#this show is so wild no wonder Daniel wants to make it out of Dubai alive and sane

[pinkapple-kombucha]

Imagine plotting your crazy husband’s death with your sister in a way where you make sure there’s a 50/50 chance he survives. You end up feeling so guilty and sad you hallucinate that he’s there to the point other people around you notice. Your sister finds a cult group that match her freak. You then fall for the cult’s sexy and crazy leader who dated your husband. You make the executive decision to break up with your dream husband. You think all is well but then your sister’s diary where she documents everything and we mean everything gets stolen by your boyfriend’s cult followers. Your boyfriend then lies to you, your sister and her girlfriend and has the three of you ambushed by his cult because guess what? They found your husband and he’s not too happy at what you and your sister did. But the cult, your boyfriend and your husband do not realize that you’re a lot crazier than you’ve let on.

[murfpersonalblog]

IWTV S2 Ep3 Musings - Loumand

Last post, I promise; I needed another nap; this ep's a freaking rollercoaster. And these two queens nearly gave me a stress ulcer!

DEBATABLE, Louis. I can think of FAR worse vamps than you, love.

Why're y'all having this whole conversation where anyone can hear?

They got Sartre's wall-eyes down; good makeup this season, team! 👌

DreamStat's a Loumand bed-death truther, jfc. 😭

I wanna know EXACTLY what Armand sees--or "feels"--whenever DreamStat pops up in Lou's head. Cuz he clearly knows precisely where Les is; he looks right in his direction. But does he HEAR Les too? (God I hope not, this song would've had me SEETHING--Back to Hell with you! 😅)

"Oh dear" indeed; I was HOLLERING.

SAM WAS DEVOURING THIS SCENE HOLY GOD GO AWAY DEMON

Armand looked PISSED, I was scared for Louis' life! And he DOES know, actually, yes Lou. I can almost GUARANTEE that he knows PRECISELY where Lestat is AT THIS VERY MOMENT, yes Lou.

If only you knew.... 😬

Claudia's suffered more than Christ. And nice cut to Daniel sneaking around with Raglan James as Armand talks about Furies punishing "human wrongdoing." It's really interesting that Armand told the lawyer that LOUIS is the owner of the paintings. Is he the owner of the penthouse too? HOW MANY DEEDS DOES HE HAVE, ROLIN?

I wonder what AMC might be saying about Loumand's art collection, not just wrt what we know about art heist!Armand (which we'll likely see a nod to in Ep4 at the Louvre); but also wrt what we know about Dubai's godawful neocapitalist hellscape economy, and Loumand's "moralizing" about Parisian black markets in S01E02.

I wonder if that's the excuse Armand'll give the coven when Louis shows up for dinner in Ep4--very much NOT dead; and rips out Santiago's tongue.

WILD voice-over, cuz you KNOW that's what Santiago was thinking, too, LOL. (You wish, Francis.) But yes: Louis' finna end your whole career. XD

Another TERRIFYING jumpscare from the coven, like in Ep2 with Annika. Louis, I am shocked & appalled--can you not HEAR all these vamps planning your bloody murder around you? CLAUDIA! WTF!?

But this is how you know Armand's true personality--he hates getting his hands dirty. He kills all the time, but he makes his victims' deaths pretty. He'd rather sit back & let Lestat/Louis come in and wreck his whole coven, even though he has the power to just light those mofos up all on his own! I wish AMC emphasized a bit more that Armand not only writes/directs the plays--he's an ACTOR, too. And istg he's an expert at PRETENDING to be helpless, meanwhile he's the strongest vamp that's NOT one of the Children of the Millennia (thanks to how well Marius made him).

Armand, that is LOW; waiting until Claudia's stuck under the oaths b4 you tell her she's guilty of breaking Great Laws she doesn't even know about yet. WTF?

How TF you gon' hold Louis accountable for following the Laws when he wasn't even allowed to be in the effing room when they were read!? He's not even a member! WTF! (I get it--any rogue vampires are subject to death, yadayada; we know it's a stupid policy.)

