Two-line horror stories are all the rage right now. After all, they are not only a great way to practice your writing skills but they also usually hold a very terrifying surprise at the end. That is what one artist by the name of Brian Coldrick has decided to take to a whole new level.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
Two-line horror stories are all the rage right now. After all, they are not only a great way to practice your writing skills but they also usually hold a very terrifying surprise at the end. That is what one artist by the name of Brian Coldrick has decided to take to a whole new level.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
There’s nothing more traditional than pumpkin pie at Thanksgiving. Unless your chef Simon Davies of Chicago’s 3-star Michelin restaurant Alinea! Davies transformed the classic pumpkin pie into something that looks straight out of the future, unlike anything you’ve probably ever seen before. So how did he make it clear you ask? Davies used a rotary evaporator machine, something that is very popular in molecular gastronomy cooking. What that device does is creates a liquid distillate of the flavor you’re looking for. Customers that have had this dish at Alinea say it tastes just like the real thing. Check it out below! You can follow chef Simon Davies
Two-line horror stories are all the rage right now. After all, they are not only a great way to practice your writing skills but they also usually hold a very terrifying surprise at the end. That is what one artist by the name of Brian Coldrick has decided to take to a whole new level.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
We've all felt it. The feeling of someone behind you when you turn off the light and have to go to the next room, the fear that you're not alone and someone's watching you from the dark corner. Or when your heart starts racing while walking alone in the streets at night, afraid that someone's lurking in the bushes to get you.
Two-line horror stories are all the rage right now. After all, they are not only a great way to practice your writing skills but they also usually hold a very terrifying surprise at the end. That is what one artist by the name of Brian Coldrick has decided to take to a whole new level.
"The Chimera Looked at Everything with Horror," by Odilon Redon (1886) DIMENSIONS • 9" x 12" (Image: 7.5" x 10") • 12" x 16" (Image: 10" x 13.31") • 16" x 20" (Image: 12.75" x 17") • 20" x 24" (Image: 15" x 20") • 24" x 30" (Image: 18.75" x 25") Archival Inkjet on Fine Art Paper Smooth Surface - Matte Finish - Inset Borders ABOUT THE ARTWORK ----------------------------- Conceived in shades of black, Odilon Redon's early works, his so-called noirs, have been described as a "synthesis of nightmares and dreams." They are an exploration of the of artist's own psyche, a quest to place "the logic of the visible at the service of the invisible." J.K. Huysmans popularized Redon in his novel Against Nature, the story of a decadent aristocrat, in which he writes: "Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over their stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanoes erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium." ART-CENTRIC DESIGN ----------------------------- Vintage art is not standardized. The original works are usually too long, or too short, to neatly fill a store-bought frame. Most shops arbitrarily crop the artwork to match, leading to claustrophobic prints with missing or partial elements. These modifications — sometimes trivial, sometimes ludicrous — are not always shown in the product photos. We believe that the purpose of art is not to fill a frame; it is the purpose of a frame to showcase the art. Our prints have inset borders that make up any differences in proportion between the artwork and a standard frame, so that you can experience the art as the artist intended. They look sharp in beveled mats, may be float mounted, or inserted directly into standard frames; the borders providing a mat-like accent around the image. There are many styles from which to choose. Framing is a fun, creative process that enhances the artwork and livens your space for years to come. Should you like any advice, feel free to reach out. CUSTOMIZATION AND IMAGE REQUESTS ----------------------------- We are happy to customize our prints to fit your frame. Borderless prints may require the artwork to be cropped to fit a new aspect ratio. In such cases, we will provide a mockup to ensure that the final product meets with your approval. If you’re looking for an artwork that is not in our catalog, feel free to ask if we can provide it. We will print any public domain or openly licensed image that is available in high resolution. MUSEUM QUALITY ----------------------------- Giclée process prints are the gold standard in fine art reproduction. We use a matte finish, cotton fiber paper to maximize detail while eliminating glare. Our prints display a wide color gamut, deep blacks and beautiful tonal transitions. Produced using only archival materials, they will not fade or yellow, but maintain their original quality for as long as you own them. HANDMADE DECLARATION ----------------------------- To assure artistic quality, all of our production and design is strictly in-house. Every print has been proofed, calibrated and inspected for defects. We do not drop ship, resell or make use of third-party production partners. SHIPPING AND PACKAGING ----------------------------- All orders ship within one business day via USPS First Class, Priority Mail or Priority Mail Express. Sizes 9” x 12” and 12” x 16” ship in a flat configuration, unless combined with larger prints, which require tubes. We will replace any lost or damaged items at no expense to you. HAPPINESS GUARANTEE ----------------------------- We will promptly address any issues that may arise with your order. If you are unhappy with your print for any reason, you are welcome to return it for a full refund.
Devious contractors and ill-informed homeowners have been known to take shortcuts, but these faux pas are downright dangerous.
