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AVATAR 3 INTERGALACTIC EARTH LIVE PLANET DATE 13430070620840 AD EARTH DEAD PRECONCLUSIVE DATES 9000 B.C UBER

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posted by alias J_a_i_s_i_n_i on Saturday 13th of June 2015 11:34:27 PM

THE DRUNKEN MUSE The story "Drunken Muse" was audio recorded on a hidden voice recorder during the conversations about two decades ago. The story-teller didn't know or consent to the recording. en.wikipedia.org/wiki/Tape_recorder en.wikipedia.org/wiki/8-track_tape en.wikipedia.org/wiki/Compact_Cassette The audio tapes on compact cassettes were never used. The records were partially damaged and lost. Herewith the unedited transcript version. medium.com/paul-jaisini-paints-invisible-paintings/paul-j... I am so pumped to get back to painting as I return to the second year of the art school after a full year suspension. As always it is like time-travel culturally speaking, like walking right into the middle ages going through the antique building’s portal. Art studios are the huge L-shaped lofts with super tall ceilings 20 feet no less with the wall to wall windows so that sunlight illuminates the space from south and east side designed for the purpose so that one could paint there from morning till sunset. In a studio there are classical gypsum sculptures, expensive copies of Venus de Milo, David, Laocoön and the others. In the art studio there stood the noses, eyes, lips, feet, and palms on the wood shelves. Sketching the gypsum body parts helps you to build the classic academic base on which stands the whole modern and contempo art. This sort of teaching is specific for the art schools that preserve the traditions they had been founded on. There is only few art schools like this and of this caliber left now. Could be that this is the only legendary school that continues to function as if nothing had changed in the world. In the rest of the world with billions of some art classes nobody knows what does the old tradition of art school is for, its totally unfashionable. Studying classic art (en.wikipedia.org/wiki/Academic_art) here is the foundation for creativity in any of the art styles. The smell of art is what defines the studio but not from human presence, something like an aroma reminiscent of the eastern market where smoke from hookaahs mix with the oil vapors, exotic fragrance from candles and spices. The Art Studios were never renovated since the times they were built over 150 years ago. The wood floors are saturated with art oils as if the floor is waxed with the organic oils from nuts, linen ( linseed oil, poppy seed oil, and so forth.) Adding to the mix the varnishes used by painters (pine wood varnish, Dammar varnish and others) It makes this ART SMELL to be the most intoxicating and ever-lasting musk. en.wikipedia.org/wiki/Oil_painting en.wikipedia.org/wiki/Oil_painting - Ingredients en.wikipedia.org/wiki/Studio - Art_studio The instance you enter the studio space you feel the belonging to a knighthood and the whole art history. You are the undivided part of those people who left their creation imprints. Super pumped up after the long break up with the arts after my full year of non-stop party marathons I had returned to the bohemian life style. Actually my other life style wasn't any different from the bohemian. The only difference is that there is some meaning in the bohemian life style, something to create, to shape. Not just spend time doing sports and girls but something on a whole 'nother level only with the same sub text and by far more emotionally connected. The bohemian I think is much more my thing, that fits me as a person. Maybe because my old man is the greatest sculptor. He is color blind so apparently I took up the torch, I have a very special sense for color. en.wikipedia.org/wiki/Sculpture en.wikipedia.org/wiki/Bohemianism en.wikipedia.org/wiki/Color_blindness There could be an inborn human predicament or inborn genius. I returned into the world to kiss its ground. I like everything about it, the babeville and its fashion circus. The art students are known to come up with endless varieties of how to be stylish. Take me for example, I am chilling in a suit jacket. It was professionally hand-tailored out of a denim Pajamas with stripes and starry silk underlining. This “look” is completed by my python leather jeans. And over that an authentic LONG military Germany Waffen Elite Officer black Leather Coat from the WWII, only it is without a Swastika. I never part with my large portfolio and a Field Easel. EASEL About 700 students attend the studies. The art school accepts only the best of best with few exception such as the kids of celebrity artists, writers and musicians and people who had real power in the city. I wasn't enrolled for money or the A-lister parents, but for my talents. The Art specialty (painting, drawing, sculpture) teachers here are the world-wide recognized contemporary artists. In a matter of my working ethics these important artists would point at me as the example of how fast I work, how well I sketch in color, how I always choose the most unexpected and unusual