KIROKAZE
Xuebing Du
Cosmic Funnies

祝日 / Permanent Vacation
Today's Document

@theartofmadeline

wallacepolsom
Alisa U Zemlji Chuda
he wasn't even looking at me and he found me
TVSTRANGERTHINGS

ellievsbear

tannertan36

titsay

Origami Around
Peter Solarz
Game of Thrones Daily
d e v o n
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@vile-heart

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I keep thinking about harpies
The Scream
Ed Archie Noisecat
from the website: The black snake represents pipelines that threaten the ecosystem that both the Orca and Salmon depend on for survival.
“The Scream, a 63″ tall exhibition of my craft, was conceived and carved while teaching at Pratt Fine Art in Seattle. It is a meditation on the colonial forces—fossil fuel projects, overfishing, climate change, and more—threatening our relatives under the sea, the killer whale. It is also a memorial to Tahlequah, the killer whale mother who swam with her dead calf balanced on her head for 17 days in the summer of 2018. That same summer, my family—my daughter Zia, my son Julian, and I paddled through the Salish Sea on the tribal canoe journey to Puyallup. Each paddle stroke and each cut, a prayer for our relations and our Earth.”
-Ed Archie NoiseCat
The morning we depart marks the fourth day that an orca, nicknamed Tahlequah, has made headlines for carrying the corpse of her dead calf with her in a so-called “tour of grief.” Tahlequah’s display of mourning—keeping her lifeless child afloat for thousands of miles, nudging the baby’s body forward with her head—serves as a morbid reminder of the grim outlook for the southern resident orca population: They number just 75 whales and have not seen a single successful birth in three years. Little surprise, then, that the Center for Whale Research estimates the population has a five-year window to reproduce, after which they will fade into memory.
Native people, particularly on Canoe Journey, follow Tahlequah’s story closely. Many Salish consider killer whales kin. The Lummi, whose homelands lie north of Seattle and who paddle their canoe not far ahead of ours, call the charismatic mammals qwe lhol mechen, which means “our relative under the water.”
The bond is spiritual, but it’s also one of shared suffering. Tahlequah’s calf died largely from social forces: fishermen netting her salmon, industry polluting her waters, and ships disrupting her hunting grounds. Indigenous peoples know these grievances—and the struggle to protect food and water from those who would pilfer without hesitation—all too well.
Many Native communities know Tahlequah’s grief. It was not so long ago that experts spoke of Indians the way they speak, today, of the southern resident orcas: as endangered, vanishing, the last of their kind. We Indigenous have returned from that catastrophic brink, but the specter of death and disappearance still haunts us. A survey of Native women in Seattle found that 94 percent, or 139 out of 148, were raped or coerced into sex at least once in their lifetime. There is a ghastly trend of Indigenous women and girls going missing and turning up murdered across the United States and Canada. At the end of 2017, Native Americans and Alaska Natives made up 1.8 percent of missing cases in the Federal Bureau of Investigation’s National Crime Information Center database even though they represent just 0.8 percent of the overall population.
-Julian Brave NoiseCat “In the Salish Sea, Native American Communities Bond Over a Rigorous Canoe Voyage” Pacific Standard, 11 Oct 2018
[image description: a wooden sculpture, stylized with formline elements. three salmon serve as a tripod, holding up a black snake. the black snake's head, with large visible fangs and metallic eyes, rests on the salmon. the rest of its body extends upwards. its tail is wrapped around the tail of an orca, whose mouth is open. the overall impression is of a tower, with the snake holding down the salmon and preventing the orca from leaping away. end image description.]
Whale bone bird sculpture by Inuk artist Joseph Saimut
Knights vs xenomorphs
Tip jar

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greetings saw fandom
by yizheng ke
beaded sealskin earrings, Lisa Nanauq (Inupiaq)
bleed me dry, valentine (etsy)
Marina Inoue (Japanese-American, 1985) - John, Chapter 2: We See That Jesus is an Assault Weapons Manufacturer (Vice, October 31, 2019) (2025)

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This isn’t the final edit but I thought y’all might like to see what I’m working on for @yellowis4happy 🫶
The base image is from Norman Lindsay’s A Homage To Sappho
This will be the second time I’ve switched up the genitalia on one of this series but is the first time I’ve hand drawn the addition of the body hair and genitalia. More adjustments made tomorrow but yeah!
This was the pervious piece I did!
Let’s fuckin GOOOO
Breaking to go eat dinner but hey!
I have some segments to redo, refining to do with a single thread going back thru, and graphite to carefully remove but per request some of the ladies got top surgery
I’m literally so stoked about this piece I’m so mad I keep having to take breaks bc whenever I concentrate for too long my jaw clenched up again and I start getting pain in my faceee
*dragging myself across the floor and covered in blood* it is finished…
My bad I’ve been in a mixed episode for almost two months and it’s made me have more episodes of lying in bed unable to move or do anything meaningful
But here we are!
Throwback to one of the prettiest pieces of embroidery I've ever seen 💖⚢
Andrew Gifford, Hawthorn Blossom in Late Sunlight, 2021, Oil on canvas, 2021
Tuan Vu (Vietnamese, 1971) - Garden of Giant Roses (2023)
(2026) studies based on the photos on European cigarette boxes.
I find it touching that people consented to having photos of really painful, personal moments circulated so widely...

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Rim to river
Bonus chuckwalla:
Aleah Chapin
Held/Holding, 2023
Oil on canvas.