2026
I CAN DO WHAT I WANT
ANYONE WHO LOVES ME DOESNT CARE WHAT I DO
CONSISTENCY OVER PERFECTION
DISCIPLINE AND PATIENCE WILL SERVE ME WELL

JBB: An Artblog!
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Today's Document
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Misplaced Lens Cap
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oozey mess
I'd rather be in outer space 🛸
dirt enthusiast
occasionally subtle
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blake kathryn

ellievsbear
i don't do bad sauce passes
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if i look back, i am lost
"I'm Dorothy Gale from Kansas"

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@godspetdog
2026
I CAN DO WHAT I WANT
ANYONE WHO LOVES ME DOESNT CARE WHAT I DO
CONSISTENCY OVER PERFECTION
DISCIPLINE AND PATIENCE WILL SERVE ME WELL

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Ruth Robbins, illustrations from the first edition of Ursula K. Le Guin's A Wizard of Earthsea (1968)
FRANKENSTEIN (2025) dir. Guillermo del Toro
saw these dogs on my evening walk
Caroline Polachek for EVADE

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Minami Gessel
Ginger Snaps (2000)
(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)
[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.
Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.
From Getty Center article
laetitia casta for jean paul gaultier spring couture 1997

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Mazelle Spring 2023 backstage
Ph. Victor Edeh
Romeo and Juliet (1968) dir. Franco Zeffirelli
CRIMSON PEAK (2015) dir.: Guillermo del Toro
Possession (Andrzej Zulawski, 1981)
Antonia Pietrosi in ‘Spirits of the Dead’ (1968)

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Butch & Butch Bait, Manchester, 2026