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@sailorofthesleaze

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APY Lands Art: The Living Story of the Seven Sisters
Across the vast deserts of South Australia, the APY Lands have become home to one of the most dynamic and internationally celebrated movements in contemporary Aboriginal art. Rich in colour, cultural authority, and spiritual depth, APY paintings often draw upon the great ancestral narratives of the Western Desert, especially the epic Seven Sisters Dreaming that stretches across Australia through an immense network of songlines.
Artists from communities such as Amata, Ernabella, Fregon, Indulkana, and Mimili transform ancient cultural knowledge into powerful contemporary works filled with sweeping landscapes, sacred sites, ancestral journeys, and vibrant fields of colour. Their paintings are not simply images of the desert but expressions of Country itself—recording relationships between people, place, ceremony, and law that have endured for countless generations.
Today, APY Lands Art is admired worldwide for its bold innovation, extraordinary colour palettes, and the strength of the cultural traditions that continue to inspire it. Through these remarkable works, viewers gain insight into one of the world's oldest living cultures and the enduring power of the Seven Sisters story across the Australian desert.
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Last season, as I approached one of my 70-plus nest boxes in mid-spring, nothing seemed out of the ordinary. The standard-style-rectangular box I was checking was one of a number I maintain in the Southwest Michigan Land Conservancy's 3 Chipman Preserve in Eastern Kalamazoo county. This parcel has been undergoing consistent land restoration from a former tree nursery back to the savannah prairie which is the remnant dominate habitat. The female Easter Bluebird that exited the box prior to my arrival went about her calling from a nearby birch tree. There was no sign of the male, as often is the case, since he might be away gathering prey for himself or for offering to his mate sitting in the box. (The female was by that time incubating the eggs, as I shortly ascertained). When I opened the nest box for inspection, all seemed normal as well.It was when I was checking the five new eggs for a temperature that I caught a glimpse of some bright blue in the nest. At first I supposed it was a random feather brought in to feather the nest, as it were. I'm an inquisitive steward, though, so I pulled the whole nest out--to photograph the eggs in the nest--and also to satisfy my curiosity. It was then that I was startled by the truth of the matter. Built into the very weave of the nest was the dried-out body of an adult male Eastern Bluebird. I'd found dead adult birds in the bottom of a box or on the top of some portion of a nest before- most often after a winter of sub-zero temperatures or after observing territorial disputes between House Wrens and Bluebirds, or Tree Swallows. But never had I seen one so plainly, immaculately utilized in the nest construct. I can only speculate upon the scenario behind the demise of the this adult and the order of the nest building. The nest appears half-finished where the body was built into it. As for the reasons it was built into the nest, an assumption or two can be allowed. Perhaps after losing a fight with a House wren, the dead male could not be physically extracted from the almost-completed nest by his mated female, and so she continued her work. She certainly may have been fertilized already and was due to lay, and in addition possible possessed a strong and singular nest-site fidelity to this box. After the loss of a mate, many birds will either find a new mate- or continue on alone in brooding and raising the young. In this particular case, I never saw another male at the box, yet that doesn't preclude that the female hadn't re-mated and that he was then simply out of my sight. In any case, all five of the eggs hatched, and all of the nestlings fledged right on schedule. (c)2009 Michigan Bluebird Society
stop drinking beer with the deer and come have a cider with the spiderrrr
from City of Fire with Starwatchers by Moebius

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Lmao wedding no. 90 897 923 000 043 is back on schedule, congrats to the groom and bride!
Wenzel Hablik (Czech, 1881-1934) - The Cloud (1910)
Eastern Hognose (Heterodon platyrhinos), various color phases, family Colubridae, Red River Gorge, KY, USA
Rear-fanged, mildly venomous.
photographs by The Rogue Biologist
explain your gender in 10 words or less without using boring words like “male”, “female”, “nonbinary”, “masculine”, “feminine” or “androgynous”.
go!
1978 chevrolet malibu station wagon
2 fish sometimes 3
Schrodinger’s Cat
Is it acceptable that I do shave my legs only because it’s easier to put lotion on my legs when they aren’t too hairy and I do like the feeling of smooth skin when I finish up with it.
I also only really do it once or twice a month so sometimes I do go out in public with hairy legs.
come on man i'm on my lunch break can't you wait???

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“ask me about” button PNGs credit not necessary but appreciated!
A selection of photos from photographer Charles Fréger’s “Wilder Mann”, a visual catalog of the “savage” archetype as it exists in European folk traditions.
“These images, like archetypes, half-man half-beast, animal or vegetable, resurface from the depths of time on the occasion of ritualistic, pagan or religious festivals, celebrating the cycle of the seasons, the fat days, carnival or the eve of Easter. In the common fund of the European rural societies, these characters or emblematic animals represented protective figures or symbols of fertility. Today they evoke an imaginary, impulsive and physical world where everyone perceives an ancestral relationship with nature where the springs of our animality and sometimes the regressive desire inherent in some of our behaviors emerge.”
I love the depth and breathe of the characters and the materials used to create them. Fur, straw, seeds, leaves and a host of other natural materials evoke the distinctly natural (some would say, primal) role these creatures play in European folk mythology. Many of these characters and the traditions they’re part of are explicitly pagan, still evolving personages dating back to a pre-Christian Europe.
You can also see the way these folkloric costumes influence character design across every single narrative genre from films to video games. If you’re a costume designer, concept artist, or animator attempting to create something dramatically primal, I can think of a few better places to start for visual inspiration than Fréger’s book.
Photos + copyright belongs to Charles Fréger in their entirety. Quoted section from the website of Charles Fréger.
See more photos!!
I could keep going, but this post might go on forever. I highly recommend checking out the rest of the photos!!
Are you observing my sitting style?
how it is
everyday a women cries i kill myself out of respect.
Instead of helping her you make it about yourself

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Bovine figure of the day: William Newland Bull
i cant wait to get a boyfriend, im all prepared. i punched some holes in the lid of this jar and i put some grass and a twig in it