angle for my composition and so on... en.wikipedia.org/wiki/Composition_(visual_arts) name banner gif Optical illusion geometric gif (portraiture, still-life, and landscape) en.wikipedia.org/wiki/Still_life en.wikipedia.org/wiki/Portrait en.wikipedia.org/wiki/Landscape_painting en.wikipedia.org/wiki/Figure_drawing en.wikipedia.org/wiki/Figure_painting I never work on an académie (live drawing of a model, live painting of a model) the given eighty -- ninety hours. My whole process is about six -- nine hours to fully complete the work so I get out of the studio for some action and fun. I’m probably the strongest in the class. My art professors know I don’t need to be there to distract the others. When I’ve got nothing to do I start banging the head against the wall. Still I am criticized SUPER harshly for cutting the classes. At this point I am not aware of the inner workings of “THE SYSTEM”. I call suitcase with a secret compartment. At the grade shows I only see the bad grades on my best artworks. There is another side of the coin. It revealed in the future when I got to befriend a secretary at the Dean’s office. It was about the time of my graduating year. The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about. That was how the art school’s system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible. I am harshly criticized for cutting a lot of classes. There is another side of the coin. It will be revealed in the future when I got to befriend a secretary at the Dean's office. It was about the time of my graduating year. The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about. That was how the art school's system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible. Willing or not but the doubts get in my head. I was thinking (rather frantically) that maybe I’m all just misguided. I will work to beef up my skills unable to accept that I am not really a “genius” artist. The bad grades were corrupting my vision. Totally clueless that these bad grades in my case were used as "disciplinary measures" for my behavior of anarchy. These grades had nothing to do with my artworks. And yet my best drawings and paintings are graded the lowest. At the same time the art professors are taking my works home. I always find empty walls where my works were displayed for the semester shows. Sooner or later the missing artworks got me enraged. My classmates tell me the back story on what REALLY had happened. All the art professors usually go the painting major's finals. So they just took my artworks right off the wall. Ever since I heard this back story I flaunt how IDGAF to even pick up my works with the bad grades after the finals end. Like a bunch of some doomsday looters in sight of an electronic store the art students same as the teachers vultured my artworks. Later some of my paintings and drawings were seen at the school's museum, especially the paintings. The story of the artworks snatched off my exhibit wall developed further. In the art school the art teachers are the privileged kind who exhibit regularly. All are the accomplished artists with big names. Another thing about my artworks (no longer mine and in someone else's possession) is the story that involves someone with the top art rep being the art dynasty. Even so it happed that the leading art professor nicknamed Molly (for her annoying facial mole) used my art stuff to have her son who studied same years as me, just never expelled, to apply to an art academy with the highest qualification requirements. Molly's son portfolio sucked. To get him qualified to apply she gave her son all of my artworks she collected. The juice was given to me by the reliable sources. The story was concurred by the eye--witnesses the students who were applying to the same academy together with Molly's son. Some of these students knew my work by the style, special color palette and the brushwork. They all knew that Molly's son was using my artworks. He only had to forge his signature and remove mine. en.wikipedia.org/wiki/Study_(art) My drawings, sketches, paintings, watercolors are in "wide" use by others. I tell that to describe the routine of my life. It could explain why I was expelled three times for the chronic absence, for sabotaging the lectures -- getting my classmates to leave the studio and go to the movies or to the beach. Fast forward to that event of the breaking point when I started to work systematically. I was sucked into work as if a drug addiction. I was penetrating deeper to the very core of creativity. Reading books, going to the museums, working in the field, working in the museums to copy masters. I completely forgot all about life around me. Practically I was devoured and digested with my nails and hair by that devil called the academic art. It sucked out the leftovers of my soul. I stayed in the studio after the classes to work. There were only few students like this, spiritually close to me. To them it was their life style since the day they had entered the art school unlike me. Whenever I'd get bored with art I'd quit working and just leave without asking permission. Now as if something had hit me hard and I started