beings

For May 29th, today is the day for Sea Angels. For this day, I decided to draw three strange and wonderful sea creatures that I always imagine as cosmic marine beings

Years ago, while digging through old journals and sketches, I stumbled across a quick, scribbled drawing of two pears. Beneath it, I'd written a raw and honest note: "Ann is pissed. I think it's because she's uncertain about me, us, life itself. She just ran into my car with the van. She says it was an accident, but she seems happier now—almost like it was cathartic. . . Like sex." At the time, I scribbled this in frustration, feeling a deep disconnect between us. Intimacy had become a confusing and distant concept in our relationship. The pears I'd sketched were rough and scratchy, charged with my chaotic feelings. Looking back, I see how emotions can drive us to strange actions, some intentional, some accidental, often leaving us oddly relieved afterward. Humans are complex, fascinating beings, navigating messy emotions and messy relationships, sometimes colliding intentionally or unintentionally, seeking relief in unexpected ways. Perhaps the pears were my subconscious pun on "pair," reflecting the awkward, confusing way Ann and I were bumping through life together—making messes, but occasionally finding strange humor and genuine catharsis in the chaos. I've learned to smile gently at the rawness of our humanity, appreciating even our scratchy sketches and emotional collisions. They're reminders that life, relationships, and our own hearts are never simple, but they're authentically human. Here's to embracing life's unexpected catharsis and finding humor in our imperfections.

Here is anime style: https://www.doodleaddicts.com/uploads/69316/noa-rabiner/" Did I request thee, Maker, from my clay. To mould me man?" A foreign ability user named Cohen and his sister Noa visited the Agency. Cohen has the ability "I," which allows him to temporarily animate any objects. For example, tables, chairs, statues, etc. But he must manually "unanimate" them. The weakness of his ability is that objects left animated for too long will go insane. He came to the Agency because his brother, Levi, stole their family heirloom - a golem, the best matter with which "I" works in symbiosis. Cohen is dying of an illness. He must pass on his ability to another, but finding the golem is a priority. The main plot twist, of course, is that his "sister" is the animated golem. She does not know about this since the master ordered her to forget and believe in her familial relationship with him - the golem unquestioningly follows the orders of the master and this includes subconscious self-deception. Noa is an ancient creature, but her age matters little because when her master "turns her off," all the memories she has lived are erased from her memory. With a new "turn on," she needs time to gradually gain an independent mind and begin to feel. Unfortunately, this process is rapid enough to cause terrible problems with controlling emotions and feelings, which always lead to blind violence on her part when she can not cope with herself... In some ways, she is naive, but she highly values ​​life and human life in particular. Human beings amaze her with their complexity and their achievements. And life in general is full of exciting colors and aspects for a once inanimate object. However, there is a person who will do anything to prevent Noa from gaining freedom, and it is not even Cohen... "I" is a reference to a chapter name from Gustav Meyrink's novel "Golem." Characters are not based on any writer, but they have references to "Golem" chapters' names.

So, I drew my BSD OC character, Noa. Trying anime after learning new things. I'm not really happy with her hair. I need to think about her design more. "Did I request thee, Maker, from my clay. To mould me man?" A foreign ability user named Cohen and his sister Noa visited the Agency. Cohen has the ability "I," which allows him to temporarily animate any objects. For example, tables, chairs, statues, etc. But he must manually "unanimate" them. The weakness of his ability is that objects left animated for too long will go insane. He came to the Agency because his brother, Levi, stole their family heirloom - a golem, the best matter with which "I" works in symbiosis. Cohen is dying of an illness. He must pass on his ability to another, but finding the golem is a priority. The main plot twist, of course, is that his "sister" is the animated golem. She does not know about this since the master ordered her to forget and believe in her familial relationship with him - the golem unquestioningly follows the orders of the master and this includes subconscious self-deception. Noa is an ancient creature, but her age matters little because when her master "turns her off," all the memories she has lived are erased from her memory. With a new "turn on," she needs time to gradually gain an independent mind and begin to feel. Unfortunately, this process is rapid enough to cause terrible problems with controlling emotions and feelings, which always lead to blind violence on her part when she can not cope with herself... In some ways, she is naive, but she highly values ​​life and human life in particular. Human beings amaze her with their complexity and their achievements. And life in general is full of exciting colors and aspects for a once inanimate object. However, there is a person who will do anything to prevent Noa from gaining freedom, and it is not even Cohen... "I" is a reference to a chapter name from Gustav Meyrink's novel "Golem." Characters are not based on any writer, but they have references to "Golem" chapters' names.

