#House Painting Work

[inkskinned]

the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.

three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.

two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.

their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.

one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.

i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.

i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.

and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?

you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.

a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.

someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.

[painters01]

The Benefits of Hiring a Professional House Painting Service

A fresh coat of paint can breathe new life into your home, making it look brighter, cleaner, and more attractive. However, painting your home can be a tedious and time-consuming task, especially if you are not an experienced painter. This is where professional house painting services come in. Hiring a professional house painting service can save you time, money, and stress, while ensuring that your home looks its best. In this blog, we will discuss the benefits of hiring a professional house painting service.

1. Saves Time and Effort

Painting your home can take a lot of time and effort, especially if you have a large house. This can be a problem if you have a busy schedule or if you are not physically capable of handling the job. By hiring a professional house painting service, you can save yourself the time and effort of painting your home. Professional painters have the skills and equipment needed to complete the job quickly and efficiently.

2. Expertise and Experience

Professional painters have years of experience and expertise in the field. They have the knowledge and skills to tackle any painting job, no matter how complex it may be. Professional painters are trained to choose the right type of paint, brushes, and equipment for your home. They know how to prepare the surfaces properly and apply the paint evenly, ensuring a smooth and professional finish.

3. Quality Results

Hiring a professional House Painting Work guarantees that you will get high-quality results. Professional painters use top-quality paints, brushes, and equipment to ensure that your home looks its best. They pay attention to the details, such as covering the furniture, floors, and other surfaces to protect them from paint splatters. Professional painters are also skilled at applying the paint evenly and avoiding drips and streaks.

4. Cost-Effective

While some people may think that hiring a professional Room Texture Paint service is expensive, it can actually save you money in the long run. Professional painters can help you choose the right type of paint and the right colors for your home, which can enhance its value and appeal. Professional painters also have the expertise to identify any underlying problems, such as water damage or mold, that could affect the paint job. By addressing these issues early on, you can avoid costly repairs down the line.

5. Safety

Painting your home can be a dangerous task, especially if you are not experienced or if you have to work at heights. Professional painters are trained to work safely and take all necessary precautions to avoid accidents. They have the proper safety equipment and know-how to prevent falls, inhalation of paint fumes, and other hazards.

You can also check :-

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6. Stress-Free Experience

Hiring a professional house painting service can make the painting process stress-free for you. You can relax knowing that your home is in the hands of experienced and skilled professionals. Professional painters will take care of everything, from preparing the surfaces to cleaning up after the job is done.

In conclusion

hiring a professional house painting service is a smart choice for anyone who wants to save time, money, and stress while getting high-quality results. Professional painters have the expertise, experience, and equipment needed to ensure that your home looks its best. If you are planning to paint your home, consider hiring a professional house painting service and enjoy the benefits of a beautiful and well-painted home.

[cherrytraveller]

can’t have SHIT in this family

Twitter || Ko-fi || Instagram

[megaawkwardhuman]

[blueiscoool]

Moscow Auction House Sells a $1 Million Painting Stolen from a Ukrainian Museum

In Russia, Ukrainian artist Ivan Aivazovsky’s painting “Moonlit Night” has been put up for auction, according to Ukraine’s former Deputy Attorney General and Prosecutor of the Autonomous Republic of Crimea, Gyunduz Mamedov, who has reported the auction plans.

Russia’s looting and destruction of Ukrainian museums and cultural heritage sites have resulted in significant losses, with nearly 40 museums plundered and almost 700 heritage sites damaged or destroyed since the invasion began in February 2022, causing cultural losses estimated in the hundreds of millions of euros.

The first report that “Moonlit Night” will be the main lot of the auction, which will take place at the Moscow Auction House on 18 February, appeared on the Telegram channel by Russia’s state-funded news agency RIA Novosti, noting that the painting was estimated at 100 million rubles (approximately $1.09 million) before the sale.

