My name is Sylvia. The only consistent tags I use are:
• Ember: posts pertaining to my cat, many very cute pictures here
• My Art: self explanatory. I do embroidery mostly. [EDIT: this is not true any more. I sold my soul to knitting.] You can reach out to purchase a piece or request a commission by message or ask.
• This is My Gender: also self explanatory.
• Family Leporidae: I like rabbits and hares.
• GloriaDNI: content warning tag for my lepidopterophobic sister. This goes on anything with butterfly or moth imagery, and some other things I know @razor-cooter hates.
Header by @j-tee !!
My pronouns of use are she/her with the understanding that my gender is strictly a consequence of English grammar and not of upbringing, interest, anatomy, &c. That being said, you can call me by whatever pronouns you want. That’s your affair.
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ID: A youtube comment with 11 likes by Niceone, it says "I've lived 46 years without knowing this. How nice of life to save some of the best bites for later." End ID.
Normally, people tend to get frustrated, even jokingly, if they miss out on something. This comment was on a song from 1974 and it made me smile quite much. Simply appreciative. Like a dessert after dinner.
It is genuinely mind blowing to me just how many Tumblr posts have changed my life for the better and taught me to be happier. Not all of the thoughts originate on Tumblr, but the way people collect and frame them has literally changed my brain chemistry.
I think for a lot of people “I am completely helpless and powerless” and “I am completely powerful and in control” are both basically comforting fantasies because most of us live our lives in an in between place where we have enough agency to be responsible for our actions but not enough agency to have true control over our lives and the tension between power and powerlessness in the day to day is psychologically wearing and exhausting
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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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I was trying to connect with the people but I understand how this could be seen as cultural appropriation of midness. Listening and learning always, I’ll do better next time !
completed weaving of the penelope skyphos from chiusi:
the header is tablet-woven linen, with the linen weft for the band used as the warp for the rest of the piece on a warp-weighted loom, which you can see in the photos below (there is also a previous post with more process photos here). the reverse is a negative mirror image of the front, since I wove this as double-weave pickup rather than tapestry:
additional details below the cut:
the bottom and side borders of the finished piece are tablet-woven with a mixture of linen and mercerized cotton. the sides are a classic meander motif, while the bottom border includes the "X" square from the skyphos itself. the bottom border was woven directly onto the piece using the remainder of the warp beneath penelope's feet (tablet draft for anyone interested—I designed it to be twist-neutral and everything). the side borders are sewn on because I didn't set up the side borders when I started the project, but ellen harlizius-klück previously executed a stunning version here that has the side borders woven in, as well as a really helpful video on this technique.
I was originally planning to leave part of the black warp threads unwoven to serve as penelope's warp, the way I did a few years ago with the amasis painter vase:
but I couldn't figure out how to execute it well in this version, especially since I was doing double-weave and not tapestry. perhaps next time! overall, this was a complicated and fun project as a first warp-weighted loom piece. I learned a lot of important lessons—chief among them being to actually calculate warp lengths instead of eyeballing them and to increase the loom weights on the warps for better tension. unfortunately, I also learned I want to build a large warp-weighted loom (the one I have now was made by jennifer marcus at fiber paintings studio and it is lovely, but I would like to weave larger pieces.)
the original pot also features telemachus standing over a grieving penelope (I had room only for his spear), perhaps a reference to the scene in book 1 when he reprimands his mother and orders her back upstairs:
Odysseus was not the only one
who did not come back home again from Troy.
Many were lost. Go in and do your work.
Stick to the loom and distaff. Tell your slaves
to do their chores as well. It is for men
to talk, especially me. I am the master.
οὐ γὰρ Ὀδυσσεὺς οἶος ἀπώλεσε νόστιμον ἦμαρ
ἐν Τροίῃ, πολλοὶ δὲ καὶ ἄλλοι φῶτες ὄλοντο.
ἀλλ᾽ εἰς οἶκον ἰοῦσα τὰ σ᾽ αὐτῆς ἔργα κόμιζε,
ἱστόν τ᾽ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε
ἔργον ἐποίχεσθαι: μῦθος δ᾽ ἄνδρεσσι μελήσει
πᾶσι, μάλιστα δ᾽ ἐμοί: τοῦ γὰρ κράτος ἔστ᾽ ἐνὶ οἴκῳ.
Od. 1.354–359. Emily Wilson translation.
my plan is to eventually create a larger version of this piece that includes telemachus and the meta aspect of unwoven warp threads. it would also be interesting to figure out if I can weave a different image on the back of the cloth, since the reverse of the pot itself depicts eurycleia recognizing odysseus as she washes his feet.
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