#nicole moulds

[forcedfemme-me]

Nicole Moulds for Mojeh Magazine, March 2018

#Nicole Moulds #leather #leather jacket #black leather

[writersblockedx]

night swims w conrad?

Pairing - Conrad Fisher x Fem!Reader Summary - Conrad interrupts your night swim, leading to all the words you hadn't said spilling out. Warnings - Jealousy? Mentions of alcohol use Words - 1.3K 

Masterlist

Night swims were always enjoyable. To dip your legs in first, for the bitter water to creep up your skin ever so slowly until you submerged your whole body. Goosebumps covered your skin, reminding you that you could feel something. Once your shoulders were in the water, it suddenly wasn't as cold. It was weightless. And it carried you as you floated on your back, staring up at the stars as if they were staring back at you.

Night swims were for the days that were too much. After going to a bonfire with all the boys (plus a surprise visit from Belly), tonight was one of those nights. Maybe it was just the people, or the amount of alcohol you consumed, or perhaps, as you deep down knew, it was about the fact you had to watch Conrad and Nicole the whole night. She was the newest hookup of Conrads. Not quite girlfriend, but she was certainly under the belief it would happen one day.

It was torture. She was nice and kind and she only wanted the best for Conrad exactly as you were. A part of you was seething with guilt in that you still hated her a little bit. She had stolen everything you wanted to be. But, by now, it had become a feeling you were all too familiar with. Every few months, a new girl. Before her, there was Arbury who was lucky to make it to girlfriend status - not many ever had done.

Wrapped up with these thoughts, you just wanted a moment away from the chaos. Like you could pretend that, for a second, it didn't bother you. That what Conrad did - who he did - didn't actually bother you. When your eyelids lifted, you almost thought you were hallucinating. The very person who had captured your thoughts was looking down at you.

At first, you didn't move. Because, at first, you weren't completely sure if he was real. Then you jumped back to reality and that pit in your stomach returned. You adjusted, going to stand rather than float. Still, you turned to find Conrad who had his legs dangled in the water, letting his gaze wander over you, every corner of your skin as if you didn't notice what he was doing.

"It's late." So you assumed anyway. You hadn't even checked the time when you came in, but the bonfire had dragged on for a while - or maybe it only felt that way because you were forced to watch Nicole flirt with Conrad the whole night. "What are you doing out?" You finally added.

Conrad answered by retrieving a cigarette from his jacket pocket; a new hobby he had taken up this Summer. "Been a long night." You were glad he felt the same.

"Susannah's already mad at you, you think that's gonna help?" You had one brow raised at him.

But it didn't seem to do anything, "I don't need a reminder." There was a snap in his tone that you had tried to ignore. "And anyway, she's fast asleep." His eyes dwindled at that, going to focus on the abyss in the distance.

You swam closer to him, forcing the boy to move his gaze back to yourself. "What's with the smoking anyway?" You'd noticed it since you first arrived. He would wander off and come back ten minutes later smelling of either smoke or some illegal substance. "Just last year, you hated it. I remember when you found Jere vaping and you gave him the silent treatment for almost two whole days."

He thought about that memory for a moment before he shrugged it off. "Things change." He excused.

Without being able to stop yourself, words started spilling out, "I thought you wouldn't." He was Conrad. He wasn't meant to change, especially not like this.

Your eyes lingered on his, watching as his pupils dilated and his expression moulded into one you couldn't read. "You're upset with me?" He finally asked as you took a few steps back.

"Like you said, things changed." You reiterated. "You changed. You're more distanced from everything, quiet. You don't have that playfulness you did last year-"

He cut in with a scoff, "Playfulness? Really?" You could feel your heart sinking. "You mean because I don't play your's and Jeremiah's and Belly's childish games?"

You knew there was no point in arguing with him. "It doesn't matter." You shook your head. And this time, you turned your back to him, swimming to the other end of the pool when you weren't forced to stare at Conrad Fisher.

Only a few minutes had passed when you heard the shuffling of movement. At first, you thought Conrad was getting up to leave, but the sounds continued until a soft splash came from the other side of the pool. That noise prompted you to turn. Conrad was already looking at you, shirtless and getting used to the temperature. Then, once he was close enough, he flicked his hand passed the water, letting it splash in your face.

"Conrad, what the hell!" You snapped, squirming at the feeling of bitter water hitting your skin.

"What?" He questioned as if he was innocent. "You told me to be more playful." 

He shrugged it off as if it were nothing, gaining closer and closer until you only had to whisper in reply. "I'm not in the mood." Your tone was flat.

But Conrad hadn't let that stop him. He splashed you once more. "Conrad!" You snapped again.

"Oh come on, you not gonna fight back?" Your head shook and he took another step towards you before there was barely any distance left between the two of you. Before you could stop him, his hands took a grip around your waist. Within a moment, you were swirling around at Conrad's will, and as much as you hated it, laughter was trickling from your lips. "That's not the Y/n I know!"

You started hitting his side, letting out a, "Conrad, put me down!" Only just heard through the giggles to two of you shared.

Soon enough, he slowed and your body entered the water again. But Conrad's touch didn't leave you. His hands lingered around your bare waist and you swore you could get drunk just off his touch. He was so close. Yet, there was a distance between the two of you still. There felt more distance now than before you had arrived at Cousins. You just sat wishing the boy would break that distance.

"I'm sorry I've not really been around as much as you had expected. Or that I haven't joined in on any of your games or even watched a movie with you." His eyes clung to your own. "But, trust me, I'm trying."

This time, your hand reached out, brushing his cheek as he fell into it. "That's all we need to know." You assured him. "I'm here for you Conrad, you know that?"

He nodded, "I know." And before you could reply, he closed that distance. His lips leaned into your own and you were caught in his trap.

It was sweet but short-lived as you pulled away, too shocked to deepen the kiss any further. Conrad's eyes were frightened and yours were curious. "Why did you do that?" You asked, without moving away from his touch.