‘In 2017, [Interpol], at the request of [Prosecutor’s Office of the Republic of Crimea], put the paintings on the international wanted list. Thus, Russia openly disregards [international law], as according to the 1970 UNESCO Convention, the export of cultural properties and transfer of ownership is prohibited,” Mamedov emphasized on X.

In 2014, during the early stages of Russia’s occupation of Crimea, Aivazovsky’s painting “Moonlit Night” was illegally transferred to the Simferopol Art Museum, along with 52 other artworks.

In 2022, during the Russian invasion of Ukraine, some of his works were destroyed in an airstrike on the Kuindzhi Art Museum in Mariupol, and others were looted by Russian forces from Mariupol and Kherson museums, including “The Storm Subsides,” which was moved to the Central Taurida Museum in Simferopol, Crimea.

[alinalal-art]

Print Commission for Erica Lindbeck, voice of Emira Blight in The Owl House!!!

[squibblefall]

Fly high lil man.

[witchkittymeow]

Its them Its them! I'm so stinking proud of these guys! Ive been saying this for a while now but jeez I need another shelf man 😭

@julialepetit

[winterofherdiscontent]

. 𝔀𝓸𝓻𝓴 𝓲𝓷 𝓹𝓻𝓸𝓰𝓻𝓮𝓼𝓼

'old gods or new, it makes no matter, no man is so accursed as the kinslayer' - a storm of swords, g. r. r. martin

- close up from something i've been slowly working on

[stuckinapril]

I don’t understand it when people say that Carrie was also the problem bc she was anxiously attached bc like …. maybe she had a moment or two but for the most part it was absolutely Big being such a selfish prick and then justifying it w “ohhh I have commitment issues bc my last marriage fell through” umm ur a 45 year old BABY actually

[jascurka]

mr blorbo sir

[averlym]

ghost story premiere day! check @melliotwrites for more info

[bumblingbabooshka]

I hate when Chakotay is watered down to be Janeway's yes man because their disagreements are actually very interesting. [A lot of rambling analysis of this debate in particular below]

Chakotay in Parallax is very interesting in that he has to navigate a lot of different dynamics. Balance a lot of plates while being watched keenly by everyone around him. Immediately preceding this scene we see him ask B'Elanna for her opinion on the bridge - both as a chance to show her knowledge in his bid to make her chief engineer (because she wouldn't get a chance to otherwise as Janeway has clearly indicated that at this point she views B'Elanna as a troublemaker who won't be considered for the position) and because he just thinks she's a better engineer than Carey and wants the best possible chance of them succeeding. Janeway sees this as unacceptable. Carey is the chief engineer and so he should be called and Chakotay NOT asking for his opinion is an insult to Carey, Janeway, and might make the crew doubt Chakotay (and by extension the Maquis') loyalty to the Starfleet crew.

At this point it seems that to Janeway integration ["They're not your people"] means the path of least resistance, specifically tailored towards the Starfleet crew. She wants Chakotay by her side to keep the Maquis crew calm but also seems unwilling to consider them for important positions aboard the ship. Though she says that the Maquis are not Chakotay's people, not his crew, she certainly doesn't seem to consider them hers [Compare this to later instances where she stresses 'our' crew, here she simply says they aren't Chakotay's: Whose crew are they? Are they crew at all?]. This less leaves the impression of "We need to be a cohesive team" and more "You're not in charge here." She essentially accuses Chakotay of playing favorites. In her mind Chakotay's actions are not conducive to integrating the crews which would (again, in her mind) mean the Maquis being docile and accepting, obedient and content - not making trouble for the Starfleet crew. Chakotay counters Janeway's accusation with one of his own: That he IS trying to integrate them into the crew but her not allowing the Maquis any opportunity to prove themselves or succeed, not showing any trust in any of them (except, implicitly at this point, him) is making things difficult. At this point the Maquis crew are ready to mutiny on his word at any time. He knows this for a fact. Aside from that looming threat (the threat being that tensions are high and if nothing changes and they remain high there might be a mutiny even without his word) - Chakotay knows these people and trusts them. Though Starfleet and Janeway think of the Maquis as a violent bunch of criminal terrorists, Chakotay and a good number of the Maquis joined because they believed in the cause they were fighting for. These are people Chakotay knows WILL fight fiercely for what they believe in and conversely, AGAINST what they perceive as injustice. Even if they're not in the majority - they're used to picking fights which seem impossible to win. At this point Janeway admits that she ISN'T making it easy for Chakotay to integrate the Maquis - specifically talking about practical concerns; how she doesn't feel she can let Maquis crew have roles of importance on the ship because they lack the ability to hold them. "They don't have the discipline, they don't have the training," - asserting that they just aren't prepared for any such roles and it doesn't have to do with them being Maquis specifically. Ostensibly, she's treating them as she might treat anyone unqualified for the job.

