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Jun 15, 2025
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I call it pareidolia
noun | /ˌper-ē-ˈdō-lē-ə/
Definition: The tendency of the human mind to perceive a specific, often meaningful image—such as a face, animal, or object—in a vague or random visual pattern, especially where none actually exists.
im interested to hear what you can see in it, think finding faces in the clouds.
It’s made from a section of graffiti pulled off of the walls of Philly, and then set on another section of the wall, but the underside
Definition: The tendency of the human mind to perceive a specific, often meaningful image—such as a face, animal, or object—in a vague or random visual pattern, especially where none actually exists.
im interested to hear what you can see in it, think finding faces in the clouds.
It’s made from a section of graffiti pulled off of the walls of Philly, and then set on another section of the wall, but the underside
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featured artist in the exhibit was alexis rockman
the plankton floating in space spoke to me in ways i could not describe (i was high)
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cutieful painting i saw by dana schutz ::
Schutz painted this emotionally charged composition as part of a group of subjects she called "self-eaters," imaginary characters who have the power to regenerate by consuming portions of their own bodies. In part, such a hallucinatory narrative might represent an analogue or allegory of painting itself, a practice that artists continue to reimagine through both regurgitation and reinvention. Here, Schutz brings into being two subjects with mask-like heads who, in her words, are "sort of consoling each other," or else "trying to feel what the other one is doing." Evoking touch rather than sight might contradict the notion that painting is a purely visual medium, but Schutz’s work appears both optically charged and sculpturally formed, constructed of worlds within worlds.
Schutz painted this emotionally charged composition as part of a group of subjects she called "self-eaters," imaginary characters who have the power to regenerate by consuming portions of their own bodies. In part, such a hallucinatory narrative might represent an analogue or allegory of painting itself, a practice that artists continue to reimagine through both regurgitation and reinvention. Here, Schutz brings into being two subjects with mask-like heads who, in her words, are "sort of consoling each other," or else "trying to feel what the other one is doing." Evoking touch rather than sight might contradict the notion that painting is a purely visual medium, but Schutz’s work appears both optically charged and sculpturally formed, constructed of worlds within worlds.
Jan 30, 2024
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convenient for getting ready and a cute spot in your room the rest of the time
