side and containing a spotlighted coyote pelt. A recreation of the Sputnik satellite is mounted to the wall behind it, as a reference to the historic launch of global communications. It’s hooked up to an old speaker, playing a recording of his grandmother’s old dog that had “a fucked-up bark.” “[I was] five miles out from a town of 10,000,” he explains. “It was dark. You don’t know what you’re hearing.”

“I changed a lot during this time,” he says. “How I live my life, how I think about things. I use the coyote as a symbol of that change.” The coyote, of course, has a rich significance in American culture and history. For Joseph Beuys, the coyote operated as a stand-in for the United States in his famous performance I like America, and America likes me, performed in 1974 at the height of the Vietnam War. Beuys’ shamanistic performance was billed as an attempt to heal the sick spirit of America.

In Arnall’s work, too, animals appear as signifiers of American trauma and aggression. In Who’s Got a Price on Their Head (2017), a pit bull eviscerates a cat — a violent tableau inspired by a real-life experience. For Arnall, it’s significant that this pit bull, an American Pit Bull Terrier, is a distinctly American breed.

“I don’t know, I’m an American mutt, just like anyone,” he shrugs when I ask about his ancestry and how that might figure into his work. He told me the name Arnall was first recorded in America in 1685. A great-great-grandfather was a Confederate Captain, in Mississippi, in the Civil War, a fact that makes him “uneasy.” On the other hand, he can also trace his ancestry to Cherokee Indians displaced on the Trail of Tears.

Arnall has a vivid memory of staying over at his maternal grandfather’s house, who had come back into his life after a long absence, and opening the door to a room filled with Cherokee objects and artifacts. “I had no idea, no idea,” he shakes his head. “All this stuff has been lost. I don’t know why.”

In his work, Arnall tries to come to terms with the long history of American traditions of erasure and violence, through links to his own family. “I came to it from a personal place,” he says of the installation of the murderous pit bull and exploding A-bomb. “I don’t feel comfortable coming right out and making a political piece; I don’t feel like I have that voice,” Arnall admits. “I’m more interested in the immediate spark of this personal family history, and asking questions — like an anthropologist — about this particular culture that we’re involved in, its history, and how that develops.”

“America has an incredibly violent past,” he continues. “From the beginning of the history of the Americas, it is incredibly violent. A lot of my work has to deal with death and inevitability.” He leans back in his chair, delivering his philosophy with an impassioned directness. “It’s human nature. Everything exists at the demise of something else. Organisms feed off other organisms to live,” he explains. “It’s so ingrained in life, in biology — it’s part of us — but it just gets worse when you have a brain and can strategize. The history of humankind builds off of this incredibly violent thing, that is life on planet Earth.”

This violence comes to an apex with the development of nuclear weaponry, a scourge — with, again, a uniquely American past — that the world is still trying to suppress. “We’re in an interesting time right now,” he says. “It’s not that long ago that [the first detonation of a nuclear bomb] Trinity happened, and by the time we were babies they were still testing nuclear bombs in our backyard.” He brings out his laptop and starts up a video piece by Isao Hashimoto that visualizes the history of nuclear explosions from 1945 to 1998. There have been over 2,000 nuclear bombs exploded on the planet in that time, over half of which were detonated by the United States.

In Arnall’s most recent work, he traveled to the Trinity site in New Mexico, just a few hours’ drive from Lubbock. The site of the first nuclear explosion is open to visitors only two days a year, and it’s a strangely touristy experience. Arnall set up a camera and recorded visitors interacting with the simple stone monument that marks ground zero for the first A-bomb, the point when, in July 1945, scholars argue that the world entered the Anthropocene era. The fourteen-minute video offers a mesmerizing and disturbing document of tourists posing and smiling with the monument and strolling around in the irradiated desert with their dogs and children in tow.

“I know that people interact with monuments in really weird ways,” Arnall says. “It’s like they don’t understand how this thing changed everything and we entered a new era.” It’s an era where the threat of nuclear annihilation, the potential for a catastrophic war, for millions of people to die instantly is ever present, to the point that it’s become entirely normalized. As American as apple pie.

Two months ago, an historic détente was reached — one that none of us could have likely anticipated. North Korean leader Kim Jong-un stepped across the border to South Korea, shaking hands with South Korean president Moon Jae-in. Redemption, and even healing, as Beuys suggested, may be possible.

“That tension is still there,” Arnall warns when I asked him his thoughts on the developing situation with North Korea. The dismantling of North Korea’s nuclear program may be imminent. But it may still blow up in our faces. It’s a legitimate fear to have. The pit bull was unleashed with that first detonation, and we’ll likely spend the rest of human history trying to rein him in.

Feature Posted on 7/2/2018

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