Go my oldish redesigns
(I had all mains done but I really only like how Vee and Pebble look rn. Shelly I'm proud of everything BUT how her dress pattern looks)
Some notes about my ideas
seen from Vietnam

seen from United States

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seen from United States
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seen from Türkiye

seen from United States
seen from United States
seen from Austria
seen from United States
seen from United States
seen from United States

seen from Türkiye
seen from Argentina
seen from Lithuania
Go my oldish redesigns
(I had all mains done but I really only like how Vee and Pebble look rn. Shelly I'm proud of everything BUT how her dress pattern looks)
Some notes about my ideas

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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hi sorry i'm obsessed with your art do you take commissions
ahhhh thank you you're too sweet!!!!! ;_; i don't have a commission sheet or anything bc doing comms consistently burns me out really fast but i'd be happy to see if we can hash something out in dms or something if you're interested :D tysm
take this doodle of lightning i did last night and wasnt going to post as thanks.
Guys I think I may have a favorite toon but idk who
Glisten practices
When We Look at the Sun, How Long Ago Was It? (2026)
When We Look at the Sun, How Long Ago Was It? traces the life of a single digital image: a small JPEG titled the sun, made in 1996 and uploaded to the Internet in 1997. The page it sits on was crawled once by the Internet Archive's Wayback Machine in June 1997. It is the only record of the image's presence on the web. Negotiating 1990s web aesthetics, philosophical argument, and personal history, the work asks what kind of thing a born-digital image is, what modes of existence it occupies.

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.
Free to watch • No registration required • HD streaming
bsenceisseeingtheskeleton.com (2025)
Collective web work by Lara Peters, Iris Helena Hamers, Hou Ching, and Roger Barton. Developed in a module on indexicality, MA Art:ificial Studies, Zürcher Hochschule der Künste.
The site stages four series of images that respond to user interaction. Clicking activates zones; dragging disperses images; releasing leaves a trace. What is recorded is not the image but its position in time_ the contact, the delay, the drag, the absence between actions. The trace is the work.
The piece sits inside a question about the indexical sign: the sign that registers contact rather than likeness. A footprint indexes a foot, smoke indexes fire, a shadow indexes a body. But what counts as contact when the surface is a webpage and the body is a cursor? We draw lines around the index where there are none. The site fabricates indexicality, constructing traces for events that may never have happened_ or whose only registration is the trace itself. What is left behind is a skeleton of past activity, visible only in the absence of what produced it.
absenceisseeingtheskeleton.com runs in the browser. Each visit produces a different residue & no completed state is archived.
Some brush tests
Also tried a new canvas size and background color
Getting better at full bodies I think