Chakotay maintains that some of them, like B'Elanna, have the ability to be trained - challenging her point by saying that IF they're trained there's no reason for any Maquis member NOT to be given a more prominent role on the ship. He isn't suggesting they just unqualified people important jobs. If the problem is that they aren't trained, let's train them. These people have the ability to succeed if you give them the tools they need and a fair chance, he insists. Janeway then switches gears and her argument becomes not "The Maquis are untrained so they can't be given those jobs" but "The Maquis crew are unworthy of those jobs when compared to Starfleet personnel" saying that it'll cause insult and upset among the Starfleet crew if any member of the Maquis were to be promoted above them. Again, her idea of integration is based more on Maquis subservience to the Starfleet crew than it is the two crews working together. (Not that I believe she looks at it that way, it's just where her 'path of least resistance' leads) - though she accuses Chakotay of being too focused on "his" crew, she is admitting here that she believes her real crew are the Starfleet officers aboard, not the Maquis. She also admits here that the system she wishes to maintain (and is asking Chakotay to enforce) is one where there will ostensibly never be any chance of a Maquis crew member being promoted because no Maquis crew member will ever be more qualified, more worthy, than a member of Starfleet. We can see how it'd be difficult for Chakotay to convince his crew to remain calm under these circumstances. There's also Tuvok's behavior toward him at the beginning of the episode where the Vulcan nearly goes over Chakotay's head and when he doesn't do so (as Chakotay reminds him that HE'S the superior officer, the First Officer in fact,) Tuvok acts as if him backing down (partially) and conceding (partially) to Chakotay's authority is a favor to Chakotay.

Tuvok in this conversation is downright insubordinate to Chakotay. Despite Chakotay being the first officer, he doesn't take what he says seriously, argues that his own opinion on what should be done should be followed rather than Chakotay's, lectures the first officer about his conduct, and then almost seems to threaten him with a report. In Starfleet's rigidly hierarchical rules, acting like this to a superior officer (ESPECIALLY the first officer) wouldn't be tolerated and Tuvok knows this perfectly well. He isn't a rebellious character and clearly in other episodes adheres to these Starfleet hierarchies and codes of conduct very strictly. He values them highly. But Chakotay, a Maquis, shouldn't be First Officer. Why should he be given respect for a title he didn't earn? [Affirming Janeway's argument about how Starfleet officers won't be eager to follow a Maquis senior officer] Even though Chakotay tells Tuvok off for it ["I don't have to explain myself to you"] he doesn't threaten to put Tuvok on report or explicitly mention his insubordination. It's unclear if this is Chakotay's personality or if he just doesn't feel he CAN do that. Tuvok is one of the three most senior officers aboard and very close to Janeway. Chakotay has to think of the optics of any situation at all times - we see seconds after this conversation that rumors have already started swirling around B'Elanna being relegated to quarters that've fanned the flames of mutiny. Though we know Tuvok has personal reasons for behaving the way he does toward Chakotay (which he later admits), I really don't think it'd be out of the ordinary for this to be how most Starfleet personnel would treat the Maquis if they weren't outright hostile: Like they're only pretend crewmen. To a lesser extent we even see this with Janeway: In the following staff meeting, she clearly doesn't consider B'Elanna a viable option when Chakotay brings her up and almost ignores the suggestion entirely.