to really work. Most art students here typically come from such backgrounds when they did their baby steps and studied in the children's (secondary) art school from an early age and tutored by art teachers at home I had a tendency to take on a higher complexity unprepared without the experience of any art school training (the eight years on a daily basic with teachers and methodical practice.) As long as I remember myself I was drawing, during my school years, on the notebooks, with chalk on the asphalt, with stick on the sand. I did it subconsciously, not knowing what I was doing. IDK, could be due to the several bad bike accidents when my head ended up hitting the brick... Why did my brain moved into the direction of noticing those things that normal people should not be noticing? That the leaves on the trees are not at all green, but violet. The falling shadows from the street lights are not at all outlined by black, the contours are the absolute blue. The trees look like people. There are so much more shades of colors that language could articulate. Stuff like this filled up my head so that there was no place left for just a thought about girls, more so even the thoughts to manipulate my body functions. For instance using the bathroom. I almost peed my pants. Truthfully I was on the edge of madness. I remember how I hallucinated during my work imagining that someone had come into my studio and I spoke to "the guest." My brain was ill, there was no escape from that hell. en.wikipedia.org/wiki/Violet_(color) Once I was walking on a street without any awareness. My mind was no longer in command of anything accept the obsession with my painting. As I was pushing the limits of what was humanly possible in a matter of progress from the previous stage when I could draw and paint with intuitive results now I considered as totally armature waste of art materials. My condition would be hard to describe since I could hardly remember what was it like during that madly intense period. I know that I was working non--stop and did make some major break through. It worked but at the same time the progress turned its evil side, I wasn't able to stop even for a brief moment. Something happened to my otherwise incorruptible memory that I could only remember few things from that period. And one of those things was my death walk through the city streets on a day I was supposed to disappear. When I realized that I was walking automatically, blind and incredibly avoiding the cars, for the first time I felt the fear of madness that can easily take my life. It wasn't something I would fear if I was in my other life when loosing it would be quite an ordinary thing and not due to my lost mind. Whatever it was I survived with no chances to stay alive that day. I had more chances to live on when I was shot at execution style, when I was drowning in bad storm, climbing on a building like a cat, and on many others such occasions. Some guardian angel was looking over me as I came to the final moment of certain death, blind, deaf, disoriented and delusional. As we finished with draperies, still life, gypsum figures we moved on to the nude. To draw and paint from the live sitter, male or female model. There comes an old fat hag to be posed before the artists. She will be POSING even during the breaks. She sits professionally without a slight move of her flab folds for us to draw her “forms”. ‘assume it was done for the boys not to get distracted with the female anatomy. The models with “rounded” forms were chosen so we would study the reflects and double reflects on a “sphere-like” and “cylinder-like” forms. There would be plenty of the cast shadow (a type of shadow that is created on a form), and a drop shadow ( below the image). en.wikipedia.org/wiki/List_of_human_positions en.wikipedia.org/wiki/Figure_study The working objective was to concentrate on the drawing’s construction. When we’d get a young female model, she’d be so skeletal that we studied the skeleton. This type of models was as unattractive as the fat ones. The art students without an eye for a drawing and technique produced their works of caricature quality. With the lost proportions the models looked like animals, skinny chickens or fat frogs. For me it was a serious job, body didn’t exist. I x-rayed the flubs of fat to see the bones to connect them to muscles, to build a form. en.wikipedia.org/wiki/Caricature en.wikipedia.org/wiki/Muscle en.wikipedia.org/wiki/Skeleton en.wikipedia.org/wiki/Human_skeleton The illness I call the overdose had progressed and my end was near. Homies who knew me used to say that I was cracked. When I moved from the classicism to modern (I refused to see any modern or contemporary art, never wanted to see it, or ever saw it) I entered the Modern art on my own, as my foot stepped into the forth dimension. I entered the world of mad pressure. Good I stepped in it one foot yet. I was sleeping in the studio right on the floor near my work and placed an electric heater near by. It was impossible to heat up whole place where fifty heavy-duty easels only took a quarter of the studio space. In the center there was a huge round stage