r/UnusualArt

Make up artist- Laurel Charleston
Painting- done by me

Origami Horse

Size: 4' (cm) x 5' (cm)

Medium: Oil and acrylic

Support: Canvas

After some years of living in Alberta, and finding that my art doesn't have a large audience there, I began pondering how i could make my art more accessible to a prairie based viewer. Having already competed three pieces for my origami series i thought of this as an opportunity to bring a sense of action to these works. 

Wild horses are a symbol of the west that is slowly being replaced by dreams of loud engines, and absurdly lifted trucks. In a world where their necessary habitat is being destroyed they could one day be a forgotten feature of the foothills.

I just added paint to the wrenches and around the bullet,that's all.

This one took a lot of polishing, I am happy to answer any questions about my process,

His name is Chicken Bones. The dreadlocks are gold metallic thread, the skull is standard white, with black metallic threads. Machine embroidered. Art to Garment. So fun!

This is the first painting i did on effective medication for ADHD, im pretty happy with it! - any opinions are welcome

I have made the collection of ceramic artworks for the fundraising for provision of 3 army corps of Ukraine where I’m serving now. This is the second lamp from this collection it’s called lion fpv and tells the story about how the Ukrainian army changed the war and took the initiative using mind and creativity. Ukrainian military was the first who started using fpv drones as the modern weapons. this concept is the combination of folk Ukrainian art and modern history that is creating on the frontline by the military forces of Ukraine in the standoff invasion.

It's just a tree... that grows on humans evil deeds...
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more dark arts here

The Skin of Many Lives

At first glance, the piece feels crowded,  bodies pressed against bodies, faces emerging from shadow, eyes watching from impossible angles. But the longer you remain with it, the more the image begins to rotate inside you. Nothing here is singular. Every form carries another life beneath it.

Near the center, a sheep-faced being hangs in stillness, wrapped into the garment of another figure. Its expression holds the quiet ache of trust offered too freely;  the moment innocence realizes the exchange required more than expected. Above it, an apple is extended by a water-being whose presence feels ancient and tidal, neither cruel nor kind, but inevitable. The apple is alive. Its leaves become lips, whispering invitation, seduction, prophecy.

Elsewhere, tribal markings streak across the face of a watchful figure draped in animal hide, as though memory itself has been worn into the skin. Along the edges, pale beings dissolve into one another; some human, some aquatic, some serpent-like, some impossible to name. Hair becomes river. Scales become fabric. Faces emerge from negative space and disappear again when the image turns.

Throughout the work, eyes remain open. Yellow eyes. Red eyes. Blue eyes. Not decorative, but aware.  Distributed like fragments of consciousness witnessing the same event from different dimensions.

At the base of the composition, serpent and fish forms curl beneath the assembly like an ancient current moving below language itself. They anchor the piece in something primordial, older than story, older than certainty.

This is not a portrait of separate beings. It is a map of transformation through encounter, of  what is offered, what is surrendered, and  what is carried afterward. A field of identities folding into one another across many lifetimes.

The Skin of Many Lives does not ask to be understood all at once.

It asks to be turned.

And remembered.

In alchemy, putrefactio is the crucial stage of decomposition and rotting where old forms break down completely. Represented by the blackening or nigredo, this process reduces materials to a uniform black mass. It is the essential death of the old before spiritual or physical rebirth.