It also, again, leaves Chakotay in an impossible position. If he doesn't protect and fight for the Maquis crew, they won't ever be considered a true part of the crew and dissatisfaction will likely spread among them. Dissatisfaction which the Starfleet crew will then use to further label the Maquis as insubordinate, uncontrollable, unfit. Not to mention that if he doesn't advocate for them, he might lose their trust. However, if he DOES try to help the Maquis crew advance the Starfleet crew will view this as 'favoritism' and will further distrust him, won't respect the people he puts forth as worthy. Janeway seems to be intent on not advocating for any of the Maquis crew and also seems unwilling to ask that the Starfleet crew grant leniency. She implies that the Maquis crew need to learn to get in line and keep quiet and it seems almost like [we must remember the optics] she has Chakotay as the only Maquis in a position of power to facilitate that. Chakotay recognizes and pushes against that, saying that he won't just be her token Maquis - there only so she can point to him and say "See? We don't discriminate against the Maquis here." effectively a tool used to shut down any arguments of unfair treatment and a tool to quell the Maquis if any talk of mutiny DOES arise. In this model, Janeway can just tell Chakotay to calm them down and they'll listen because they trust him. She also doesn't have to really listen to anything he says: A token First Officer has no authority; his words don't hold weight. [Chakotay isn't Maquis anymore, they aren't his crew anymore - ok. What is he then? What are they? Nothing, without respect.] This plan seems untenable, as much as Janeway frames it as sensible: "I can't make it easy, Commander. Surely you can understand that," and alternatives as impossible "How am I supposed to ask them to accept a Maquis as their superior officer just because circumstances have forced us together?" - in the long run, how would this be sustainable? In any power structure, you cannot expect a group of people you're unwilling to grant trust or agency to obediently follow you forever. This proposed form of 'integration' in which the Maquis are kept on the bottom rung and told intermittently to stay there quietly by the only one of them granted permission to stand at the top would never be sustainable - especially with a group like the Maquis who again, were founded on the belief that its members should fight against inequity and are already on the verge of mutiny.

I specifically find the statement "How am I supposed to ask them to accept a Maquis as their superior officer just because circumstances have forced us together?" to be interesting because personally I'd say that being forced together for the rest of almost everyone's natural life is a pretty good reason to ask people to adapt and Janeway does understand this but only applies it to the Maquis - the Maquis are the ones who have to adapt, not Starfleet. The only thing the Starfleet crew have to do is tolerate their presence on board.

At this point Janeway again claims that if Chakotay can show her a 'qualified' Maquis candidate she'll consider them. I believe this is true but we already know that Janeway's standards for qualification will likely not fit the vast majority of the Maquis and Chakotay ignores the claim in favor of putting forth B'Elanna again, firmly. Janeway predictably dismisses her as unqualified and Chakotay disagrees, arguing that he knows her. He's worked with her. He KNOWS that B'Elanna can excel at the job even if she doesn't meet Starfleet/Janeway's qualifications. He doesn't value those qualifications over what he's observed about her - just as he didn't value Carey's title over what he knew about the gap between his and B'Elanna's abilities. Then, Chakotay switches gears. He admits that Janeway's right - he does view the Maquis as his crew but that's because Janeway (almost self admittingly) doesn't and if he doesn't, who will they have? [What kind of captain, kind of man, would he be?] "You're going to have to give them more authority if you want their loyalty." "Theirs or yours, Commander?" Janeway frames Chakotay's words pointing out the flaws in this plan which I outlined earlier, as almost a threat (if she doesn't have Chakotay's loyalty it'll most definitely mean mutiny). Chakotay asserts that it wasn't a threat, he's only trying to help by telling her how the Maquis crew will react to what she's telling him. "I'm sorry you can't see that" - not an apology for what he said but that she isn't willing to budge, not willing to listen to him and acknowledge that she might be as biased towards her crew as he is towards his. Chakotay is trying his best to acclimate his crew but if Janeway isn't willing to do the same, to talk to her people as he's talking to his, then this will not end well and that isn't a threat. It's just the reality of the situation. He then asks permission to leave, showing he is willing to observe Starfleet protocol (just as when he asked permission to speak freely), and Janeway lets him go, exhaling at the intensity of their debate when alone in her ready room.

