#the collective gallery

[jupiter-and-teardrops]

the hardest lines ALWAYS come from ao3 fanfics and I stand by this

Mostly thanks to @emilyelizabethfowl (their reblog contains many of the fic links!! thank u sm) and a few deep dives into my ao3 history, the sources of the quotes have mostly all been recovered! I apologise for not posting them all with proper credit originally, I truly didn't think the post would blow up so much, but the lesson is very much learned :) enjoy!

- number 1 is from merthur fic called Destiny Ordered You To Die, But I Willed You To Live by ironfamjam

-number 2 is from a klance fic called reach out for you (break these walls) by Paladin-Pile (UserFromPluto)

- number 3 is a batman fic called Home (jason centered) by Daisybirb

- number 4 is a zukka fic by I'm Not Angry Anymore by team_avatars_eyebags

- numbers 5 and 9 are from The Art Of Burning by hella1975, an amazing ongoing atla following zuko

- number 6 is a hualian fic called No paths are bound by cataclysmic_calamity (originally a thread fic but also fully uploaded on ao3)

- number 7 is a merthur fic called tell me every terrible thing you ever did (and let me love you anyway) by Stardustwrites17 (the quote is also originally from a poem apparently)

- number 8 is from a batman fic called Nature and Nurture by lurkinglurkerwholurks

- number 10 is from a steddie fic called let me know (everythings alright) by bexiguess

ALSO there is now a part 2 !! (which I swear is better organized)

[cyrafoam]

so. um-

*leaves this on the table and runs away*

[stratos-ane]

keith!!

[questwithambition]

Sunday: cafes, art galleries and bookshops

[lionofchaeronea]

Broadway on a Rainy Evening, Everett Warner, 1901

[life-imitates-art-far-more]

Viggo Johansen (1851-1935) "Silent Night" (1891) Oil on canvas Located in the Hirschsprung Collection, Copenhagen, Denmark

[nebulous-rain]

he's right behind me isn't he

(does anyone remember him???)

[kenro199x]

RIME 1 GODZILLA BUST Gallery—part 2

After a couple of weeks of weather that wasn't ideal, here is the second part of the Prime 1 Godzilla Bust. Shooting it outside brought out some amazing colors in the Godzilla bust itself. It's pretty gorgeous.

Out of all the Prime 1 Godzilla vs. Kong items that were announced, this was the one I looked forward to the most, and I wasn't disappointed. This was a home run purchase.

Gallery part 1

[artmindlens]

The Son of Man by René Magritte (1964)

The Psychology of Transgression and Guilt Magritte’s The Son of Man immediately captivates with its two central symbols: the apple and the figure’s formal attire. The apple, suspended in front of the man’s face, evokes not only the biblical narrative of Eden but also the Oedipal Complex, where transgression against the father’s law leads to guilt. In the biblical tale, Adam consumes the forbidden fruit offered by Eve, symbolizing the birth of self-awareness, shame, and the burden of guilt. In this painting, the man’s face is concealed behind the apple, echoing the unresolved guilt from that original transgression.

From a psychoanalytic perspective, the apple mirrors the child’s desire for the mother and the violation of paternal boundaries, evoking the tension between desire and punishment. Before consuming the apple, Adam was unaware of his nakedness, just as the child, before transgressing paternal laws, is innocent of their own desires. Magritte’s man, in contrast, is fully dressed—his body covered by a formal suit, suggesting an overcompensation for that earlier transgression. His attire, like the suit of a corporate leader, represents conformity to societal rules and the defensive structures built to contain one’s hidden impulses.

However, it’s the apple that holds the deepest psychological weight. By hiding the man’s face—his core of identity and expression—it creates a psychological tension between the desire to be seen and the fear of being exposed. For a leader or executive, this speaks to the unconscious burden carried beneath the polished exterior, where the drive for success is continually shaped by the fear of transgression and the guilt of overstepping social or professional boundaries.

The Suit as a Symbol of Conformity and Defense The man’s formal attire serves as more than just a uniform of professionalism—it becomes a psychological defense. The suit, much like the hat perched atop his head, symbolizes social status and conformity, a way to signal adherence to the expectations of society, much like corporate leaders navigate the demands of shareholders, regulatory bodies, and industry norms. Yet, behind this polished exterior, the apple remains—a reminder that no matter how much we align ourselves with social structures, the hidden burden of guilt and the desire to transgress still linger beneath the surface.

Leaders who resonate with this painting might feel an unconscious connection to this duality of identity. On one hand, they must project a facade of control, success, and conformity. On the other, they may grapple with the weight of unresolved guilt from past decisions or actions—choices that, like the apple, remain hidden from public view but deeply influence their sense of self.

Transgression, Authority, and the Pursuit of Power The Oedipal Complex present in this work also extends into the realms of power and authority. The apple, symbolizing forbidden desire, creates a tension with the suit, a marker of societal success and control. For those drawn to this painting, it may evoke a subconscious acknowledgment of the transgressive impulses that often drive ambition—the desire to challenge authority and push past boundaries, while simultaneously seeking approval from the very structures they seek to defy.

For executives or professionals who might display this work, The Son of Man serves as a psychological mirror, reflecting the internal struggles faced in their journey toward leadership. The fear of exposure, the guilt of transgression, and the need for external validation all intertwine within the image. It reminds us that no matter how elevated one becomes in status or authority, the unconscious drive to rebel and the weight of guilt are never fully erased.

The Apple as the Unconscious Burden of Guilt At its core, the apple not only hides the man’s face but represents the guilt of wanting more—more power, more success, more control. In leadership, this often translates into a continuous striving for achievement while carrying the fear of overstepping boundaries. The man’s face, hidden yet central, reminds us that in the pursuit of success, there is always a part of the self that remains concealed—driven by past transgressions and the desire to surpass societal limitations.

For those drawn to this painting, it could signal an unconscious recognition of the cost of ambition—that the pursuit of power, while necessary, also comes with a burden of guilt and the need to reconcile one’s hidden desires with public expectations.

[clingyduofan]

lots of old doodles

[literalite]

balderas!

[sad-emo-dip-dye]

[in-tenebris-et-in-solitudine]

Browse Anonymously and Securely

[emaadsidiki]

National Air & Space Museum 🛩️🛰️ Washington DC

[alextbphotography]

yellow in my gallery 🌼 // all photos are mine 🌙

[petitescartes]

Chain Man & Lost Lady, Mullinville, Kansas