I love how he plans to leave by himself here--it had nothing to do with picking "another one" over Claudia. He just didn't want to hold her back anymore. And his presence was causing problems. 😭 It's so cute that Louis' stipulation about London was that if it's "too large" he'd leave and go to Ireland (?!?)--he's become agoraphobic or something? He just wants to be alone in his hermit hole--MOOD. 😭

Good to get confirmation that the Fire Gift here is Armand and blessedly NOT Santiago--so why's he zooming around in the sewers?

Look, sometimes folks make terrible first impressions--Lestat was being hella racist, Louis' always playing defense, Armand was finna kill Louis in a gay public park. It happens.

Foreshadowing like crazy, as usual.

WILD thing to say. I'm gonna cry, please stop.

(What kinda hypocrisy is that, when you were made young your dang self!?) She's already 30+ years old--maybe she'll last a little longer if y'all (read: sexist, racist, ageist, ableist, etc society) don't eff around tryna make her life even harder! But AMC's deliberately cutting Claudia's life in half, compared to the books, cuz misogynoir's real and Claudia gets NOTHING out of vampirism, not even a fair chance. And y'all let her into the coven KNOWING how much she loves y'all, and KNOWING y'all were gonna kill her. EFF THIS WHOLE COVEN, ARMAND INCLUDED. (Lemme calm down--this kind of betrayal is exactly how Lestat must've felt in S01E07; I get it; they're getting a taste of their own medicine. But LESTAT EFFING HAD IT COMING. The coven should've just told them: y'all got til sunrise to GTFO our territory, you're not welcome here. This whole bit's unnecessary.)

THE PARALLELS ARE PARALLELING

SKILL ISSUE. Cuz Louis' got the least power, and he's finna clear that whole bish out in just a couple episodes. 🔥🔥🔥🔥🔥🔥

Louis, love, ARMAND DON'T GIVE A EFF ABOUT RAISING SOME OTHER MAN'S OFFSPRING. This is the call of the wild, as Alphas KILL the children their stolen Omega brides had for other Alphas/Betas, so he can restart the gene pool with HIS DNA instead. I know y'all had National Geographic back then already--READ A BOOK, Louis, it's what you're best at.

Incredible. After all of that Louis said Lestat never broke him. BENT BUT NEVER BROKEN, that's right! 💪😤

Boy, we're not talking about some little (unrequited) CRUSH over a man you only knew for a few months (which you've CLEARLY not gotten over yet). Louis was MARRIED to the man for 30 YEARS. This is his MAKER. Lestat knew his whole family; went to the Black cookouts and everything! They literally built a home AND business together! They raised a child together! WHATCHU KNOW ABOUT THAT!?

And that's LESTAT'S DAUGHTER TOO--how much can you possibly love EITHER of them while planning to knock her off!? I can't listen to too much more of this. *hands Louis the torch and scythe*

Beautiful end of this STACKED episode. Incredible work, AMC! Jacob acted his PANTS off; he excels at the trembling voice, agonized facial expressions, and utter mental breakdowns. He's pulling DEEP within him, holy god; it's so raw, it's almost hard to watch. EMMY WHEN?!

[doodlewash]

My name is Jean Haines, and I am a watercolour addict. That always feels like the safest way to describe myself because that is exactly what I am. I wake each day, race to paint and I find leaving my studio or painting location each evening very difficult. I have been this way for a very long time. I just adore painting with what I call the most magical of mediums.

Like many artists, I fell in love with creating as a child but my passion grew constantly over the years.  I am originally from Wales in UK but have been fortunate enough to live in many countries and travel extensively. This gave me the opportunity to develop my artistic skills whilst under the influence of masters from Asia, the Middle East and Europe. I would approach any artist whose work I admired and ask to study under them. To my surprise even non-teaching masters took me on.

But living in China, studying brush control, had the greatest impact on my style. This is where I learned to let go of the pencil. I started painting with no preliminary sketch and my work instantly became more free and far more interesting. But it wasn’t until I moved to Dubai that my colours changed dramatically.

Working with artists from India and Pakistan, introduced me to vibrant colours so my results  then became far removed from the previously quiet watercolours I once created whilst initially living in Europe. The combination of East meets West in my style now, I feel is a heady mix that I thoroughly enjoy. I use free flow of colour, working directly, minus the use of a preliminary sketch. This leads to exhilarating and unique results.