I take a lot of Genesis as an allegory for birth and maturation, both individually and collectively. The Garden of Eden could easily be interpreted as the womb, and we are all cast out of it at some point. Genesis 2:24 says "This is why a man leaves his father and mother and bonds with his wife, and they become one flesh." Though people use this passage to refer to the tradition of marriage, I think that it speaks to something much, much deeper than that. Literally, when two people copulate, they create a child that is of one flesh. They do not "become one flesh" because they engage in a ritual institution and are now "to be viewed as comprising a single identity," but they literally become one flesh because their genetic compositions are joined into a new being (Mark 10:8 and the two shall become one flesh.’ So they are no longer two but one flesh. 9 What therefore God has joined together, let no man separate.”). That being said, I read somewhere once that babies born in every part of the world make phonetic sounds from pretty much every language in the world. It is only after a period of time that they start to key in on certain sounds that the people around them are making, and it is only after that that children key in enough to start developing more advanced language skills (typically). However, in this original state, there is a freedom. There are no assumptions. There is an innocence in that state. There is a lack of judgement. There comes a point at which babies/young children begin to mimic and to incorporate what they are experiencing from the creatures around them into themselves. To small creatures with an undeveloped sense of self or reality, the caregivers around them may as well be gods, at least from their perspective. They will learn from these gods around them and will begin to embody their cultural beliefs, their language, their idiosyncrasies, and their perceptions, often on a deeply unconscious level. Adults contribute to that quite thoroughly and somewhat consciously. (Genesis 1:26 Then God said, “Let Us make mankind in Our image, according to Our likeness..") (Genesis 11:7 7 Go to, let us go down, and there confound their language, that they may not understand one another's speech.) In our own way as individuals, we are each a Tower of Babel, and at some point, for each of us, that Tower fell. Barriers to communication of so many kinds were created for and/or by us. Perhaps we still spend time constructing new barriers and thinking up new ways to distance ourselves from the rest of our kind. I chose to use the phrase "materialism" to express how children engender these attributes of caregivers and others alike. However, this can easily be exchanged for a phrase like "socialism," or "corporate capitalism," or nearly any other thing that you can probably think of. Children are like sponges. They soak up even more than we realize. Most widespread religions in the world have some form of renunciation belief or ritual wherein an individual must 'cast off' the old self and put on the new. This is because, regardless of where or when a child is born in the world, the perspectives of the people around them raising them will likely leave much to be desired. It is necessary for beings to continue to learn, and this often entails a serious consideration of what was instilled into them at an earlier time. It is quintessential that we question and evaluate these things since the state of the world will have changed by the time that we reach maturation. The ideas that people gave us may apply to a world that is already different. The story of the Tower of Babel may refer to a state that earlier humans lived in, perhaps on a shared continent, in which the manners in which they communicated were similar. Then, at some point, perhaps these same peoples went off on their travels and developed new languages. In a funny way, we seem to do that as individuals. At some point, we strike out on our own, even if only a little. Though we may differ on surface level behaviors and in the symbols that we use to describe the human experience, human beings are more or less fundamentally the same. We let our differences create so, so, so many barriers between ourselves and other beings. Just think of all of the harm that things like xenophobia, racism, intolerance, and a lack of an ability to communicate verbally with one another have done to our species. Even beyond that, just think of how easily we dismiss the inner lives and inner experiences of creatures different than ourselves simply because they do not communicate verbally with us in our preferred tongue. Research is overwhelmingly in support of other beings communicating with others of their kind, whether we as individuals acknowledge it or not.. Some of us are just really into denial about it. We could achieve remarkably wonderful things, if only we would learn to recognize the similarities of our experiences. (Matthew 19:6 So they are no longer two, but one flesh. Therefore what God has joined together, let no one separate.”)

"A poignant example of the distortions and projections of perception that human beings experience."

abstract drawing

Something I’ve been working on for fun, a project from illustrator Victor Beuren’s Domestika class “Search-And-Find Illustration in Procreate”. One of the rare Singapore-inspired artworks I’ve done, and I don’t think I’ve ever drawn so many human beings in one piece… but challenge accepted!!!