made from a special hard wood to hold any number of models when needed for the multiple human-figure compositions. The place was full of easels, portable and the large for the field. The chairs, tables, palettes, boxes with paint, cases with paper and lots of other art stuff piled up into mountains. The parquet floor was always covered in fresh oil paints even though the teachers tried in vein to prove a fact that working neatly was by far more productive. We had a dormitory built same year as the art school which was 150 something years ago. If you stayed late in the studio that was forbidden, you couldn't get to the dorm. A guard at the main door was a real watch dog, he faithfully guarded the pathway knowing every student's face. The dorm was occupied by those who couldn't pay for a room or the apartment in the city. Ten beds were squeezed in a dorm room. This part of the antique building was never renovated probably b/c it was planned to be turned into more art studios. But since there were out of town students who had no place to live they were given a place in this dorm. The beds were of a good prison-like quality so the survival was possible. Another thing is what was happening in the dorm. On a typical day nobody there had any money left after the expensive art materials. Not a penny to get high. Alcoholic liquid (40-60%) was soaked into the bread. From one bite of that bread you could instantly drop dead as if your legs got cut off by a train. The receptors inside the nose absorb the fumes to hit right into the brain, this way the booze doesn't ever enter the digestive system and blood. It kills or makes one go bonkers. Some pissheads in desperation poured vodka into a wine bottle cap to inhale it like coke. After one cap screw it was a total alchoholocaust. There were many ways of economizing: to use a medical thin rubber tube to suck the drink very slowly, one bottle would serve four alkies. It was the usual schizophrenic day for me. I had my dose of coffee and ate on a way to the studio. Those days I didn't miss a class afraid to get expelled for the last and final time. I couldn't understand this thing about my artworks. Why did my classmates literally begged on their knees to have the C-graded artworks I was never satisfied with. It became my trade mark to give away all of my stuff left and right. I didn't know why I let go of my drawings and paintings so easy. Now I regret that. It would be interesting to see the growth. Once I happened to tell a guy from my class who worked very hard on his drawing (he wasn't a good draftsman): "Oh Wow! you are doing a lot of progress, buddy, congrats!" I looked at his portfolio and pointed at a piece: "This drawing here is really mature and quite interesting, you achieved volume and air in just a linear drawing." The guy suddenly goes red, stares at me wide-eyed with anger or confusion I couldn't quite understand... "Am I saying something wrong?" I asked. "You're fucking dissing me!" He answered. "Why?" I wondered. "This is YOUR drawing," Was the answer: "I took it, that is when I asked you and you gave it to me, don't you remember?" I didn't recognize, didn't see my signature, as it was overlapping the drawing. The guy was holding a grudge for this but it didn't turn him into one of my enemies. At some point I am thankful to the teachers for their sneaky methods and experience on how to tame the most unruly and bring them into the art's stable. On the other hand these people were like sadistic fascists who used their special gases on me experimenting, would I survive it and live on. The bohemian hyped up life only started after the classes at about seven in the evening. This part of the artist's life was full of sex, booze, and drugs, more sex booze drugs and orgies. The art youth was progressive, the sex - communal with the conveniently shared girlfriends and boyfriends. Strangely the good times didn't concern me anymore now. There was a small group of idiots who followed their criteria of achievement: to draw and paint a vase with flowers so that it comes to life, right out of the canvas to the carrying hands of the one who painted it. The flowers turned alive would be given to the girl/boyfriend. The madness of the 4th dimension. The art group was lead by me and another guy soon (one month later) to disappear forever for the reasons unknown. After the classes me and few others searched for a studio. Found it. Not my studio. Any studio with the door unlocked. As usual I would set a still life. Take off my nazi coat. Set my next canvas on the easel to start quick sketching. Out of nowhere shows up some dude who was a new student, he was much older, about twenty three, somewhere from Texas and just plain untalented. He wanted to hang around with "the power-group" to learn. There were few girls with the ambition to reach the level of a manly hand in creation. We all usually worked in grave silence and even a slight noise would be extremely annoying. If a brush would fall it seemed the atomic bomb had exploded somewhere near. We would exchange vicious cursing at the jittery creaking sneezing noise maker. When you are focusing intensely