Light and the use of vibrant shades, along with taking an ordinary subject and turning it into an extraordinary painting is what makes my day. I love it. Each new piece of white paper is a challenge just waiting for something to  happen. A new adventure that feeds the soul. I am told I have the  ability to install enthusiasm and inspirational motivation in all around me but my own passion for colour and watercolour as a medium is what really is my driving force in life. I experiment regularly and do not believe, as yet, we have discovered all the techniques possible from working solely with pigment and water.

I should mention that I fell in love with Daniel Smith Watercolours some years ago and I am now hooked. They carry shades in their range that hold a magic like no other. For example their Cascade Green shade leaves hints of unexpected turquoise whilst the mainly green colour it contains dries. It is stunning to witness as are many other colours from their range like Moonglow and Amethyst Genuine. Maybe I am a colour addict too. In fact I know I am.

I just believe that life is too short to waste time being boring when there is so much that is exciting out there to explore, in many fields, not just art. When I teach, I come across many people who feel I have changed their lives by introducing them to my way of working because it is fun, energising and a form of escape perhaps.

I teach International workshops which I am honoured to say sell out almost as soon as the dates are released. In fact, I am often asked to add an extra workshop in each tour location because the wait lists to come on my courses are apparently so long, but it isn’t always possible for me to do so. As much as I adore teaching and sharing my love for watercolour, I want to paint more than anything else. On my own, in my studio, or on location. Fame or recognition as an artist is not my priority in life. Painting itself really does make me feel at peace as I find myself in a haven of calm once I pick up my brushes. It is a heavenly feeling which I wish I could bottle and give away to anyone who needs it.

My latest book, Paint Yourself Calm, has been given as a gift all over the world to even non-artists, who write and tell me that it has helped them through life’s difficulties such as grief, bereavement and illness. That to me is such a humbling achievement. One I am very thankful for, in having had the opportunity to write the book in the first place. I am lucky and I never take this for granted.

As a professional artist, I exhibit regularly, putting my latest collections on show. My most popular paintings sales-wise seem to be wild life or horse racing paintings that are full of action and energy. I am happy to say genuinely, my paintings can be found in homes all over the world. And I am aware that my favourite subjects are becoming increasingly collectible worldwide. But again, the joy in being an artist for me is the creative journey we embark upon whilst we endeavour to evolve in our work, as we strive to improve our techniques as much as possible.

Life isn’t about standing still. As an artist or  non-artist. It’s about growing and having an open mind to take in what is new and exciting. It is about having that wonderful sense of adventure to leap into the unknown when the chance arises. Far too many people, artists as well, repeat each day doing what they already know or have done many times before.  These artists often tell me they are bored with their way of painting and I can understand why. I am never bored with my creative process because each tomorrow is like a beautiful white piece of paper just waiting to be painted on. And there can never be enough colour in the world as far as I am concerned. Or enough new adventures  gained by experimenting in art.

I am often asked if I have won any prizes and the answer is yes. As a member of the SWA, Society for Women Artists, I won the Anthony J Lester Art Critic Award in 2009, where my work was likened to Joseph Crawhalls from the famous Glasgow Boys. My most recent work has been likened to the style of Turner, an accolade I truly cherish.

I write. I love writing. I love the idea that by a simple act of sharing a chapter on what you love you can inspire someone from the other side of the world. I am delighted to be the author of several best selling books including Atmospheric Watercolours, Jean Haines World of Watercolour and Paint Yourself Calm. It is really exciting to be published in so many languages including Chinese, Russian, Italian and French.

And when I look back at the thrill of seeing my first book in print, I know I will  feel this way, excited about writing for a very long time to come. I just want everyone to enjoy painting as much as I do. It has changed my life. I find it hard to believe that at the moment I am working on my next new book which will be my sixth publication. And I have already been invited to write another book after this one.

As well as writing my books, I regularly write for leading art magazines and exhibit in a number of established galleries.  I also have a range of popular DVDs filmed by Artist Network TV in USA and will be returning to film with them next year in 2018. So my life is pretty full!