Take the Rymans, for instance. There is Robert Ryman (1930 – 2019), the patriarch whose paintings are indisputable icons of the modernist canon. Then there are his wives and children. Ethan Ryman (b. 1964) is the oldest of Robert’s three artist children. Though his mother was not an artist, Lucy Lippard (b. 1937) was still a scrappy and eloquent art critic, a feminist, a social activist, and an environmentalist. Ethan’s meticulously considered and crafted artworks might be characterized as somewhere between photography and sculpture, the abstract and the (f)actual. Though Lippard and Ryman divorced just six years after their 1961 marriage, their son is arguably the closest to his father’s methodologies if not his medium, and was certainly the last to become a visual artist. Robert Ryman went on to marry fellow artist Merrill Wagner (b. 1935) in 1969 and they had two sons. Though Wagner is more quietly acknowledged than Ryman, her boundless practice includes sculpture, painting, drawing, installation, and more. With an emphasis on materiality, her sites are indoors and out, her styles alternating. Will Ryman (b. 1969) is the elder son of Robert and Merrill. He started out as an actor and playwright though he too eventually assumed a visual art practice to become a sculptor. He is best known for his large-scale public artworks and theatrical installations that focus on the figurative and psychological, at times absurdist, narratives. Cordy Ryman (b. 1971) is the youngest, and the only one of the three who knew that he was going to be a visual artist early on. His work is abstract, the sophistication understated, and his output is prolific. With his mother’s DIY flair, his homely materials seem sourced from the overflow of construction projects, lumberyards, and Home Depot. Ethan Ryman said that, when he was young, he didn’t want to be a visual artist. Instead, he pursued music and acting, producing records for Wu-Tang Clan, among others, getting “my ears blown out.” But he was always surrounded by artists—Sol LeWitt, Carl Andre, Jan Dibbetts, William Anastasi, and countless others at his mother’s place on Prince Street in SoHo and at the Rymans’s 1847 Greek Revival brownstone on 16th Street in Manhattan, where everyone was often seated around the family dinner table. He would spend part of most weekends in the highly stimulating chaos that reigned there—birds, dogs, plants, toys, art, people, everywhere. “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” “While nowhere near as overwhelming, I was also constantly exposed to artists, writers and other creative folks at my Mom’s place.” Ethan Ryman Lippard was “a powerhouse.” She took Ethan on her lecture tours, readings, conferences, galleries, studios, wherever she had to go. And while that almost always breeds rebellion, at some point, he began noticing all the art around them—both what it looked like and how it was made. He began to take photographs of buildings and realized that “abstract color fields were all around us.” He also began to notice his father and Wagner’s work more carefully—how sensitively it was executed and how reactive it was to its surroundings. “Once you’re interested, you notice. When I asked my dad questions, I would most likely get a one-word response. I had to go to his lectures for answers where he broke down modern art for me. After listening to him, it seemed to me we should all be painting, otherwise what were we doing with our lives?” Will Ryman, on the other hand, said that all his work has a narrative component. His background is in theatre and his interests have always been film and plays, his narratives about New York City and American culture and history. “It’s a city I love,” he said. “I try to observe culture in a bare-bones way and I’ve always been interested in telling stories—we’re the only species that tells stories to each other. It comes from an intuitive, cathartic place in me. I want to stay away from preconceived notions, although that’s not completely possible. I have no plan except to do something honest, with a little bit of a political bent and humor but I’m not an activist. I’m interested in exploring a culture and its flaws as an interaction between human beings.” His interests and his work are very different from his last name. There is no connection to minimalism. He didn’t go to art school, drawn instead to theatre workshops and theatre troupes. “I didn’t become involved with the visual arts until my mid-thirties. It’s easy to say what I make is a reaction, but I dismiss that. And I also wouldn’t say it’s rebellious after twenty years.” Of his family, he said, “we’re a normal family, a close family, with all the dynamics and complications that go along with that. And while everyone who came to 16th Street were artists, they were also just family friends. I have no other measure for how a family interacts. It was just the way it was.” Cordy Ryman was the only one of the three who went to art school, earning a BFA from the School of Visual Arts, but it was reportedly awkward for him, since all his teachers knew his parents. “When I started making abstract paintings, it was kind of push and pull but it became more interesting to me than my earlier figurative or narrative work. That’s when I started to know where I came from. I realized that I had a visual memory, and the language was there, a language I didn’t know I knew. We all had different ways of working; our processes are very different and it’s hard to compare us. Ethan and I use a similar inherited language but he thinks about what he does more. I work very fast, the ideas come from the process itself. I work in two or three modes simultaneously and bounce around.” At home, they were around Wagner’s work since her studio was there. “Will and I were always in her studio, helping her, going to her installation sites with her, adjusting her boulders or whatever the project was she was working on. That was special and made a deep impression, but I didn’t realize it then.” All five Rymans have in common an acute consciousness of space and of place as an integral component of their work. For the brothers, part of that consciousness might stem from their parents, but also from their attachment to their family home, which was a crucible of sorts for them, where everyone was an artist. To Cordy, the house was a “living, breathing thing, and the art in it felt alive, growing, and occupying any space that was available. It was the structure of our world. When I’m making work, it doesn’t need to be the most beautiful thing ever, but it needs to have its own life, its own space, like the art we grew up with.” And the next generation of Rymans, also all sons—what about them? Will said his son is still too young to know. Cordy thought the same about his two younger children; his oldest is in the art world, but not as an artist—so far. Ethan perhaps summed it up best: my two sons are artists; they just don’t know it yet.