and can't quite catch the brush stroke to complete the shaping of a form so that the image would turn real and come out of the flat surface the nerves are high strung to the limit. The last months I just never left the studio, didn't even come outside. Slept on my German coat in the corner. It was veiled with the drapery. I'd wake up in the morning. The doorman was already used to give me the keys knowing that I sleep and work there. It came with a warning that if I am discovered I must tell any story and solemnly kept the secret. The memories from those years distract me from telling what I want. It's about the event that had closed for me the entry into the forth dimension. That day I was getting upset over some stupid teases: "What had happened to you!" Whether the bros wanted to elevate my mental state, or they needed to get my works it had really caused me distraction. I was focusing on my work. Suddenly I hear the sounds of music in the studio. It jumped me: “Are you out of your fucking minds? That asshole doorman will come here." "No he ain’t gonna." "Why?" "He is passed out, we had to carry him away." Was the answer. "What is going down?" I worried. "Not much, nothing is going down, we just want some fun. The way it is on here is so buzz-killing." Was it some holiday, I didn’t know. Holidays passed by me, I didn’t smoke or drink and only worked. What they were saying didn’t reach me. “Shut down the music. You’re gone but I must sleep here." "Why must you sleep here?" Asked Lorenzo (nick-named after his personal preferences of the Benzos) "Hmm, I guess there will be no way of working today?" I asked. "Working, way working, you gonna make me some home works," Assured me the dude nicknamed Kuz. "For that I will make your sculpture complete." As interesting as it was to play with the real forms in sculpting I disliked dealing with the clay. Those times I believed the painting to be so much more in gradations, possibilities and complexity. Now I changed my mind to consider any art media possess the unlimited possibilities. I agreed. Suddenly the guys were fixing to leave and I had to ask: "So? Who will finish building up the sculpture if you're leaving?" "No worries, will build it up, brb just a quick run for some booze before the stores closed up." "What booze? Get out of here go to another studio. I work, don’t mess me up." "No biggie, son, you can rest for once." It was pointless to argue, they'd already been drunk and I was only getting nervous. My work wasn’t going good at all. I have changed the lighting set up many ways in vein. Suddenly, out of nowhere Muse appears. A young, very-very attractive girl about eighteen. The returned gang introduced her to me: "J-Sin, meet her... lets say Nicky." "Eh, hello Nicky, who and what are you?" were my greetings. She smiled to everyone and answered: "I will be posing for you today." "We agreed about everything, will pay the price,” –explained Lorenzo barely moving his tongue, "She is gonna be happy!" His bag full of bottles made loud clanking noise. When the drunks got them out I counted six. “Yes, this is going to be a wild night.” I was thinking what to do now. I approached the model, took off her coat and hanged it, removed her blouse and explained that she can go behind the curtain. "Hey, hey! What curtain son, what’s with you? She is from the med school, our people!" I heard the Kuz's inebriated voice. "She is THE model!" "What -- nude?" I wondered. "And what did you think, she'd sit covered up in here?" They burst into laughter. Suddenly I feel elated with the anticipation of the new and amazing subject for the work. I was fed up with the poor set up and the struggle to "find" the good lighting for the gypsum head. How wonderful it turned out that I could make some picturesque oil sketches. When the model took off her bra, her young breasts, her nipples instantly distract my attention from work. Shit, I couldn’t focus. Since we hadn’t a glimpse at such models it was too interesting. Could be that something about this evening or the environment was different. First time in a long while the music was playing, the glasses jingled and filled up with wine. As she posed we were all doing the quick sketching. She removed everything except her panties. The drunken assholes wouldn’t let me focus. "Let me finally have a chance to work." I yelled getting distracted. They seemed to try bargaining: "We brought you the model, hey girl turn around!" Kuz pulled up her skirt and slapped her buddy. "Look at these buns, you've got to do another drawing for the semester show." "Boys, you are so bad!" She giggled to Kuz. "I will spank you for being soooo bad!" And she was laughing in most contagious sexy trills of her childish capricious voice. I didn’t understand what these die--hard drunks were doing at the art school, without any talent or interest in art. My former palls in another life that was long forgotten. Today the serious artists who always worked together with me had left the moment this bad company swam by. Now I was looking at their watery eyes winking at the model. They caressed her things as she reclined on the wooden stage to rest. I wanted