art by beverly


Attention everybody, Ladies of Hannibal week has officially started! I thought this was as good a time as any to finally post the new scan I got of my piece for the banner. I’m looking forward to seeing a ton of new content for our kickass women on my dash!

This is Beverly Carole
Back story: She lost her creator/mother when she was 17. Her mother was murdered by a rival artist and left her homeless. Taking the deed to her mother’s art and lives on the streets.
Has strawberry blonde fur with green eyes.
She loved to draw and loved seeing the world. Has a locket under her clothes that also has a cross on it since she has faith. The locket has a picture of her mother then a picture of her with her mom.
She’s just trying to find her purpose in life and sells sketches to make some cash. She longs for a place to call home and even have a family, but hey not all dreams come true.
Personality: she’s pretty chill, cautious around those she doesn’t know but is friendly when she gets to know then. She adores children and is often helping kids on the street when she travels. The only exception to her being cautious is of someone is actually hurt. She despises killers and murderers due to her mother being killed. Also hated greedy people as well as cold people (she might not like Donald of she met him)
She is now 21, tries not to smoke around kids and loved cooking when she can. She had a sailor’s mouth when in raged. But if you gain her trust, she’s a loyal bunny. Has 2 beauty makes by her right eye and is curvy with a C-D cup chest.
Loves jazz. And sometimes sings a lullaby to kids.
(in my other story she likes oswald but it’s up to ya. Might color her later and have more about her.)

art by furrehfrenzeh

  • response:

lol “hates donald”; that’s a new XD

she’s great thanks

also it’s ok if she has a thing for ozzy, I just said that the main cast most likely wont fall for the ocs, the other way around is fine

she better run from the bends tho, he’s all about that bass B-)

Beverly Buchanan was born in North Carolina and spent most of her life in the American South. In her youth she often accompanied her father Walter, a professor of agriculture, on his surveys of rural farming communities, becoming fascinated with African-American practices of subsistence, self-determination, and storytelling. Keenly attuned to the relationship between place and history, Buchanan developed a sculptural practice that drew on the idioms of land art, post-minimal sculpture, and outsider art without ever aligning with a single style formally or temporally. Some of her best-known works are the “shack” sculptures she created up until her death. Combining a documentary impulse with improvisational, evocative construction, these miniature houses are the result of Buchanan’s sustained research into southern vernacular architecture. Categorized according to their particular styles, the sculptures were often paired with “legends” cobbled together by Buchanan, which serve to mythologize and commemorate the inhabitants of the original homes. Lest we view the objects with too much preciousness, the artist once set several of the shacks on fire in her backyard—a reference to the widespread racial violence of the Civil Rights era. Despite their frequent categorization under the (inherently problematic) term of “outsider art,” Buchanan’s shack sculptures share the same political ambitions of her frustula, ruins, and other work—a politics embedded in material and form and that emerges through slow processes of time, physical presence, and sustained attention.

Beverly Buchanan, Moonshine Man’s House, 2009