[youssefguedira]

V, JoeNicky & Nile

V. An abandoned or empty place.

When Joe pulls the sheet off the couch it kicks up enough dust that it makes Nile sneeze. The couch underneath is old, wooden frame rotting, fabric stained and full of holes where moths have eaten away at it. 

“Sorry,” Joe says to Nile when she finally manages to get the sneezing under control. “Didn’t realise it was that bad.” He puts his hands on his hips and looks down at the couch. Nile looks it over.

“There’s no saving that,” she says, wiping at her eyes. She can heal from falling over ten stories, but she can’t get away from allergies.

Joe frowns. “I liked that couch.”

The house is older than anywhere else they’ve brought her, and has been abandoned for long enough that it’s falling apart. But through some trick of posing as their own sons, or something, Joe and Nicky still own it, even if there’s a giant hole in the roof and all the windows are broken. Why they’d decided to come back here, Nile doesn’t know, but it’s a nice enough area, and a good distraction from, well. Everything. Growing back a leg, she’s discovered, is not fun. 

From one of the other rooms – she thinks it’s the kitchen, she’s not actually sure where Nicky had wandered to – there’s the sound of something breaking and crashing to the ground, and a muffled curse. 

Joe makes a questioning noise in the vague direction of the kitchen. A few moments later, Nicky appears in the doorway, covered in dust. “I am okay,” he says. “But I think we will need to go out to eat tonight.”

“Nothing?” 

Nicky shakes his head. “Unless you want to start a fire and go hunt some rabbits.”

Joe grins. “Just like old times, right?”

Nile shakes her head firmly, which makes Nicky smile. She loves them, but there’s no way they’re doing that. 

“We can probably clear out enough space in here,” Joe says, gesturing to the floor. “Get the sleeping bags out of the car. Probably have to start a fire anyway, but…”

Nile looks around again while Joe says something to Nicky in Arabic that makes him laugh. The house is falling apart, sure, but it’s structurally stable, and the bones are all there. It could be something. They’ve got time to make it something. 

Nicky is the one who goes for pizza in the end – he doesn’t trust Nile and Joe to order it if left to their own devices – while they try to clear out a space in the living room. Eventually, though, after Nile has another sneezing fit, Joe suggests they just take the sleeping bags outside instead, which works out a lot better. He sets about starting a fire with practiced ease while Nile sets out the sleeping bags around it. They’re far enough away from civilisation that she can’t hear cars passing by, which is kind of surreal, and the stars are brighter than she’s ever seen them. 

When Nicky gets back, two boxes balanced on one arm and a bottle of wine in the other, he looks over their makeshift camp and laughs. “Just like old times, then?” he asks.

Joe grins. “Except we have pizza.”

“And actual sleeping bags,” Nile says.

“Ah, these modern inventions could never quite match the comfort of a pile of furs,” Joe says wistfully. Nile gives him a look. She’s ninety percent sure that one’s bullshit, but she can never quite tell with him. 

Nicky sets down the pizza boxes, and jogs back to the car to grab the pack of plastic wine glasses they’d bought before they got here. 

“We should’ve bought marshmallows,” Nile says. “Could have made s’mores.”

“Well, we’ll have to go to the hardware store tomorrow anyway,” Joe points out. “And I think it’ll be a little while before we can actually sleep in there.”

“Tomorrow, then?”

“Tomorrow,” Nicky agrees.

[aemonds-sapphireeye]

I am so in love with Harry Collett's face but like in the way that you love a beautiful sculpture or painting. I want a marble bust of the guy's head on my fireplace.

[magellanica]

A little tribute to my two favourite guys. Dimitri wearing Estinien's armour because they are both lance wielders who seek vengeance due to their family dying and are saved by a mostly silent protag and also are from the cold and both have azure in their title and-