He thought on it for a second before answering, "I think I've been meaning to for a few Summers now." Them words had only made you lean into another kiss. One of which you were sure now wouldn't be your last.

#conrad fisher #tsitp season 2 #conrad fisher x reader #conrad fisher x you #conrad fisher x y/n #conrad fisher oneshot #conrad fisher fanfic #conrad fisher fic #conrad fisher imagine #conrad fisher angst #tsitp #tsitp x reader #tsitp fanfic #jeremiah fisher #belly conklin #imagine #x reader #fanfic

[somanyfuckedupiftruebooks]

Mag 36

Wow. Seems like as we are getting closer to the end of the season we are getting way more explicit with the mysteries! Last episode was talking about balance and fear, now we're getting the different categories of fear and how they can bleed together...

Very interesting how Nicole starts her statement with about as clear a reference to the Entities as anyone who is unaware of them is likely to make, then goes straight into outlining how she fears Corruption and not the End.

I think this is an indication of how deeply marked by her experience she was. She is able to feel not only the difference between the Corruption and the End, even if she doesn really Know it (just like Jane Prentiss), but also she is making connections about the true nature of Corruption which may not be obvious to an outside observer (also like Jane Prentiss).

This is deeply funny. I can only aspire to this level of pettiness.

It was a happy place :(

It's awful how Corruption bleeds out and infects the entire world around it. It makes me think of mould growing in food, how by the time any of it is visible the spores have grown all the way through. Like a wasps' nest growing hidden in an attic; like worms breeding in the dark...

One thing that really strikes me about both Josh and Nicole is how practical they are. They are both very clever and react to things very sensibly, which is why I think they are both still alive. That and a health dose of luck.

Of course Josh doesn't shake this guy's hand! He looks sick and there's a fly crawling on his eyeball!

Also, John counter: 9

I feel like I say this basically constantly whenever there is a Corruption or Flesh statement, but YUCK.

#a mag a day #reeah reacts to tma #mag 36 #john amherst #the corruption

[trynadollsiesplay]

Ash Silverstone Doll Analysis

Because I knew the controversity, but I didn't think it would be... this 😬.

My opinion: Basically, Ash Silverstone's male body is an updated version of the rainbow high series 2 sculpts imo and I don't get it 🙁. I'm not saying this is a bad thing exactly. The only problem is it was released with series 4 Rainbow High Dolls. And Shadow High Series 1 dolls were way better too, by this time. Thus, it is confusing.

It has it's pros and cons. I haven't heard about these things enough. So I will share. Go down the list lol uwu. 😊

- DOLL STANDS -

(on the left is S2 Krystal Bailey's Stand, in the middle is Ash Silverstone's stand SH S1, and on the right is Nicole Steel's stand SH S1)

I didn't notice the shape to start with, but the boy dolls have unrealisticly-realistic masculine bodies. And they don't fit on the same stands as the girls do. But, they were realesed with a series of dolls with advanced stand tops. And the masc doll stand is more reminiscent of the older stands.

Also, Ash in his clothes was still extremely tight on this stand too 🤨. Weird they didn't fix it.

* Extra fact: All of Ash's pants come with drawstrings. No valcro. I feel like this should have been a thing, for the girls, some time. This somewhat offends me. Not that that's important. But I am slightly irked now. 😐

- DOLL BODIES -

Overview: Ash Silverstone's overall mold is pretty and shiny. But... that actually makes it less posable. Above, we compare on the left, Ash Silverstone, to Krystal Bailey on the right. Their upper arms are brought as close to the body as they can. And as the image shows, Ash cannot bring his elbows to his torso. Which, strongly, annoys me.

Also, the legs on Ash's mould cannot come further together, because the thighs are so thick and the crutch is a crutch. Which is fine. But also, it looks so cool. But then it does that. Ugh!

Also, mentioning the torsos. The boy torso is so unrealistic that I find it cringy. BUT, look at those collar bones. If the boy has the collarbones on his mould... why don't the girls?

The Actually body of Ash's sculpt, is like... thicker? Than the female mould. Which is both offending and crazy. The curvy doll has yet to come out yet, but it would probably be easier for MGA to recycle some of Ash's moulds, because they are thick enough.

The tiny knees on Ash look Aesthetically pleasing, but they too, are problematic. See the source bellow:

(On the left is Krystal Bailey S2, on the right is Ash Silverstone SH S1)

I find it extremely annoying, because you can feel Ash' knee connecting with the plastic of the thigh, but there is no space for it to come out. I would be fine if it didn't do that. Boys are less flexible irl typically, sure. But the knee wants to bend *release frustrated scream*

Furthermore, Ash's character can do the equivalent of a split. Showing he is above the typical flexibility abilities of most men. But his knees are less efficient than the girls? This is problematic world building. And a nitpick. And frustrating anyway.

(On the left is Ash Silverstone preforming his best attempt at the splits SH S1. On the Right is Krystal Bailey, showing off the flexibility she houlds over Ashe's mould, she is RH S2)

(First image, left side, we have a comparison of: On the top, Krystal Bailey S2, Middle is Ash Silverstone SH S1, and at the bottom Is Reina "Glitch" Crowne from SH S2)

When comparing hands, it is clear that Ash Silverstone's mold is much choppier and low quality than newer molds. I compared my S3 Daria mould and it still had the indentations, but I believe Shadow High series 1 doesn't have them. I also find the larger hand mold is held back by the closeness of the wrist. It doesn't turn as well, doesn't quite have as much movement as his female doll counterparts, because these issues. Which is annoying, to a lesser degree. His wrist pins look pretty bad though. don't know if I just drew a bad straw, or if they were all pretty bad in the same way.Not sure I wanna find out 😬.

