#phm#ryland grace#rocky the eridian#project hail mary spoilers
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Unexpected Conversations
Unexpected Conversations – Oil on canvas, 2025, 20 × 30 cm Still a work in progress, but I wanted to jot down a few thoughts while the paint’s still wet — metaphorically, at least. This painting started from a photo I took at Whipsnade Zoo. There was a moment where a chimpanzee sat quietly in the grass, arms relaxed, eyes almost closed. She wasn’t doing anything in particular, but the stillness…
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tyler the creator, lumberjack bet performance ✨
What Do Old Drawings Tell Me?
What Do Old Drawings Tell Me?
KTurner after Vincent Van Gogh “Landscape in Stormy Weather 1885”, pastel and graphite. When I look through the piles of old drawings I have from years ago, I wonder if I should have a great bonfire or shredding event. How important are these drawings? What role do they play in artistic development? Why should I save them? It’s true that early career drawings can give clues of an artist’s…
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not to be a bitch, but sentences like “the whole point of art is (x)” or “art is inherently (y)” really activate my fight instinct. according to who!!!!! the whole of art history is ppl disagreeing on what art is!!!
Damien Chazelle, Barry Jenkins, Allison Schroeder and more dish on insane suggestions from Hollywood suits
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scan of a drawing of @oldkale's desk and my to-do list
These are the stakes. Too often, in discussions of decolonizing knowledge or decolonizing the university--vernaculars that are now circulating--we lose sight of what is at stake. It's not "transforming universities." It's not "increasing diversity." It's not "making universities safe spaces." These are worthy goals, but they are partial. The goal is to alter being and relations, to create "new humans." That is what decolonization does. That is what freedom does.
—toward freedom, keguro macharia.
My experiences have led me to seek and answer questions, for example: what are black gestures; what is the place of imagination in self-fashioning; where do I begin and where do I end; how can you communicate the simultaneity of trauma and joy, the history that hurts and heals? Most of my works attempt to answer these questions, with long meandering answers, a drawing out and dwelling in the sensations of answering, using bodily sensations to take my audience somewhere: the feeling of being in the black mass, or an encounter with an image that sparks gender euphoria and realisation.
I’ve been concerned more and more with the cinematic, specifically how it overdetermines action, desire, imagination, and how it structures possibilities, and forecloses others.
—ebun sodipo. {~~}
