
X-posting this whole blah blah blah from Tumblr because sometimes I think about these things. I drew this picture because this sort of stuff helps relax me and I kinda need to relax after Confuzzled.
This is probably a good bit of vent art (vent art in that it helps me relax back into my zone so I can be productive rather than just stressed) to explain a little about the fantasy headspace that exists when we create worlds.
See, we all (probably) tend to have fantasies where consequences to desired activity are mitigated or ignored. This can range anywhere from simple desires—such as the desire to have stark beauty surrounding us—to complex desires—such as the desire to have meaningful interpersonal relationships with people without the threat of being exploited or hurt as a result of them. These seem vastly different but they tend to tie together in similar ways; for instance, the social binding of remaining covered in front of other people is, to some people, inconsequential, but it’s a small stress compounded upon other stresses, a process we have to force ourselves to make automatic so we’re not rejected, and as such clothing becomes a defensive symbol that protects us from being hurt.
Protection from being hurt is good, but it also diminishes us as we become isolated; vulnerability is a risk, but it enriches us as we become connected.
Hence, the fantasy can (in this instance at least) play with that desire for connectivity without the possibility of serious injury that could result. The connection is built right in, almost effortlessly, in contrast to how much effort we need to put into our own real-life relationships. That’s where we start to yearn, and in part its fantasies like these that drive us to the sorts of connections that make us bigger than ourselves, even if on the surface it seems a bit selfish or self-indulgent.
It feels indulgent because this innate desire arises within the space of our own minds, and when the fantasy makes contact with the world, it becomes much harder to realize. But hopefully, maybe, on some level we can push beyond just fearing how difficult it is in an attempt to make it somehow real.
This is probably a good bit of vent art (vent art in that it helps me relax back into my zone so I can be productive rather than just stressed) to explain a little about the fantasy headspace that exists when we create worlds.
See, we all (probably) tend to have fantasies where consequences to desired activity are mitigated or ignored. This can range anywhere from simple desires—such as the desire to have stark beauty surrounding us—to complex desires—such as the desire to have meaningful interpersonal relationships with people without the threat of being exploited or hurt as a result of them. These seem vastly different but they tend to tie together in similar ways; for instance, the social binding of remaining covered in front of other people is, to some people, inconsequential, but it’s a small stress compounded upon other stresses, a process we have to force ourselves to make automatic so we’re not rejected, and as such clothing becomes a defensive symbol that protects us from being hurt.
Protection from being hurt is good, but it also diminishes us as we become isolated; vulnerability is a risk, but it enriches us as we become connected.
Hence, the fantasy can (in this instance at least) play with that desire for connectivity without the possibility of serious injury that could result. The connection is built right in, almost effortlessly, in contrast to how much effort we need to put into our own real-life relationships. That’s where we start to yearn, and in part its fantasies like these that drive us to the sorts of connections that make us bigger than ourselves, even if on the surface it seems a bit selfish or self-indulgent.
It feels indulgent because this innate desire arises within the space of our own minds, and when the fantasy makes contact with the world, it becomes much harder to realize. But hopefully, maybe, on some level we can push beyond just fearing how difficult it is in an attempt to make it somehow real.
Category Artwork (Traditional) / General Furry Art
Species Unspecified / Any
Size 850 x 673px
File Size 208 kB
There's a bit of tension probably because I don't think the bubble of acceptance in fantasies works as well without deliberate contrast (that's partly why I get impatient with fantasies that don't contextualize themselves but rather presume that the audience is automatically invested in them), which will probably be more overt when I color this as the air OUTSIDE the hot spring is freezing cold; there will be snow out there.
*ponders*
Not sure why I'm just picking up on this now, and I may be way off, but you're a storyteller first and foremost, aren't you? I get the impression that the art you create is in exploring how beings interact with each other and the world around them, and drawing more serves to illustrate those exchanges, rather than to be its own reward?
I'd imagine you've been exposed to his works before, but you just made me think of Chris Goodwin. More, I would hope you've seen his 'Overheard' series, which aside from being expressively rendered, looks at slices of interaction that are real and grounded The lack of context in them is almost the very thing that connects the reader more closely with the situation.
https://www.weasyl.com/submissions/.....folderid=43751
Not sure why I'm just picking up on this now, and I may be way off, but you're a storyteller first and foremost, aren't you? I get the impression that the art you create is in exploring how beings interact with each other and the world around them, and drawing more serves to illustrate those exchanges, rather than to be its own reward?
I'd imagine you've been exposed to his works before, but you just made me think of Chris Goodwin. More, I would hope you've seen his 'Overheard' series, which aside from being expressively rendered, looks at slices of interaction that are real and grounded The lack of context in them is almost the very thing that connects the reader more closely with the situation.
https://www.weasyl.com/submissions/.....folderid=43751
Well, sometimes characters on their own is its own reward--but the space around the character and their interactions with others give them more texture. I mean, there's only so much that can be conveyed with a single character pinup in a photographer's-studio-like-set before they start to feel a bit samey.
I have seen some of Chris's "Overheard" series and think it's intriguing, yes! One thing that it makes me think about is the sheer number of ways people interact about what seems like the same subjects.
I have seen some of Chris's "Overheard" series and think it's intriguing, yes! One thing that it makes me think about is the sheer number of ways people interact about what seems like the same subjects.
I like this picture a lot. I think it's because everyone in the picture is displaying some sort of neutral/ or mildly negative emotion. In a relaxed setting where people feel comfortable enough to be clothe-less they would feel comfortable sharing feelings that others who were less close wouldn't accept. It's a nice snapshot in time, and it's nice to see some furs who aren't epicly happy, or disastrously depressed. They just seem more natural.
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