Diana holding a spear with a stag at right and holding a bear on a leash by Cherubino Alberti (Zaccaria Mattia), c. 1580
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Diana holding a spear with a stag at right and holding a bear on a leash by Cherubino Alberti (Zaccaria Mattia), c. 1580

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“Total eclipse of the sun, 1860, Tarragona.” Sun, moon, and stars. 1893. Frontispiece.
#art #Tibetan vibes #tatt
«Песчаные хроники» / «Sand Chronicles»
Эта абстрактная композиция — не пейзаж, а ландшафт времени. Она написана в тонах сыпучего песка, жжёной умбры и кофейной гущи, по которым, как трещины или внезапные тени, прочерчены углубляющиеся чёрные мазки. Художник использует саму материю ускользающего мгновения, создавая кисть из собственных выпавших волос — буквального артефакта прожитого, знака обновления и утраты. Эта личная алхимия превращает краску в слепок времени.
Из подвижной, тёплой массы тонов постепенно проступают символы-призраки. Угадываются силуэты поглощаемых дюнами небоскрёбов — следы цивилизации, которую заметает. В динамике мазков читается паника бегущих лошадей. Возникают воронки, засасывающие материю вглубь, и сложные петли, напоминающие средневековые травники — хрупкая жизнь, пытающаяся укорениться в вечном потоке.
Ключом к этой археологии мгновения становятся крупные, намеренные знаки, похожие на письмена забытого языка. Это не буквы, а скорее отпечатки процессов: эрозии, роста, исчезновения. Картина не изображает время — она является его физическим оттиском. Здесь песок — не метафора, а основная субстанция. Он не просто заноси́т артефакты; он сам и есть главный артефакт — неумолимый, тёплый, безличный носитель всего, что когда-либо было утрачено.
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«Sand Chronicles»
This abstract composition is not a landscape, but a landscape of time. It is painted in tones of flowing sand, burnt umber, and coffee dregs, across which deepening black strokes are drawn like cracks or sudden shadows. The artist uses the very substance of the fleeting moment, creating a brush from their own fallen hair — a literal artifact of the lived, a sign of renewal and loss. This personal alchemy transforms paint into a cast of time.
From the fluid, warm mass of tones, ghostly symbols gradually emerge. Silhouettes of skyscrapers being swallowed by dunes — traces of a civilization being swept away. In the dynamism of the strokes, one reads the panic of galloping horses. Whirlpools appear, sucking matter inward, and intricate loops reminiscent of medieval herbal manuscripts — fragile life attempting to take root in the eternal flow.
The key to this archaeology of the instant becomes large, intentional signs, resembling the script of a forgotten language. These are not letters, but rather imprints of processes: erosion, growth, disappearance. The painting does not depict time — it is its physical imprint. Here, sand is not a metaphor, but the primary substance. It does not merely bury artifacts; it is itself the main artifact — the relentless, warm, impersonal bearer of all that was ever lost.

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Название работы: «Agens Somniorum №1: Красная итерация»
Описание:
«Данная работа является частью исследования аутохтонных сущностей («агентов») в пространстве коллективного бессознательного. Визуализирует «агента-проводника» в его красной итерации. В отличие от пассивных образов сновидений, эти существа обладают активностью, дружелюбным intent и функциональным назначением. Они служат интерфейсом для взаимодействия с абстрактными ландшафтами сна: от кварталов забытых воспоминаний до полей нераскрытого потенциала. Крупный план морды единорога — это точка входа, предлагающая зрителю установить контакт и получить навигационные ключи к собственным онтологиям сновидений.»
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Title of the work: «Agens Somniorum No.1: Red Iteration»
Description:
“This work is part of a study into autochthonous entities ('agents') within the space of the collective unconscious. It visualizes a 'guide-agent' in its red iteration. Unlike the passive imagery of dreams, these entities possess agency, a friendly intent, and a functional purpose. They serve as an interface for interacting with the abstract landscapes of sleep: from the districts of forgotten memories to the fields of unrealized potential. The close-up view of the unicorn's muzzle is an entry point, inviting the viewer to establish contact and receive navigational keys to their own dream ontologies.”
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This is collage of an oil pastel illustration for an altar work.
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New painting I haven't come up with a name yet
"The First Swallows" is an idiom meaning "the first signs of coming good changes / approaching happiness." In this artwork, the bird as a messenger literally carries the intertwining threads of fate, symbolizing the very first, still fragile moment of a future great love.
"The First Swallow". Watercolor, acrylic, oil pastel on paper. 2026y
The Seven Planets, School of/style of: Lucas Cranach the Younger Block cut by: Monogrammist CG, c. 1550-1570
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The setting Sun
Marc Chagall
Cupid’s Hunting Fields, c. 1885 by Sir Edward Burne-Jones (1833–1898)
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Dittmar Viane (Belgian, 1998) - The Magician (2024)

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Simone Pellegrini Irada fombra, 2025
I’ve been listening to “Blood Moon” by Saint Sister a lot this season and it inspired this piece of a spooky Minoan Artemis dancing in the woods.