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| nothings changed the senates still corrupt & the emporer remains insane, and every day, is a new strain of slaughter, supply lines are less protected, evil on all sides, eye can smell the death on your flesh--creeping in, trapped within the twisting fingers of fear, and all eye see is ewe, that face, those eyes, burning like leprosy, eye can see u there poisoning the air, prostituing Nationalism, and eye want to attack, to rip out your heart and lay you flat on your back, and vomit a world of agony and truth into your throbbing illness of memory...and hate guides our way, eye long for the icy slap of a belt across my back, for the acceptance of death and blind cave war, the giving sleep of depression, the sweet elucidation of savage meaningless agression, chiseled in the meaty forearms of Mother Jupiter and his slave disciples, in the harem tents--outside, just beyond the edges--eye ride, a cycoptic mare in the fires of imagination. feeding my disease, a river of plagues, eye need something to remind me I'm still sinning that pain is important, that wurdz matter, that healing is possible, that eye am not alone ...in this --guard the houses--triple the watch,--Maidens, dig up your sorcery --sirens, sharpen your rocks..ewe will eat my pain again. whatever you need unite messiah ME --Wurdz by Otep Shamaya |
| Working February 09, 2006 3:57 a.m. Related Reading I've been working on my painting of Miss Carrie this evening. I really love this portrait, I think it is one of the better things I've painted. And that really is a good thing because I do try so hard to improve with each piece, each piece should be better than the one before it. I love that my portraits have souls, atleast I think they do. This painting of Carrie has such a fire and a passion, such heat and desire, I love it. I wait till it is finished to post a picture (thought I have considered having a work in progress section of this page some what similar to the currently reading section.) One thing I love about this particular painting is that the figure has a very intense gaze. She is looking at something with intense passion and interest....and it is not the viewer, it is something (or rather someone) just behind the viewer. I love that. She is uninterested in the viewer and want's someone else. She boldly ignores the viewer. Most of my portraits have the subject directly confronting the viewer....and honestly that is something rather common with portraits. the subject looks at the viewer. I like that in this one she doesn't. It sort of gives her power over the viewer. Ha, the painting is in control and chooses not to confront the viewer. The other day I received notice that I've been invited to participate in an allumni show from my high school. I can submit one piece, and it makes me wonder what I should submit. I have so much work of varying degrees. Do I want a large scale portrait to define me? I almost want to say no, because my school teacher worked alot with portraiture. It really doesn't seem like a great departure, so part of me wants to submit a very inovative non objective piece. ...and I'm also a bit torn in regards to scale, as I work on a very large scale and it seems a bit rude to dominate the space with a very large bold painting. But I guess that's how I had to make my voice heard. I had to stand up tall and use a very loud bold voice to keep from being ignored. And god damnit I will not be ignored. fuckin' A I need to stop being the passive artist. |
Otep   |
| Me being overly analytical of Britney and Christina - July 31, 2008 - - Fantasy is sometimes better than reality. - July 24, 2008 Count Down with Keith Olbermann Special Comment - June 12, 2008 Reality Romances. - May 22, 2008 Layout by Raven Green |