(Image 2 gives a side view centred on the elbow joints of the two dolls, which are facing inwards. Again, Krystal Bailey S2 is on the left, Ash Silverstone SH S1 is on the right)

Ash Silverstone's wrist joint is... annoying bulky. It makes click sounds and has 3 spots it prefers to be and shifts between. The join is stiff, and takes a bit more to stop in the right position than the female doll molds. A great fidget toy, sure. Still annoying to pose.

Finally, last but not least, we have,

(on the left is Krystal Bailey from S2 RH, and on the right is Ash Silverstone from SH S1. They are both posed to better show the ability possessed by the Male doll mould)

Ash Silverstone has FLIPPING Rotation at his ANKLES!!! 🤩 why did I not pick that up before. Everything I hear about joints like waist and ankles is that they are annoying. But apart from the fact that you have to stop them from spinning when taking off his annoyingly tight shoes, they seem really strong and capable. Put him on the doll stand and he can so so much more. He could kick a ball. He could trip someone with his high heels he is wearing.

I can't tell if this is a positive or negative trait. But I don't care. I find it really exciting. Between his eyes and his ankle joints, I wanna get another boy doll. Because ankle joints are cool. His eyes are cute. And everything else can get fucked. I really don't get my own appreciation. But I can appreciate it.

Y'all, keep avoiding the boy dolls. That way I can get them cheaper 😊🤪😆.

#rainbow high #doll anatomy #sharing new things #boy dolls vs girl dolls #ash silverstone #krystal bailey #mentioned Nicole Steel #mentioned Reina Crowne #I know nothing. But this is my feels lol. And I wanted to share #ankle joints 🤩 #he's cute imo #but weird #it's so weird and odd #design choices? #that I still don't agree with #I'm growing my doll “taste” monseur #long post #doll nudity #I should put some clothes on my dolls #maybe later #I have an army to crochet for

[boowannicole]

Crafting the Holiday Spirit: DIY Christmas Tree Candle Jars 🌟

Hello, lovely crafters! 🎄👋 As the snowy season beckons, isn't it time to sprinkle a bit of DIY magic around? 🌨✨ Let's transform our homes into a festive wonderland with a homemade Christmas tree candle jar! I’m here to guide you every step of the way, from materials to final touches. Ready to embark on this creative journey? Let's roll up our sleeves and begin! Materials You'll Need 🛍:

Boowannite - The heart and soul of our candle jar. 🏺

Pigments - Splash of colors for that festive feel! 🎨

Two-part Mold - Shaped precisely like a Christmas tree. 🌲

Paint Brush or Small Wooden Stick - To expel air bubbles. 🖌

Non-slip Wooden Mat - To give our tree a stable foundation. 🪵

Mixing Bowl & Spoon - Stirring our way to perfection. 🥣🥄

Step-by-Step Guide 📝: 1. Setup & Safety First 🛑 Set up your workspace with newspapers or a craft mat. Don those gloves to keep those hands stain-free! 🧤 And remember, fresh air is your friend – keep your space well-ventilated.

2. Mixing the Magic 🪄 Start by pouring the required amount of Boowannite into your mixing bowl. Gradually add a few drops of pigment and blend until you achieve the desired shade. Remember, a little goes a long way. 🌈 (548g Boowannite powder with 191g Boowannite liquid)

3. The Mold Magic Begins 🎩 Pour the mixture into the top half of your mold, not filling it all the way to allow for final touches.

4. Perfecting the Pour ✍ With your trusty paint brush or wooden stick, smooth out any imperfections. And a gentle tap releases pesky air bubbles. 🌀

5. Repeat for the Bottom Half 🔁 Mirror your process for the tree's bottom half, ensuring consistency. 6. The Waiting Game ⏳ Let the molds set, allowing the magic to solidify. Dream about the joy it’ll bring!

7. Revel in the Release! 🎉 After waiting, gently unveil your creation. Ta-da!

8. Stability with Style 💃 Place your tree on the non-slip wooden mat for a grand and graceful finish.

Behold your very own Christmas tree candle jar, glowing with holiday spirit! 🌲🕯 Share your masterpieces using the hashtag #NicoleUp. 📸 Can't wait to bask in the warm glow of your creations! Happy crafting, and here's to a holiday filled with light, love, and DIY joy! 🎄❤️✨ Hugs and sparkles, Boowan Nicole P.S. Every artist has their unique touch. If you’ve added any magical tweaks, do share them with our community! Collaboration makes creation even more special. 🤝🎨

Welocome to visit : https://boowannicole.com/en-au/collections/candle-jar-mold/products/nicole-handmade-column-starlit-christmas-tree-candle-jar-mold-concrete-cement-candle-vessel-silicone-resin-mould

#decorate #diy #mold

[kindtobechurlish]

“She just isn’t ready to come out publicly yet”, it’s a fat negro woman I don’t to talk to. You hear I’ll break a woman nose if she disrespects me, you want a man, I make the mould, and you are a bitch?

Yeah, my name is actually Marcus, and if you disrespect me I’ll punch you so hard it might break your neck, you women. Men can disrespect me like you, you are as a bro? ALRIGHT. Nicole? When did I bash her leadership? Where is Luke? FUCK HER LEADERSHIP, I WON’T SEE LUKE AGAIN, a failed actor who isn’t John Booth. You should ask how polite and kind I am, my family gave me bad teachings and they don’t deserve what they have. They aren’t smart. You didn’t know? Yeah man.

[custompictureframer]

Don’t be crabby! This signed, open edition print of a colorful crustacean from Delaware artist Nicole Kristiana looks AWESOME in this distressed green moulding from Fotiou’s “Craftsman” collection with Tru Vue Premium Clear glass.

Read the full article

[5280customframing]

‘Halloween Hangout’ by Nicole Gustafsson floated on acid-free matting with UV glass and frame by Roma Moulding!