I am described as a “Breath of Fresh Air” on the art scene in that my enthusiasm is both catching and addictive.  I am told I’m “A joy to be around”. Which are really lovely compliments. But to be frank, all I have done since I discovered that I loved painting as a child was to paint in my own way. And now I share my techniques on my workshops which have led me to so many invitations from all over the world to hold even more workshops. And I’m continually asked to write more books and create more films. I often pinch myself to see if my life as an artist is really just a dream, because at times, it seems it must be.

My advise to anyone who wants to be an artist is to follow your heart. Have the confidence to be yourself and don’t allow anyone to pull you away from the road you have chosen in style, as being unique is to me what makes anyone successful. But what is success? I have this answer to that question. “Success is being happy” and if you are happy painting, then do it, because nothing else really matters.

You can find out more about my workshops and exhibitions on my website or via my blog via the links below. And I am very active on social media on Facebook and Twitter.

Jean Haines Website Blog Facebook Twitter

#WorldWatercolorGroup - GUEST ARTIST: "Life Changing Art" by Jean Haines - #doodlewash My name is Jean Haines, and I am a watercolour addict. That always feels like the safest way to describe myself because that is exactly what I am.

[reekierevelator]

Old Friends - a short story, in seven parts, by Brian Bourner -Part 6

Months later I was reading a two day old copy of The Scotsman while drinking a glass of white wine in a small bar in Mandelieu.  I almost fell off my bar stool.  There was a piece about the discovery of a remarkable new Edinburgh sculptor.  The grainy accompanying photograph was of a tidied up, smart-casual in open-necked shirt and silk scarf, but nevertheless unmistakeable Findlay MacKay.

Apparently he’d been using piles of junk, gluing and welding them together to create giant sculptures that vaguely resembled iconic buildings. These were London landmarks like the Shard, Cheesegrater, and Gherkin. For his new-found international customers the New York’s Flatiron, Paris’s Pompidou Centre, Dubai’s Burj Khalifa and Singapore’s Marina Bay Sands were already in development. Art critics proclaimed them the best sculptures since Paolozzi, and the public apparently perceived these structures as some kind of postmodern irony. They were in great demand.  Museums, Galleries, and billionaires were offering serious money for them.

Most amazing to me was a sidebar carrying a small photo of Findlay’s agent; an uncanny likeness of Val Norris.  Findlay was quoted as saying that when sales of his sculptures had started to take off he realized he needed someone who could combine a good artistic background with good financial and organisational skills to look after the business side of things while he concentrated on his architectural sculptures.  With a reassuring lack of ostentation he said he’d thought about which of his reliable old friends he could turn to to be his agent.

The sidebar noted that sales of ‘significant watercolours by Findlay’s manager, the well-respected artist Valerie Norris’ were also now in high demand.’

It seemed that Val had abandoned the tax office and become Findlay’s business manager, ensuring he didn’t gamble or borrow money from loansharks and stayed onside with the taxman.  

I checked online. She seemed to be rapidly widening Findlay’s fame and marketability through social media.  Looking at online images of her watercolours it appeared that in order to increase sales she had started sticking all sorts of litter on to her own paintings.  Of course, the public loved them too, seeing them as part of a new artistic movement.

I suppose she could have got Findlay just to sign her paintings and have done with the whole illusion of a movement. But no doubt she was still too prim and respectable to lower herself to the idea of making even more money by letting Findlay, the man she undoubtedly still regarded as a delusional numpty, appear to be the creator.

 It was much later, at Christmas,when Phil phoned to wish me bonne année, that I discovered it was Lou who had phoned that day in my house after Dylan and Lennie had left.  It was to say she’d sold the painting.  She told Findlay she’d got fifty thousand for it and that was why he’d rushed out the house, straight down to her place to collect the cheque.  

In fact, when I checked the historical auction house listings online later I saw the painting had sold for two hundred and fifty thousand. So I knew Louise must have had been paid much more than fifty thousand even given the exorbitant commissions and profit percentages taken by auctioneers. She probably got at least two hundred thousand. Phil probably got his share.

