New zine alert!

Letters from the Memory Forest 🖤🌲🌧️

Grab it here, or dm to trade!!

Btw redesigned my first ever fantroll on @ridiculousfantrolls ‘s base c:

“Under The Pillow”

One by one, my memories come loose in my mouth. I press my tongue against them absentmindedly, taste the blood, feel their sharp edges imprint in my gums.

One by one, I pull them out, rolling them in my cheek and placing them beneath my pillow; when I awake each memory is gone, a shimmering dollar bill in it’s place.

One by one, new memories grow in, bigger, sharper, and pearlier than the last.

In this episode, we explore the role of memory in art. Pierre Bonnard relied on memory to create his paintings. This podcast asks how can our senses provoke memories and how can our past inspire us? We hear from contemporary artists, a stroke survivor, a neuroscientist and an author and poet.

Omg! @junkartie did it again! They made this beautiful work of art just in time for my mom's birthday! It's hard to believe that she has been gone for 4 years!

kui is literally so brilliant at well-thought-out anatomy and character design I could just study it all day

catalysts, protectors

worried that thing you put in your art or writing or game or music is too self-indulgent, too self-referential, too niche for anyone but yourself? fear not! you can do whatever you want forever. and you should.

Cost

surprise it's yuri!!!in 2024

Selva Aparicio: Childhood Memories (2020) hand carved tapestry directly into wooden flooring

remember the fun we had

redrew this because it was making its rounds again

“Remember when…”

The Memories of Others - Akihiko Okamura

From the late 1960s to the early 1980s, renowned Japanese war photographer Akihiko Okamura (1929-1985) created a remarkable, compelling and largely unseen body of work in Ireland, north and south.

After covering the Vietnam War, Akihiko Okamura went to Ireland in 1968 to visit the country of JFK’s ancestors. Soon after, in 1969, he decided to move to Ireland with his family. From then on, he continually photographed the Troubles in the North and his life with his family in the South, until he suddenly passed away, in 1985.

His photographs of Ireland, which have barely been seen before, demonstrate a unique artistic vision. This uniqueness is partly because Okamura chose to live in Ireland: of all the international photographers active during those years, he was in this sense a singular case of absolute commitment to Irish and Northern Irish history. This fusion with his subject matter led him to create images which were innovative both in terms of his own practice and of the photographic representation of the Troubles. His profound, personal relationship with Ireland allowed him to develop a new method of documenting conflict: poetic and ethereal moments of peace in a time of war.

Unlike other representations of the North of Ireland at that time, Okamura’s photographs are almost all in colour. Made in the North as well as in the South of Ireland, his photographs broke from the photojournalistic tradition, creating a series of still lives and abstractions. Their gentle, muted palette operates in counterpoint to the violent situation in which they were produced; they are remarkably out of sync with the conventional, black-and-white, “heroic” photographic representations that have come to define this period. Okamura’s work reveals a more subjective perspective, often going beyond conventional photographic representations of riots, burning cars and bombed buildings, to capture quieter, intimate, quasi-surreal moments that reveal his empathetic concern for the communities he photographed. This intuitive narrative choice was intimately connected to the depth of his attachment to Ireland and the Irish people.

Thank you Splatoon for all the memories, gonna miss you you funky little squid game <3