[gamefever175-blog]

Nicole David Face Candle Mold 3D Statue Silicone Aromatherapy Wax Making Mould with Eye Mouth Nose Ear Decor Tool DM For Shop https://s.click.aliexpress.com/e/_DB5Mptv #candel #candels #love #handmade #homedecor #light #kerzen #decoration #homesweethome #candellight #shabbychic #art #candles #design #candle #interior #christmas #adventskranz #candele #india #candela #deko #kerzenliebe #photography #home #deco #gift #kerzenlicht #kerzenschein #fattoamano https://www.instagram.com/p/CiMqO2JogE3/?igshid=NGJjMDIxMWI=

#candel #candels #love #handmade #homedecor #light #kerzen #decoration #homesweethome #candellight #shabbychic #art #candles #design #candle #interior #christmas #adventskranz #candele #india #candela #deko #kerzenliebe #photography #home #deco #gift #kerzenlicht #kerzenschein #fattoamano

[modorama]

fashion | “ALAÏA  AFORE ALAÏA” THE GENESIS OF A STYLE exhibition and program of conferences around the exhibition. 

TICKETS

I work on a [woman] model_It’s as if I’m moulding clay. I shape it, I pull it up, I pull it down, I sew it and unpick it. I’ll redo a sleeve ad infinitum. Through endless trial and error, working by hand, I’ve learned about tailoring, and I think I’ve come close to understanding some of it’s mysteries.Azzedine Alaïa

EXHIBITION VIEW PH. STÉPHANE AÏT OUARAB

“Alaïa Afore Alaïa” is an unprecedented and original exhibition, conceived and produced by the Foundation wanted by the designer some years before his death.

Through archive documents, photographs and drawings, the exhibition analyses the formative years between the 1950s, just before the budding couturier would leave Tunis and move to Paris, to the early 1980s and the emergence of the Alaïa phenomenon.

A rigorous selection of pieces from the beginning of his career, a selection of designs that revealed to the public something far beyond a singular style, a founding body of work dating from the late 1970s dialogues with timeless clothes, truly an intimate map of his eternal sources of inspiration.

 “Alaïa Afore Alaïa” brings to light a portrait of the talented couturier, modest on the subject of his younger years, a twenty-year long period throughout which the world would be his school, and women his greatest teachers. Whilst others of his generation developed their design skills within the walls of a school, or in the workrooms and studios of existing fashion houses, Azzedine Alaïa was perfecting his technique, a technique that would become unparalleled over the course of his encounters with the growing circle of women that surrounded him. They were his protectors, supporters, select clients, they would become paths of inspiration for his entire body of work.

During these edifying decades, a veritable underground archeology of his ambitions, Azzedine Alaïa met many important figures who would remain faithful to him for the rest of his life. From his sister Hafida to his lifelong friend Latifa, from Leila Menchari to Nicole de Blégiers, encounters favored only by fate when talent and friendship are combined. They are also the result of journeys that coincide, encouraged by the exchange and development of art in all its forms.

To his bedside couture atelier, the greatest names came rushing. For Greta Garbo, he made oversized masculine coats in which she could wrap herself in anonymity. Arletty was a devoted and unconditional fan. His close relationship with the literary figure Louise de Vilmorin invited him into artistic circles and guided him in the ways of high society. He would be her mirror.

In addition to the growing number of client orders which accumulated daily at rue de Bellechasse, Azzedine was constantly experimenting, barely sleeping, and always working. Working with the great furriers, he perfected his technique. A collection of studded, cinched leathers was turned down by Charles Jourdan, but paradoxically, this collection was the seed that would grow and bloom into the Alaïa phenomenon. The pioneers of the fashion world swore by him. He was invited to New York where he was universally acclaimed. The designer Thierry Mugler, a close friend, further encouraged him. Azzedine had become Alaïa.

 Beneath the great glass roof of the gallery, at the very heart of his posthumous foundation where he hoped that the exhibitions would bring together as many people as possible from all walks of life to meet, “Alaïa Afore Alaïa” shares rare accounts, delicate stories, and archive documents. Dresses, born from these three seminal decades, alongside more recent creations inspired by his eternal subjects, reveal a gallery of portraits of those who, certain of his great and unique talent, supported him in the growth and development of his art. AS PART OF THE EXHIBITION “ALAÏA AFORE ALAÏA” THE FOUNDATION PROPOSES A PROGRAM OF CONFERENCES AROUND THE EXHIBITION Conference programme (dates to be announced): ARLETTY, Muse and Friend – 6 OCTOBER 2022 Arletty taught Alaïa the Parisian art of how to look, which is all about making the right choices and using clever artifice. He admired her in Hôtel du Nord and Les Enfants du Paradis, and some of her costumes inspired entire collections. They met, and were to remain firm friends.The talk looks at their friendship and analyses the style of Arletty, who in her early career worked as a model for Paul Poiret and Elsa Schiaparelli. LEILA MENCHARI, Lili, a Lifelong Friend –  OCTOBER Leila Menchari and Azzedine Alaïa met in Tunisia. They studied art and moved to Paris. Both worked for a time at Guy Laroche, Leila as a model, Alaïa in the workshops.  Leila was to become the queen of colours and combinations, elevating window-dressing to an art form. Alaia was to become a great Parisian couturier. Their friendship stood the test of time.The talk analyses their careers and looks at how their styles influenced one another. JELLAL BEN ABDALLAH, A Painter of Tunisian Life – OCTOBER Jellal Ben Abdallah’s paintings sometimes echo Alaïa’s creations, and Alaïa’s clothes sometimes inhabit a symphonic world that recalls Jellal’s work. The story of their friendship, which was inseparable from that of Latifa, Jellal’s wife, speaks of the early careers and hopes of two artists and the fame that would never alter their relationship with the world at large. EXHIBITION 01.28.2022 - 10.23.2022 photo credits :  EXHIBITION VIEW PH. STÉPHANE AÏT OUARAB

