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昨日はdot&blue丸山翼シェフの 誕生祭!終始大賑わいでした!僕からは自作イラストをプレゼント! インスタはこちら                    













a commissioned portrait of right now in and I just wish it was bigger... yes I had to iron the canvas before I started lol 😂 💝🌴




























Bir çocuğun elinden şekerlemesini alırsanız, o geriye kalanları da fırlatır. İnsanların derinlikleriyle oynamayın.



















I painted Rapunzel's concept from Tangled as second practice in using Acrylic. Originally by Claire Keane Acrylic on 1/2 Illustration Board



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*鼓笛隊/A drum-fighter corps

Origina novell illustrations
by ISHIHARA,kazuhiro(Illustrator)

Henri de Toulouse-Lautrec, At the Moulin Rouge (1892-95)

“The crowd—no subject was more entitled to the attention of nineteenth-century writers. It was getting ready to take shape as a public in broad strata who had acquired facility in reading. It became a customer; it wished to find itself portrayed in the contemporary novel, as the patrons did in the paintings of the Middle Ages. The must successful author of the century met this demand out of inner necessity. To him, crowd meant—almost in the ancient sense—the crowd of the clients, the public.”

—Walter Benjamin, “On Some Motifs in Baudelaire”, Illuminations. Ed. Hannah Arendt. (1968). p.166

“The City of the Captive Globe is devoted to the artificial conception and accelerated birth of theories, interpretations, mental constructions, proposals and their infliction on the World, It is the capital of Ego where, science art poetry and forms of madness compete under ideal conditions to invent, destroy and restore the world of phenomenal Reality. Each science or mania has its own plot. On each plot stands an identical base, built from heavily polished stone. To facilitate and provoke speculative activity, these bases-idealogical laboratories- are equipped to suspend unwelcome laws, undeniable truths, to create nonexistent, physical conditions. From these solid blocks of granite, each philosophy has the right to expand infidelity toward heaven . Some of these blocks presents limbs of complete certainty and serenity; others display soft structures or tentative conjectures and hypnotic suggestions. The changes in this ideological skyline will be rapid and continuous: a rich spectacle of ethical joy, moral fever or intellectual masturbation. The collapse of one of the towers can mean two things: failure, giving up, or a visual Eureka, a speculative ejaculation:

A theory of works.

A mania that sticks.

A lie that has become a truth.

A dream from which there is no waking up.

At these moments the purpose of the Captive Globe, suspended at the center of the City, becomes apparent; all these institutes together form an enormous incubator of the World itself; they are breeding on the Globe.

Through our feverish thinking in the Towers, the Globe gains weight. Its temperature rises slowly. In spite of the most humiliating setbacks, its ageless pregnancy survives.”

-Rem Koolhaas & Madelon Vriesendorp, The City of the Captive Globe (1972)