Friday night đ #apocalypse
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@serenamarie
Friday night đ #apocalypse

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Translation
Dat fern room, doe #garfieldparkconservatory #sketchbook
#feels #sketches #moon #stuff
âď¸thinking about wintry things, like juniper and rosehips and rosemary and frost and citrus and magnolia leaves.. #workdoodles #wintershowedup

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I worked at the flower shop today đđˇđźđđš#sketch #waxflower #agonis
lavender latte / cinnamon rolls
surprise snow in the wissahickon
incense / hot cocoa / paintingÂ
power / hummingbirds / prayer
moonlit walk by the river
a campfire-full of friends in the middle of the woods
snow-lit, moon-lit, magicland
girard rock
and on the way to the brewery -
a fox:
sweet, lonesome.
2015
mmm..
the year of saying âyesâ to whatever came my way.
started my etsy site first outside pee in the snow in January :) show at WellPoint show at M&E organized poetry readings in west philly made/printed/sold my first poetry chapbook shot a wedding art directed a film illustration/commission gigs fell back in love with Sufjan (new album and concert) 26th birthday on the beach Landfest 2k15 + road-trip to Montana <3 trip to Oregon trip to Chicago tons of camping Pope weekend changes at work took Gloria to the junkyard (RIP) bought a new car (Beatrice) art - art -art -artÂ
so grateful, so humbled.
âand nothing ever does begin like nothing ever ends ask every atom in your body and they'll surely tell you "friend, i am old as time and older still" and you are made of everything you love, you feel, or kill i will outlive you, and forgive you, and be just a baby stillâ
brain and spirit tracing patterns over water and moon and cloud, over city light lines from an aeroplane in the wide sky, the encompassing compass. the trees, cool and dark, rustle, creak, fill in the edges of the world. we are silhouettes on the edge, encompassed, small and warm, coming, going, eyes open to let in what little light there is, as the wind pushes the waves ever faster towards the shore.

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Oceanic Gouache, 2015.
place-pleasure, location-taste. i want to always be exactly where i am. my friend says we are like sage-brush, we put down roots, deeply or in shallow ways, we extend and adapt to whatever is around us. what is this subconscious sense i feel? the awareness that hits me as i fall asleep? this pleasure that is the culmination of all parts, all senses, the spirit and the mind and the body combined, and located, in one place, as they should be? place-pleasure, location-taste. in the country, the hills embrace me, they are soft and maternal, lush, green, and sad. in the west, the mountains draw me in. i feel my smallness, they watch me, invite, they are holy, vast, quiet, listening. by the ocean, i sense its wetness first, its propensity for life: this division of water and land is the birthplace of all things. in my city, i feel the skip, the concrete, the heat and rhythm and open-armed dancing, so many bodies and all their smells. in the forest, i am hugged, darkly, in complicated and comforting shapes, wind rustling and moving a thousand forms around me, connected. at home, i try as best i can to formulate and create my own place-pleasure, my own location-taste. a landscape of a bed, a forest of a room. but nothing ever tastes so good as the real thing.
in the evening, coming home from the store, i catch a glimpse of the park down girard avenue, the haze-y light of summerâs steaming sun, the layers of faded, washed out landscapes, subtle light, purples, yellows, and the dark edges of trees: catalpa, oak, honey locust. i recognize their silhouettes like a lovers in the sunset. I go to the rock and watch them, watch the light move around them as they sway in the breeze and shower me with remnants of the earlier rain. i want to paint them, i think, but once home, their shapes and complexity, their leafiness and lines elude me, and I again return to painting silhouettes of people, of lovers, in the sunset.
bighorn canyon
on the way back down from the canyon overlook, while i was still wiping tears from the vastness and beauty, the wordless sense that you donât deserve to be seeing this, we took a pit-stop in the cleanest port-a-potty iâve ever seen. after use, and in a moment of vulgar, knee-jerk curiosity, i took a peek down and saw the steaming pile of a hundred bodies connected to flesh and guts and brains and nostrils and spirits and eyeballs that had respectively just glimpsed something so glorious and holy and wild as the earth itself.
getting emotionally prepped for another cross-country drive
đŞ

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lemons on foodstamps
can i tell you how i feel, buying lemons? i thought of them, once, as luxuries, as curiosities, as un-necessary packages of something that came in a bottle. but now, i buy lemons, for my water, for my food, and more than this, to let their tart freshness remind me that I am well, I am alive, that my hand-ful of simple ingredients for this week of meals, when lightened with lemon, are adequate, are luxury, enough.
[ âThey announced two weeks ago that in the last 40 years, the number of wild animals has dropped by one-half, and weâre expecting a 50 to 70 percent extinction event of all species by the end of the century,â Antony Hegarty says. âI always think about those stories about the last bird, or the last of a species, when theyâre calling out and they donât have the other animal, the partner that can call back to them. The idea of the disappearing voice is very resonant for me. What hears a solitary voice. What responds to a solitary voice.â
These disquieting half-questions, which Antony mutters soothingly down the telephone, have fueled a great deal of her work in the last half-decade of her career. When, in 2008, she sang, âIâm gonna miss the birds/ Singing all their songs/ Iâm gonna miss the wind/ Been kissing me so long,â the song itself â âAnother Worldâ â sounded like the worldâs last breath. It embodied the most essential form of disappearance: apocalypse.
Given the statistic above, a list of goodbyes to the worldâs simplest forms of beauty doesnât seem farfetched..]