[peppermintstranger]

Nicole Moulds — born in 2001 — Poland

#nicole moulds #female #blonde #polish #polish model #model #faceclaim #rpg #fc #underused fc

[mymilovesfashion]

[2019 year in review ~ magazine covers 22/31]

Vogue Portugal

NOV - Une Jonynaite, Caroline Reuter, Nicole Moulds, Emma Leonora, Meghan Collison, Emile Woo, Alice, Pauline DEC - Bette Franke, Jessica Athayde

#cover magazine #vogue portugal #une jonynaite #caroline reuter #nicole moulds #emma leonora #meghan collison #emile woo #alice #pauline #bette franke #jessica athayde

[polishmodels]

Nicole Moulds for Nemika

#nicole moulds #nemika

[coochiequeens]

Community leaders fear killing of Mexico-born Spanish teacher 'by two pupils' was a hate crime and classmates reveal kids made fun of her accent: Two 16-year-olds are charged with her murder - but police say they don't know motive

Two Iowa teenagers are being charged as adults in the death of a Fairfield High School teacher, the Jefferson County Sheriff's Office said

Nohema Graber, a 66 year-old Spanish teacher, was reported missing on Tuesday

Her remains were found the following day at the Chautauqua Park in Fairfield, where she often goes for walks

Two students at her school, Willard Noble Chaiden Miller and Jeremy Everett Goodale, both 16, have been arrested and charged as adults

They face charges including first-degree homicide and conspiracy to commit first-degree homicide

Several former students suggested that perhaps her murder was motivated by racism as Graber, born in Mexico, still had an accent when she spoke

Pair is being held on $1 million bond each ahead of their next court appearance November 12

Graber suffered trauma to the head and her body was found under a tarp, wheelbarrow and railroad ties at the park

Authorities have not revealed Graber's cause of death or released other information about the case

Fairfield students were dismissed from classes Thursday and all classes on Friday were canceled although the school's counseling services remain open

A Spanish teacher whose body was found in an Iowa park on Tuesday could have been murdered in a racist attack, a former student has speculated.

Nohema Graber, 66, was a beloved teacher at Fairfield High School, where she had taught since 2012, and was remembered for her kindness.

Two 16-year-old students at the school, Willard Noble Chaiden Miller and Jeremy Everett Goodale, have both been charged as adults for the first-degree murder.

The pair are being held on a $1 million bond each ahead of their next court appearance on November 12.

They are accused of killing Graber in the park where she regularly took an afternoon walk, and then dumping her remains under a wheelbarrow.

Former students were devastated by her killing.

'I absolutely cannot comprehend why any student would ever want to hurt her,' said Alyson Reid, a former student.

Reid told NBC she wonders if it might have been racially motivated.

Graber, who was born in Mexico, was a liaison between St. Mary Catholic Church in Fairfield, where she frequented Mass, and the town's growing Latino enclave. While Mrs. Graber was bilingual and fluent in English, she did struggle with slang and had an accent,' Reid said.

'I know some students made fun of her for that.'

Leaders in Iowa's Latino communities said they were worried that Graber's killing was part of a wider pattern.

'This murder is beyond comprehension on why this would occur,' said Joe Henry, the state political director for the Latino civil rights organization LULAC of Iowa.

He told the Des Moines Register: 'We can only assume that the hateful rhetoric that has been promoted over the past five years continues.'

Latinos constitute only six per cent of Iowa's total population, according to LatinoVoteIowa.org.

Yet the predominantly white state has seen the Hispanic share of its population more than double since 2000, with a 130 percent increase registered between 2000 and 2017.

In August, an Iowa woman, Nicole Poole Franklin, 42, was sentenced to 25 years for hate crimes after trying to run over two children in Des Moines, believing one was Middle Eastern and the other was Mexican.

Police said they had no reason to suspect a racial motivation.

The two boys, Miller and Goodale, had exchanged messages about her killing on social media, investigators said, which is providing insight into the murder.

Yet Chauncey Moulding, Jefferson County attorney, said his office would 'absolutely follow the evidence.'

He added: 'This case is not, by any means, closed.'

Graber's son Christian and daughter Nohema Maria both said on Facebook that they had forgiven her alleged murderers.

The suspects' mugshots were released on Thursday night, with officers saying the pair plotted the murder of Graber as she took one of her regular strolls through Chautauqua Park on Tuesday.

Graber was last seen alive on November 2, was reported missing by her concerned family the next morning, with her remains found under a tarp, wheelbarrow and railroad ties on November 3.

She had suffered head trauma, although a cause of death hasn't been revealed.

Court documents released on Thursday detailing the criminal complaints against the two teenagers reveal that Miller admitted to investigators that he took part in the murder.

During the interview with detectives, Miller allegedly admitted he was at the park as the murder was taking place, provided materials used in the murder, and helped hide Graber's body, the complaint reveals.

Goodale was said to have worn bloodied clothes, although investigators still haven't said who they suspect of beating the teacher to death.

Their school - where Graber taught - was closed on Friday, with students being offered counseling to cope with the shocking death of the well-regarded teacher, who was described in one tribute as 'an absolute angel.'

The newly-released documents also reveal that an associate of both Goodale and Miller provided information detailing social media exchanges between the two teens that indicated Goodale knew specific details pertaining to Graber's disappearance and death.

A search warrant was then executed by Jefferson County police, who searched Goodale's residence, uncovering 'multiple clothing items appearing to have a substance consistent in appearance with that of blood,' the complaint states.

The court documents also reveal that investigators questioned an additional teen, this one an 'associate' of only Goodale, who reported meeting with Goodale at the park the day that Graber disappeared.

Investigators added in their report that the clothes the witness described matched a blood-spattered outfit police seized from Goodale's home, adding in the report that the clothes 'contained a substance consistent in appearance with blood.'

According to police, the witness 'described Goodale as wearing clothing consistent in appearance to that which was seized' during the search.