to figure out why did they distract me even more now? I was the same age as the model. I didn’t see her body, to me now it was the model for painting. It was getting late when the cold winds penetrate the place from the drafty wall size windows. I put on my sweater in the starting freezer. The one meter or the three feet and 33/8 inch walls are like the thermos to absorb and hold the cool temperature. I looked at the laughing bunch who labored on my sculpture. One was drawing a huge flying dick with wings with a charcoal right on a white wall. I had finished sketching the figure. I came up to the stage to set up the heater. I asked the model if she could sit some more taking breaks whenever she needs to move. When she looked at me she was constantly smiling. "Sure she’ll sit! And she'll lay, right, sweet buns?" I held my breath working imagining how awesome would be to have such a model every day. With a shaky hand I was working fast as a machine expecting any minute now she would say that she is too cold to sit another minute and she leaves, its all over. I will have to kill her and sit her lifeless body on a chair to complete my work. “Shit! Shit! Shit!" The heater I placed caused the red reflexes on the body. I was painting and had to get the color right. So I removed the heater. The model immediately complained about the cold. Kuz brought her a glass of wine asking me why did I remove the heater. From wine her face flushed red. I tried to adjust the color scale, laying brushstrokes over the whole figure. Meanwhile the music turned up it was getting real loud. The model took her break. I walked after her studying her forms. "Is something wrong?" She asked. "Its all right, could you turn this way." "Oh, I see. Same in our med school, the nut cases," She openly declared to the others when I was on a floor looking from a lower viewpoint. "Who is this?" She asked: "What kind of a mental is he?" "Its a disease, but it will pass" – was the answer for her. "Sometimes it is terminal. Not his tho, his will pass, he loves the young girls very much…" Something from the stupid jokes had reached me. "Hon, now he needs the medical attention. You are the medic? We are forever in debt to yous for allowing us come to the mortuary and for helping with the dead bodies... What we have here is a zombie. You are the goddess who saves the body as your calling." What I heard was polluting my pure artistic brain with that life I refused. Now I was paying attention not to the mammary glands but to her breasts. Her back muscles are slightly weak. As I looked over the skeleton the muscles slowly disappeared. No matter how hard I tried to focus my x-rays were weakened. Maybe the electricity turned off inside my head. "Pour me some," I asked. Six months of my immaculate virginity and celibacy was broken by a wine glass. The red wine like the blood of innocents was running in my throat filling up the brain that shortly was boiling with vigor. So I said: "Could you please remove your panties?" "It wasn’t the deal," protested the model with her eyes glowing like honey. Lorenzo interrupted her: "For god’s sake, take of your panties, what is it to you, aren't you a medic?" "I thought someone here was shy, as for me" She lustfully licked her lips. "Well, of course its nothing." "Who is shy?" Asked someone. "Him the weirdo!" She giggled in a very cute bubbly little voice. "Are you shy?" "It seems it was me who asked her to remove the panties." I explained. She just jumped right out of her panties not without pleasure it seemed. I imagined how to position her, what pose should she take. "Hey!" I asked Kuz to pour me another glass. He was cheering me on yet reminding that I should first finish the drawing. "Later," I mumbled turning to the model: "Would you please sit on a chair and spread your pretty legs a little, as much as you wish." "Hey, Alex, so he is normal?" She asked. I was far away from normality. A actual girl weaved from the reality. But the process was a transformation with splitting dimensions. She was turning more real when I touched her to show how to position her legs. I glimpsed at the red pubic hair seeing the pink flesh of her vaginal lips. I couldn't focus on my work. Could the “female anatomy” destroy the temple of magic I was erecting for the eight months? I returned to my easel and continued working. She was fidgeting changing poses uncomfortable this something hurting that... But it was only natural, she was sitting naked on a plain hard wooden chair. She was sliding from one side of the chair to another. I was buzzed from wine and couldn’t work, but I tried to complete my work just to annoy these assholes who screwed up my day. First work was washed off with turpentine and I wiped up the canvas dry with a rag. I was sketching now not with a charcoal but brushing in umber. It resulted in an interesting tonality and I was captured again. The model squirming on her hard chair complained. "Yo, why don’t you lay her down, what is she suffering for?" Asked Alex, "Lay her the fuck down, why not." Right! I thought a little and told her to lay on the stage. Underneath her I spread some drapery. After few