In a world of magical beings, there is one creature that people nowadays have never seen before. Dragons. With the new world, dragons have gone extinct ever since the war with the dark lord. The 7 Great Hero’s are yet to return to save humanity for another war. But with the leader of the seven, a living dragon, sealed away in the Great Tree of Yggdrasil , they have no way to figure out how to save everybody.

This is the amazing work i dedicated to my guardian with his sigil. He has always been there for me and helped me, and often tells me dates that turn out to be accurate for something that ends up coming along or manifesting. I will never forget the first time he came to me in a dream. People who follow mainstream religion and its themes about Demons is false and are told nothing but lies. Demons are actually very beautiful helpful and benevolent beings. Joyofsatan.org Exposingchristianity.com

No matter how dark things get, hold on to the Light of Hope! Even if you seem to be surrounded by shadows, know that you have people and spiritual beings that care about you. Your Guardian Angel is always by your side and your Father is always watching you, silently, lovingly. All you have to do is reach out. Cry out and listen in the silence of your heart. Nourish the light inside and it will grow until your eyes are healed from the blindness this world gives. "The light shines in the darkness, and the darkness has not overcome it." (John 1:5) The darkness has not and will not overcome it, you are in my prayers and God loves you. ^_^ I'm feeling more energy now to draw and study, please pray for me as well, I must pray or else the waves of depression will tear me down. I care about you, let's walk together and overcome all the obstacles we have been given. We won't stop! Onward! #Light, #darkness, #shadow, #sketch, #heart, #love, #hope,

“In Caribbean mythology, the lusca or luska is the term given to one of the most feared sea monsters in the region. A deadly creature that prowls the deep and feeds on the unsuspecting. A being or a pod of beings that scour the Gulf eating up all in its wake. The lusca is a chimera; a mismatch of animal parts. A conglomerate of some of the Caribbean’s most feared creatures. It is a cryptid that said to hunt and prowl the Gulf and areas near the Mexican shore. Luscas are one of the lesser known cryptids of the deep. They are also one of the most fascinating not only on account of its fearsome symmetry but of the mystery that surrounds them...”

The work was launched on the 5th anniversary of World Reading Day to help people better understand reading.   My artwork is based on the 147-page book "The Sorrow of Books" in simple, harmonious but profound colors. In the picture are the entertainment devices that help relax the everyday human beings that I was inspired by reading. The picture is of the current situation when people are at home trying to prevent COVID 19. We have spent most of our time online, using electronic devices. We have forgotten the presence of books and have made books buried by more advanced things. Books are still something that has a lot of meaning in people's lives because of the fact that we have more useful knowledge.   My contact information:   Owner: Trần Minh Tiến   Mail contact work: tranminhtien.contactwork@gmail.com   My home address (if necessary): 15/9A, Vo Van Kiet Street, District 2 of Ho Chi Minh City, Vietnam.   My phone number: +84948574598   THE WORK ABOVE IS PART OF MY PROPERTY. THE OFFER IS NOT COPIED ON ANY OTHER PLATFORM.