The witness also told investigators that saw Miller at the park as well.

Miller and Goodale, both 16 and students at the school, have been charged as adults with first-degree homicide and conspiracy to commit first-degree homicide, the Jefferson County Sheriff's Department said.

Graber's son, Christian, wrote on Facebook: 'I'm sorry I can't respond to the all of the messages but I'll just say what I've been told. My mother passed away.

'As I understand it was pre attempted murder by two students. I forgive them and feel sorry that they had that anger in their hearts.

'There's no point in being angry at them. We should hope that they can find peace in their lives.

'My mother was an angel of a woman and was one of the kindest souls.

'She gave me the gift of the Spanish language and helped many of her students over the years.

'She was well loved in the community and around the world.

'Thanks to everyone who reached out. I may ask for some help with things in the following days but in the end everything will be ok. Te amo madre.'

Meanwhile, daughter Nohema Marie wrote, 'We've lost an absolute angel in our family.

'It is all thanks to her for instilling a love of travel and languages that my brothers and I have continued to experience the world throughout our lives.

'We had the wonderful fortune of growing up in a home filled with such an abundance of warmth and love.

'I will miss her loud laugh and dancing with her to any music that was playing, she had so much joy in her eyes and such a deep sense of faith.

'To the two teenagers that so cruelly took her life,' she continued, 'it is clear that they need more love and light in their hearts.

'But I agree with my oldest brother Christian, all we can do is forgive.

'I am filled with so much gratitude to have had such a strong and beautiful woman as my mother.

'And from the outpouring of messages, it's incredibly touching to know that her presence impacted so many. What a blessing she is, we know that her soul lives on in heaven.'

Authorities said the two juveniles will be tried as adults, citing circumstances and their ages. They are both being held on a $1 million bail, records show.

Court documents filed Thursday from their initial appearance in court indicate they did not yet have attorneys. Both appeared via video conference.

Magistrate Stephan Small ordered a state public defender to represent Goodale.

Documents said Miller did not request a court-appointed attorney and it wasn't immediately clear who would represent him.

According to court filings made public Thursday afternoon, Graber suffered 'inflicted trauma to the head.'

#Male violence #Racism #Iowa #Rest In Peace Nohema Graber

[kolajmag]

COLLAGE ON VIEW

Fabrications

At Drill Hall Gallery at the Australian National University in Acton, ACT through 11 April 2021. "Fabrications" surveys Sydney-based artist Nicole Ellis’s rich and complex involvement with collage, assemblage and found materials over a thirty year period. Fastidiously selected textiles comprise her “palettes” and provide tones and textures that she moulds into poised, luminous compositions. Curated by Tony Oates. MORE

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[blackswaneuroparedux]

The Many Lives of Lee Miller: Surrealist icon who photographed World War Two

If you were one of the few women photographers accredited by the U.S. Army at the start of World War II, chances were you were far from the front lines. Military regulations at the time dictated that female photojournalists, unlike their male counterparts, were not to enter combat zones.

But Lee Miller, the Poughkeepsie-born photographer and noted Surrealist operating as British Vogue’s war correspondent, was not one to be constrained.

Miller had made a habit of not taking no for an answer long before she accompanied American forces to document scenes such as the Blitz; nurses operating hospitals after D-Day; women serving across the armed forces; and just-liberated concentration camps.

Elizabeth ‘Lee’ Miller was born on the 23 of April 1907 in Poughkeepsie,  New York. She was the middle child of Florence and Theodore Miller, a mechanical engineer and avid amateur photographer. She was something of a tomboy, always ready for the next big adventure and to try the biggest stunt.

Her first coup was gracing the cover of U.S. Vogue in 1927 at age 19. Lee Miller was walking down a crowded street in Manhattan. She was ravishingly beautiful: blonde hair stylishly bobbed, lips painted red, her slim figure clad in the latest fashions from Paris.

Perhaps it was Paris she was thinking about so deeply. Whatever it was it absorbs her entirely that as she stepped off the sidewalk she didn’t see a car speeding towards her.

At the last minute a man whisked her to safety. He turns out to be none other than the publisher Condé Montrose Nast. As soon as he saw the woman he saved, he decided she must model for his magazine.

A few short months later, Lee Miller’s face, drawn by Georges Lepape with the New York skyline for a backdrop, stares out from the cover of Vogue.

That cover launched Lee Miller’s modelling career. Within months she became a fixture on the New York social scene, hobnobbing with the likes of Charlie Chaplin, George Gershwin and the Vanderbilts.

Fashion greats such as photographer Edward Steichen zipped her into Lanvin and Lelong, draped her in pearls, swathed her in velvet. In one picture she models a Chanel evening gown covered with geometric embellishments, her body resembling a glorious art-deco building.

Lee was fêted and pursued by suitors. A glassware manufacturer even moulded a champagne coupe in the shape of her breast. It was all very glamorous but, for Lee, not wholly satisfying. Later, remembering her New York years, she said, ‘I looked like an angel but I was a fiend inside.’

This contradiction – stemming from a traumatising childhood into early adulthood,

Her father, Theodore, was an amateur-photographer and had begun to photograph his naked daughter long before that, in 1914, when she was seven. According to Miller herself, in that year, she, then known as Elizabeth, had been sent to stay with family friends while her mother was in hospital.

During the trip, she had been raped by a sailor; the attack left her with gonorrhea. For the next year, the child was subjected to daily douches of potassium permanganate, and k twice-weekly visits to the hospital to have her cervix painted with picric acid. Everything she touched at home was immediately sterilised.

It was during this year that Theodore had begun to photograph his daughter in the nude, his first composition being a take on the French artist Paul Chabas' September Morn, a painting of a nubile girl bathing, which had caused a scandal when it was shown in New York in 1913.

