Happy First Birthday Knife-Wielding Tentacle..👍

June, 1921 ad for Interwoven Socks, illustrated by Leyendecker.

This is my tribute to all those sexy cicadas out there.

Russian soldiers witness the awakening of an elder god.

this has been me during online school rn.

SUNDAY

SUNDAY

ŚU̢̨N̵N̕͜N

and saturday it’s the 9TH ANNUAL DALLAS MOWER EXPO

BE THERRRREEERRRR AS THE BIGGEST NAMES IN MOWERS,HEDGER&CLIPPERSONHEDGER&CLIPPERSONHEDGER&CLIPPERSONSONDAY!

CUTTING TECHNOLOGY! aerfsverginereaersorodl

SEAKING!     SEAKING!     SEAKING!

OIL PAINTINGS!OIL PAINTINGS!SEAKING!

DONT MISS THE DALLAS MOWER EXPOXEPOYERSALAD

BE THEEEEEEEEEEEEERRRRRRRREEEEEERRRREEEEEERRRRRRR….RRERRR….RREEEEEEEE

Not doing too good, right now

love this animal

uUHuUUUuUHhbhH *sm a c k*

god i can never stop thinking about certain sculptures used in modern art and how they can be used to elicit the beautiful and terrible feeling of true and genuine horror in ways that a lot of horror movies can never do

like when you ask people “what is horror?” they’ll tend to give examples of monsters, of killers, of dark places, of sharp teeth and too many legs and lots and lots of blood. which is true, that can be used as horror! but i’d like to call that “the horror of being eaten/hurt/killed” or more succinctly “the horror of vulnerability”. it’s a horror that something, whether it’s a killer or a monster or some phenomenon, has the ability to cause us harm. we see large amounts of teeth and we think “that thing is going to tear us to pieces with those teeth” or we see spilled blood and we think “someone has been hurt, there’s a chance we can be hurt too by whatever spilled this blood”.

but what certain modern sculptures can do is elicit a very physical visceral reaction of a completely different kind of horror. 

it’s “the horror that something is a thing that SHOULD not exist, and you are absolutely powerless to understand what it is, but it is existing in your space, right now, it is real and you cannot make it unreal no matter what you do”

or perhaps, in a shorter fashion, it’s “the horror of wrongness”

like one of the sculptures that made me feel this way is this sculpture here, named “Monekana” located in the American Art Museum in Washington D.C:

“okay,” you say, with a shrug. “it’s a horse made of wood? what’s so scary about that?”. but this is the lie of the photograph! a photograph of a sculpture rarely grasps the experience of standing next to a sculpture. you have to picture yourself walking into this room, practically devoid of people, and coming face to face with this sculpture that is very large and very real.

and your brain screams that “THIS IS WRONG. MAKE IT GO AWAY. THIS IS WRONG”, like at any moment you expect it to move, to twist its head, to follow you with eyes that aren’t simply there. it looks like a horse but it is no horse. you could almost argue that maybe it isn’t even an art piece at all, but it wandered in from god knows what kind of world and it’s blending in with everything else. maybe it’s fooling you. maybe it isn’t.

anyways, i’m not trying to say that this sculpture in particular is SUPPOSED to be scary, it may make other people feel nothing at all (or even positive feelings!), but what i’m trying to say is that feeling i had that day, when i saw this thing, when i felt this fearful instinct to stay away and not stare, it’s THAT feeling that i feel so many writers and makers of horror don’t completely understand. you don’t need teeth. you don’t need blood. you don’t need to make Spooky Scary Skeletons or chainsaw-wielding villains. all you need is to create something wrong in its existence, something to make parts of us fear the fact that we can’t entirely rationalize what we’re seeing.

that’s horror, to me.