I just love it when things are earnest like everyone get more earnest now
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I just love it when things are earnest like everyone get more earnest now

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Mikalojus Konstantinas Čiurlionis (Lithuanian, 1875-1911) - The Thought (1904)
ANDY LOVELL Swirls & Eddies, North Devon / North Cornish Coast / Swans, Incoming Tide silkscreen prints
Ghost Fungus (Omphalotus nidiformis), 2021

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No, don't you dare stop rambling. The more you talk, the more I learn about you. The more I learn about you, the larger my database on you grows.
wolfin out
Carl Fredrik Reuterswärd (1934-2016)—Excursion with my Laser [varnish and acrylic on canvas, 1978]
Nick Hannes

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CONNIE PANZARINO at a pride march in Boston circa 1990
[ID: Connie is marching along in her sip 'n' puff (SNP) wheelchair. She is wearing a patterned poncho and sporting a green felt party crown on her head. She styles a pair of wire-rimmed glasses with her slicked back hair. She is smiling. Attached to the back of her wheelchair is a large green cardboard poster that reads "Trached Dykes Eat Pussy Without Comin' Up For Air!" followed by a pink upside-down triangle with a stick figure person in a wheelchair at the centre (a symbol for disabled women)].
the cyborg & the crip by Alison Kafer
[ID: “Trached dykes eat pussy without coming up for air.” Connie Panzarino, a longtime disability activist and out lesbian, would attach this sign to her wheelchair during Pride marches in Boston in the early 1990s. Shockingly explicit, her sign refuses to cast technology as cold, distancing, or disembodied/disembodying, presenting it instead as a source and site of embodied pleasure. “Trach” is an abbreviation of tracheotomy, a medical procedure in which a breathing tube is inserted directly into the trachea, bypassing the mouth and nose. Someone with a trach, then, can, in effect, breathe through her throat, freeing her mouth for other activities (another version of this sign is “Trached dykes french kiss without coming up for air”). From a cyborgian perspective, this sign is brilliantly provocative and productive. It draws on the pervasive idea that adaptive technologies grant superior abilities,not merely replacing a lost capacity but enhancing it, yet it does so in a highly subversive way. The message here isn’t about blending in, about passing as normal or hypernormal, but about publicly announcing the viability of a queer disabled location. It’s disnormalizing, adamantly refusing compulsory heterosexuality, compulsory able bodiedness, and homonormativity. As Corbett O’Toole argues, it challenges the perceived passivity of disabled women, presenting them as actively pleasuring their partners, thereby graphically refuting stereotypes linking physical disability with nonsexuality.]
Linen Corn Field (#fdf9f1 to #f4facb)
Coming out (2026)
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Neon Seoul Japanese Laurel (#7b30ed to #0fa507)

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(voice of a man invariably alienated from the human experience): Hey guys
Portal in the Basement of the Consignment Shop - Chloe Chlumecky , 2026
Canadian , b. 1999 -
Oil on wood panel , 20 x 16 in.