For his own picture, Miller required his daughter to pose, nude but for slippers, in the deep Poughkeepsie snow: the resulting picture was called "December Morn". Theodore made it using a stereoscopic camera, so that, viewed through accompanying glasses, his naked child appeared three-dimensional.

The early childhood experience would plague her throughout her adult life, and arguably cause her to constantly try to reinvent herself, wondering if she ‘ever was meant to fit together’.

Those reinventions – as a key figure in the Surrealist movement, fashion photographer, muse and tormented war correspondent – have made her the subject of plays, film scripts (Nicole Kidman wanted to play her in a film written by David Hare that was never made).

Reinvention of otherworldly beauty was also so evident in all her photographs. But Lee wasn’t happy as a model. A sketch she drew in her journal in 1930 shows a woman standing against a studio backdrop, daggers pinning her into place, as another woman in a hat looks on. No wonder, then, that she was hungry to forge her own identity beyond the camera’s frame – a frame that, to a woman who had been looked at by men her entire life, represented an implicit power imbalance. 

She gave up her modelling career and set sail for Paris, intending, as she provocatively stated, to ‘enter photography by the back end’.

Bags of confidence, together with letters of introduction from Edward Steichen, convinced Man Ray to take her on as his assistant. He was instantly enchanted and their professional relationship blossomed into a love affair so tumultuous that it affected them both for years afterwards.

Miller was to befriend other iconic Parisian artists like Max Ernst and Picasso and intellectuals like Jean Cocteau. She would vacation with some of the most prominent figures in the art world at the time. Picasso would paint Lee six times and the two remained friends throughout the rest their lives. Picasso wanted to bed her but she held her distance.

It was Lee Miller, not Man Ray, who discovered the photography technique known at "solarisation" bu turning on a light in their darkroom before the negatives had fully developed. It creates a dark line around the subject of the photograph and created groundbreaking images at the time. Ray is often credited with this discovery and he used it often in his own work, but it was actually Lee Miller who made the first picture of its kind on accident.

Man Ray’s portraits of Lee are sensuous and romantic, but even he never seemed able to see her as a whole, often depicting her body broken up into pieces.

He painted her lips floating disembodied in a mackerel sky in ‘Observatory Time: The Lovers’, and in his photographs her breasts, neck and eyes are removed from their context, palpably humming with sexual energy, the ultimate surrealist objects.

In December 1930, Miller's father, Theodore, had come to Paris from Poughkeepsie, New York, to see his daughter. Like any good parent might, he had taken pictures of her. Unlike most fathers, these photographs were shot in the nude, in the bathtub of their shared hotel suite. Lee Miller was 23.

The shots Man Ray took of Lee and Theodore Miller, she in a demure print frock and curled, child-like, in her father's lap, are deeply weird. They seem less of a father and daughter than of an older man and his much younger lover.

Perhaps Ray had heard rumours that Theodore had been Lee's actual childhood abuser, or he may have imagined it for himself. (No charges were ever brought against the unidentified sailor-rapist.)

In terms of age, Ray's own relationship with Lee was also ambiguously paternal: he was 17 years older than her, a pattern that would mark all her relationships with men. At any rate, Theodore and Ray seem to have gotten along famously. Together, the two men photographed Lee, nude, lolling on a bed with three other naked women.

It is hard not to see all this in psychological terms, if not in moral ones. Cursed with a perfect beauty, Miller became a focus of Ray’s internal need to violate. For Man Ray, this was aggravated by the masculine drive to compete.

If the countless celebrities photographed by Man Ray – Wallis Simpson, Aldous Huxley, Virginia Woolf, Picasso, Chanel, Schiaparelli, himself – the one he went back to most obsessively was Lee Miller. You can see why. Miller was a physical ideal, the kind of perfectly moulded, ice-blonde beauty beloved of Hitchcock; flawless, or at least imaginably so.

Lee Miller and Man Ray's exciting, passionate and tumultuous relationship ended and Man Ray did not take it well. In fact, one of his most famous pieces, Indestructible Object, includes her eye ticking on a metronome.

Ray's instructions to fans on how to make their own version of the work suggest the violence of his anatomical method. "Cut out the eye from a photograph of one who has been loved but is seen no more," he writes, bitterly. "Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow."

That done, the photographer, ever the drama queen, sat for a self-portrait called "Suicide" with a noose around his neck and a gun pointed at his head.

Hell hath no fury like a Surrealist scorned.

When their affair ended, Lee moved back to New York and opened her own studio, where she worked ‘in the style of Man Ray’, as she advertised in a bold appropriation of his name.

She hardly needed the help. Clients such as Saks Fifth Avenue and Elizabeth Arden paid handsomely for pictures by the woman who was herself ‘one of the most photographed girls in Manhattan’.

But in just a few years the Lee Miller Studio closed when Lee married an Egyptian, Aziz Eloui Bey, and moved with him to Cairo. She felt stunted by Egypt’s restrictive society but produced some of her best work there, driving into the desert with her trusty cocktail kit in the boot to take photographs of the landscape.

Her husband, however, let Lee spend extended holidays in Europe with the Surrealist set, where she met painter and art collector Roland Penrose, the man who eventually became her second husband. They would be happily married for the rest of their lives until death. She at last found someone who accepted her whole. But it still wouldn’t be enough for Lee. 

By 1939, it was time for another reinvention. War broke out, the Blitz rained down on London, and Lee, urged on by her friend, the photojournalist, collaborator and sometime lover David Scherman, got accredited as a war correspondent for (of all places) British Vogue.

Her editor, Audrey Withers, expected soft-focus photo-essays about war privation, but Lee had other ideas.

Her reportage was gruesome, intimate and important. On the front lines at the siege of Saint-Malo, Lee documented the Americans’ first use of napalm and described a company ready for action, ‘grenades hanging on their lapels like Cartier clips, menacing bunches of death.’