 Mike phoned on Hogmanay.  He was guttered. I could hear the noise of the pub in the background. In a slurred voice he blurted out “That painting, do you mind of yon painting? Saw it sold for Daniel Cilenti. Couldn’t have been that bad eh? Yon claw hammer Findlay got Lou to pay me for my trouble.  Her and that lassie we once kent, Val something-or-other. Strode into the Deoch like they owned it. The Val woman straight off tells me I look like a paraffin lamp and I’d better get a haircut and a dig at the grave.  Lou was better though.  A big brown envelope, five grand in readies. And honestly the painting was really no trouble at all Paul; I mean anything to help a pal, right?”

His voice sank to a stage whisper. “But I shouldn’t be talking about it, should I? When she handed me the envelope Lou poked a big pointy finger in my chest, quite sore, to impress on me that you and Findlay didn’t want to hear any more about it.  Definitely didn’t want me mentioning the picture ever again.”

He was becoming increasingly incoherent but I heard him say “Really pleased to see Findlay getting on so well, achieving his ambitions and all that. He’s even hired Jim, my one another. What a bastard; refuses to give me a penny. Aye, but Lou, and her brother Phil too, they’re going great guns are they no? Great to be successful, going up in the world. Heard they’ve both moved in to grand big new hooses. But here, Paul, sorry, got to go for a Lillian Gish.  Afore I forget, I was just wondering like, is there any more of that money you got for the painting left, something you might like to share with an old pal?”  

So it had taken Mike only a few months to drink his way through his allotted share of the sale price, and already he was looking for more.  

As politely as possible I informed him that the painting was the least lucrative piece of business in which I had ever been involved; that I hadn’t seen any cash from the sale and that there was less than no chance of me being able to give him any.

And, of course, it then became clear that using the money Louise had passed on to Findlay he must have bought some kind of storeroom or warehouse to use as an architect’s studio.  That was where the removal man had been taking all the junk he had collected.

 I looked up Findlay MacKay’s new business web site and dropped an email, ‘just to wish you well and catch-up with your news’ I said, though I did, in passing, mention money owed.

I got a terse email back from Findlay MacKay Art Ltd which had clearly been written by Val. That woman could certainly bear a grudge.  It seems she was the business secretary as well as everything else.  

‘I’ve advised Findlay of your congratulations on his success,’ ran the email, ‘but neither myself, as his bookkeeper, nor Findlay, know anything about money owed.  In fact, from the accounts, my impression is that it is you who owe Findlay the balance of the sale value of a certain painting he’d discovered and entrusted to you for valuation and sale.  The auction records clearly show that painting sold for much more than Findlay ever received.’

I emailed back ‘In all honesty I received nothing from the sale.  I’m not well-off. surely the company’s not short of a bob or two. A few thousand is all I’m asking back for the money I used to dig him out of a hole.’

There was a prompt response.

Findlay MacKay Art Ltd is a fast expanding business. All income is necessarily either reinvested in the company or used to take on extra staff. Vast expenses are involved. Teams of peripatetic employees are required to diligently source the raw materials on which Findlay’s art depends. There are the professionals, such as our specialist welder, who are critical to the creation of Findlay’s sculptures.  Jim McGivern, our artistic creations expert, of course earns a significant salary.  Not only is he responsible for all sculptural welding, but he also rewired the company’s architectural studio and supervises all its electricals. The company will enter into no further correspondence with you on the matter of supposed money owed.’

Maybe, one day, I thought, there was still a chance Findlay might have an attack of guilt and decide to repay the thousands I’d given him. But I wasn’t banking on it; especially not with Val supervising his financial affairs and Jim taking a huge cut.

 There was no point dwelling on spilt milk.  

Donaldina and I settled in very well to our new life together back in Provence.  

After some months I received a postcard from Yaounde in Cameroon.  It was from Callum.  He was on his way back to Scotland from China via Central Africa and Italy. Jacques Plouviez had contacted him with my new address in order to stop the constant flow of holiday postcards arriving in his gallery.  The card said Cameroon was great, but not as scenic as Scotland.  He’d be passing through France on his way back to Edinburgh and might pop in on us for a cup of tea.

He arrived a couple of days later, in old khaki explorer kit, staring blue eyes, and wild black hair streaked with grey. That evening he regaled us with exciting tales of his travels in South America, Japan, and the Arctic and various serious illnesses he’d picked up and recovered from.

[continued in Part 7]