you know the trope of the sketchy van that drives around and offers #freecandy to kids in order to kidnap them?

this is definitely the military recruitment version of that.

#usarmy #whitevan #suspicious #serialkiller #outsiderart #abq

#Experimentalpainters

#painters

#Expressivedrawing

#Britishfolkart

#Europeanfolkart

#Psychedelicart

#Outsiderart

#Visionaryart

#Surrealism

#Contemporaryart

#Artgalleries

#iviira9

#Beautiful

# sublime

this is what I look like.

this is my first attempt at painting with acrylic in several years. on a 30"x20" canvas I found on the curb.

#acrylicpainting #selfportrait #outsiderart #artbrut #weirdo #painting

I spent a year making daily self portraits with ballpoint pen. I am assembling an art book with the images + related watercolor paintings. Finally started scanning in the images. January is scanned. 1/12 of the way there!

#selfportrait #outsiderart #artbrut #artbook #inkdrawing

An artwork I made during the international Art Brut Biënnale, which took place last week
I stayed there for the full ten days to do this painting

#mural #painting #artbrut #outsiderart #mastoArt

I so enjoyed reading the story of Charles Joseph Smith in @thetonearm this morning. I'm a sucker for both outsider artists AND extreme technical prowess on an instrument, and seeing them combined in one completely delightful person is very rare indeed.

Fascinating guy. Chicago, you're lucky to have him amongst you!

https://www.thetonearm.com/a-monument-in-plain-sight-charles-joseph-smiths-chicago/

#autism #OutsiderArt #OutsiderMusic #Chicago #piano

«Внутренний сад»
Иногда земля хранит больше памяти, чем люди.
Старые домики, родные воздушные линии, опоры - всё это кажется заброшенным и почти бессловесным. Но под слоем тлена и пыли продолжает существовать другой мир: дикий, цветущий, упрямо живой.

Мне хотелось соединить ускользающий пейзаж старой Астрахани с внутренним садом памяти - местом, которое невозможно уничтожить полностью.
#art #painting #outsiderart #expressionism #memory #landscape #contemporaryart #artistsoninstagram

‘The Most Irritating Person I’ve Ever Had to Deal With:’ Elon Musk to Leave DOGE

#Autism #Autistic #ActuallyAutistic #OutsiderArt

I, Stephen Alfred Gutknecht, am the most-hated most-undesired most-unwanted most-blocked most-ignored most-avoided most-grey rock method person in the entire world. Not Elon Musk, but me, Stephen. We are both Gen X, Musk and I, autistics.

#UnpopularOpera /\

https://thebarbedwire.com/2025/04/22/elon-musk-quits-doge/

T.A.E.’s Book Review – In Celebration of Balance & Opposable Thumbs, Collection 1 by Joe Sorren

In Celebration of Balance & Opposable Thumbs, Collection 1 by Joe Sorren is not merely an art collection—it is a philosophical atmosphere rendered in pigment, a meditation on fragility, wonder, and the strange dignity of awkwardness. To approach this book as a conventional monograph would be to miss its essential gesture; the artist is less concerned with showcasing technical virtuosity than with cultivating a quiet, almost trembling attentiveness to the inner lives of his figures.

Sorren’s visual language belongs to a lineage that might loosely echo the dreamlike distortions of Marc Chagall or the symbolic tenderness of Paul Klee, yet his work resists easy categorization. His characters—elongated, soft-faced, often wide-eyed—inhabit a liminal space between innocence and melancholy. One recurring sentiment, articulated in the accompanying text, reads: “We are all just trying to hold something without breaking it.” This line encapsulates the art’s central tension: the act of holding, whether emotional or physical, as both necessity and risk.

The titular phrase “balance & opposable thumbs” operates as both metaphor and quiet manifesto. Balance suggests the precarious equilibrium of emotional life, while opposable thumbs—our evolutionary gift—symbolize the human capacity to shape, to grasp, to create meaning. Yet in Sorren’s world, these gifts are never triumphant; they are tentative, almost apologetic. In one passage, he reflects: “The hands know more than the mind, but they hesitate anyway.” This hesitation becomes the emotional core of the collection, a resistance to certainty that feels deeply contemporary.

Visually, the compositions are deceptively simple. Backgrounds often dissolve into muted washes, allowing figures to emerge as if from memory rather than environment. The palette—soft ochres, dusty blues, bruised pinks—evokes a kind of emotional patina, as though each painting has already lived a life before reaching the viewer. Consider a piece in which a figure cradles a small animal, its posture protective yet unsure; the accompanying text notes: “Care is a kind of balancing act, and sometimes the thing you love is heavier than you are.” Here, composition collapses the boundary between physical weight and emotional burden, rendering care as both grace and strain.

What distinguishes this collection is its refusal of spectacle. In an era saturated with hyper-polished imagery, Sorren leans into vulnerability, even awkwardness. His figures often appear slightly off-balance, their limbs too long, their expressions too open. This aesthetic choice aligns with a broader philosophical stance: imperfection is not a flaw to be corrected but a condition to be inhabited. One might hear faint echoes of Jean-Paul Sartre in this embrace of contingency, though the artist’s tone is far gentler, less anguished. Where Sartre confronts absurdity with existential defiance, he meets it with quiet acceptance.

The book’s structure reinforces this ethos. Rather than presenting a linear progression, the collection unfolds associatively, each image-text pairing functioning as a small meditation. The effect is cumulative rather than narrative; meaning accrues slowly, like layers of glaze on ceramic. This pacing invites a mode of reading that is less analytical than contemplative. One does not “finish” this book so much as return to it, allowing its images to settle and resurface.

There is also a subtle ethical dimension to Sorren’s work. His emphasis on gentleness, on the careful handling of both objects and emotions, suggests a counterpoint to contemporary cultures of speed and disposability. “Nothing wants to be dropped,” one line observes with disarming simplicity. It is a statement that extends beyond the literal, implicating relationships, responsibilities, even the self.

Ultimately, In Celebration of Balance & Opposable Thumbs is a study in quiet resilience. It asks what it means to live delicately in a world that often rewards force, to value hesitation in a culture that prizes decisiveness. Sorren does not offer answers; instead, he offers images and fragments that linger, that unsettle gently, that invite a slower kind of seeing.

To engage with this collection is to practice a form of attentiveness that feels increasingly rare: to look without rushing, to feel without resolving, to hold—however briefly—without breaking.