She shot close-ups of the faces of German Nazis who had committed suicide in Leipzig and took powerful portraits of starving prisoners following the liberation of Dachau and Buchenwald.

When she arrived in Paris during the Liberation the first thing she did was go to Picasso's studio. There they are pictured smiling holding each other tight, probably beyond relieved that they were both alive. Picasso is quoted saying in astonishment "the first Allied soldier I should see is a woman- and she is you."

When Hitler fled Munich at the end of the war, Lee and Scherman were the first of the press corps to reach his apartment, where they drank his cognac and napped in his bed. They propped a picture of Hitler on the rim of his bathtub, set Lee’s dirty combat boots on the bathroom rug and took the now-famous photograph of her bathing in Hitler’s tub.

The war made Lee feel alive.

The image of Miller in Hitler’s tub was the one that led to the end of her Vogue career. The public was outraged at what they interpreted as flippant disregard for the ravages of war. Being accused of insensitivity inevitably took its toll, but it was what she saw, felt, and experienced during those years that would eventually send her into a struggle with depression.

She loved her uniform, tailored on Savile Row. She loved roughing it: washing in her helmet and subsisting on K-rations. And for a woman always searching for meaning in her life, documenting the war for readers back home gave her purpose. ‘Believe this,’ she cabled to Vogue, and the pictures she sent back were indeed horrifying. They came at a cost: Lee was never able to distance herself from her subject. She threw her entire self into her work.

Lee suffered mightily postwar.

The trauma of what she had seen haunted her for the rest of her life. Today we would call it PTSD. In postwar England, Lee was told by her doctor ‘we cannot keep the world permanently at war just to provide you with excitement’.

On her return to London after the war, she was feted. "Who else has written equally well about GIs and Picasso?" her editor said. "Who else can swing from the Siegfried line one week to the new hip line the next?"

Desperate to ward off a sense of anticlimax, she returned to eastern Europe. But soon she was pregnant at 40 years old and finding the prospect of motherhood scarier than any front line.

She missed the action, despite suffering post-traumatic stress. She also felt increasingly sidelined: in staid, patriarchal postwar Britain, her husband was the one in demand.

Finding the inspiration to write and take photographs became harder and eventually she gave it up entirely, hiding more than 60,000 negatives and contact sheets in the attic and becoming so tight-lipped on the subject that even her own son, Antony, knew nothing about her war work until he was an adult. An entire piece of herself was boxed up and placed out of sight.

Depressed at her loss of looks and gain in weight, she found solace in drink and cooking elaborate gourmet meals for her guests at Farley Farm House in East Sussex, her home until her death in 1977. 

She could have written a very good cookbook by all accounts. She was a virtuoso chef. 

She remained friends with the Paris crowd. In particular she was close to Picasso. Lee Miller's son recalls going over to Picasso's home as a child. He even wrote a book about the time he bit Picasso, as a child, called ‘The Boy Who Bit Picasso’.

Lee even reconciled with Man Ray. Lee and Man Ray last met in London in 1975, at Man Ray's retrospective at the Institute of Contemporary Arts. By now, he was in a wheelchair and Lee Miller was a drunk. 

Lee Miller died of cancer in 1977. By the end she was overweight, an alcoholic, ravaged by depression, and tortured by her husband’s affair with a trapeze artist. Anyone meeting Lee Miller then would have been surprised to know that she was once considered the most beautiful woman in the world, second only to Greta Garbo.

But just as she, and her reputation, went out of sight for years. There has in recent years been a resurgence of interest in Lee’s photography, bringing her legacy, and her enduring appeal, further into the light.

As a female icon she never saw herself as a victim. It's remarkable that Miller was able to delight in her body (and in the pleasure others took from it). She saw sex and love as two very different beasts. She was very comfortable living out the truth as she believed it."Emotionally, I need to be completely absorbed in some work or in a man I love," she wrote, but she didn't see why going to bed with someone should upset whichever man she was currently in love with.

Lee insisted that she couldn’t be kept and that women should be able to be as sexually free as men. She was radical, and people made her suffer for it  - Man Ray included.

Strikingly beautiful, she was used to submitting to the male gaze and even subverting it. A less spirited woman might have been crushed by these alpha males, but Miller, unfazed, determinedly transformed herself from passive model to active artist.

Her son, Antony Penrose, observed in his 1998 biography of his mother, The Legendary Lee Miller: Photographer, 1907–1977, her unique background capturing uncanny moments and haunting, bizarre portraits during the heyday of the Surrealist movement served her well in war photography. Penrose wrote:

“Unexpectedly, among the reportage, the mud, the bullets, we find photographs where the unreality of war assumes an almost lyrical beauty....On reflection I realise that the only meaningful training of a war correspondent is to first be a Surrealist—then nothing in life is too unusual.”

But it was the very nature of unconventionality of her career trajectory that hampered her historical reputation.

Her early association with the Paris Surrealists - particularly her role as Man Ray's "perversely enchanting muse" - overshadowed her own artistic accomplishments.

Her abandonment of photography, and the consignment of all her work to her own attic also limited her impact during her lifetime.

Her association with fashion also coloured the interpretation of Miller's work. As her biographer Carolyn Burke states, "to this day, her life inspires features in the same glossy magazines for which she posed...this approach turns the real woman in to a screen onto which beholders project their fantasies", and further perpetuates the legend of Lee Miller as an "American free spirit wrapped in the body of a Greek goddess".

The force of her beauty, effervescent personality and high octane biography will always remain central to interpreting her work.

Today Miller has been recognised as among the most original and ambitious photographic artists of the 20th century, and a subtly transgressive artist, who - as Lynn Hilditch asserts in Lee Miller, Photography, Surrealism and the Second World War - took off from her Surrealist background and "pushed the boundaries both of art and war photography, often using unconventional methods to comment on such multifaceted issues as sex, gender, death, and war"

#lee miller #history #photographer #world war two #art #beauty