wine glasses I took off my sweater, my cheeks were on fire. Hers too. I unbuttoned my shirt, my blood was boiling, the body was washed with the warmth. The heater was moved away. "So true that wine warms you up," she said to Alex. "Jay, so tell me how to lay her down there. Sit, sit, you poor thingy, I'll assist you" And he jumped on the stage. "Do you want her legs spread this way?" he asked opening up her legs so that her whole anatomy was showing. "Is this ok for you?" He winked at me: "Is it good?" "Oh no, can’t show it like this at the mid-semester show." Thinking some I added: " Let it be, lift her leg a little higher, like this. Turn her head down." "Like this?" He kissed her on the lips. "Alex, the fuck you're doing, I don’t have any time." "Work, keep drawing, go on!" he said. "We won’t disturb you." I was outraged after I just washed everything off my canvas ready to work, but this wasn't going anywhere. I kept asking Alex what did he mean by not disturbing me when he messed everything up. I heard the girls laughing trills. "For real, he is ill!" "The sick can be cured." Insisted Alex. "Will hill him." He slurred. Of course, I own them my very life. If it weren't for them –- that’s it, finito. Kissing her on the lips and winking at me Alex continued bugging me: “Is this right?” For like ten minutes I was staring in the infinity in the emptiness… Then I yelled: "Why are you sucking her? Get away from her, let her lay there quietly." Only to hear some nonsensical mumbling. "But I want you to work on the position, is this position right?" "Right, just fuck off of her." Meanwhile Kuz, I noticed, was taking off his pants. He said: “Let him go fuck himself. Motherfucker is gonna fuck us up today, if he doesn’t want it, so fuck it.” Now I thought I knew what they wanted from me. I saw Alex’s naked butt as he laid on the stage, banging the girl and his ass wiggled. I started sketching their nude asses. My consciousness was still in the process of transforming. I thought of how interesting were their poses. Lorenzo came up to me and took the brushes from my hands placing all in my field easel he closed up. "Listen, J-man, you’re being a fucking buzzkill. Go draw some vases, fuck off to another studio. You don’t want it. For free?" I didn't understand him what did he mean. He explained: "What do you see Alex is doing right now?" "He is fucking his girlfriend." I said. Lorenzo continued: "Whose girlfriend? What we have here is a scientist, from the med school who is helping us in our artistic quests, to understand the core of anatomy not only from the outside but from the inside. I recommend you, in order to comprehend, as you must know, you can only know the truth from the inside, experiencing the inside, to understand the outside. That’s why I seize the brushes. Here is another glass of wine. Drink!" I looked at him as a doctor listening to his drunken bullshit. "The most important thing for you is to understand from the inside. See, you can’t understand it from the outside, it’s not how things are done." "Yes knowing the internal anatomy helps, take a muscle, body doesn’t exist without muscles." I agreed. "Hell yeah, yeah… ha ha…that’s what I am going about. Look how Alex is working how he is learning." I looked at the bare ass's motions back and forth, at the girl who was lifting her legs and actively moving her hips. Alex jumped off, wiped up his cock with the drapery, he also wiped out the girl. “Who is next?” Kuz was kissing her from one side, when Lorenzo said: "He worked very hard today, he must learn from the inside. You see, because he just can’t break through the inside." When Kuz was mounting her, Lorenzo spanked him loudly: "You can wait, the man needs the muse, get it? Understanding the Muse comes only from the inside.." They all bust into laughter. Lorenzo nearly helped my cock inside the girl cheering on: "Just do it, little one, everything is gonna be great. Honey, turn him back into a soldier that we've lost." "The man is gone, the man known yesterday is not the man you meet, forever, around the corner, in London or in the street..." chanted Nick appearing from nowhere. He continued slurring his poems. Hearing the noise I didn’t know what’s going on as I kissed her breasts. "Feel the forms." I heard the racket near by as I was buzzing off the wine and licking the girl's body. On the other side Lorenzo had joined in groping her breasts. To be more at ease I moved her body closer to the stage’s edge. I was on top. I didn't hear any sounds of music, the entry door was covered with the draperies as the orgy just steamed up for the whole night. I woke up on the stage from loud knocking. The art students asked me what happened to the busted still life set. I exhaled my dragon breath to hear no more questions. Took my coat and left the building. Walking the street I met Alex. "Your face is not yet blushed, your eyes are a bit foggy, can’t say anything after the sleepless night. Like Cures Like." He grinned getting money out of his pocket. "Let us get some treatment." We walked to the known spot for aching heads gathering.



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