mirettes

trying to get out of an art slump…. dont really know if this helped since i kind of did whatever with the lines but uh anyway! this is based on a book i read as a kid, Mirette on the High Wire

in this AU, a local baker and his family takes in a retired trapeze artist, tikki. marinette becomes fascinated by her ability to walk on the wire and after some convincing, is taken in as tikki’s pupil. likewise, adrien, of a wealthy textile family, secretly learns how to walk the high wire by the company’s new employee, plagg, another retired trapeze artist. 

eventually, adrien and marinette become a preforming duo, using the stage names black cat and ladybug to hide their identities. 

4

Ike & Tina Turner and The Ikettes (1968)  

The Ikettes were a trio (sometimes quartet) an of female backing vocalists for the Ike & Tina Turner Revue. Despite their origins, the Ikettes became successful artists in their own right.  First known as the Artettes, the trio later changed it’s name and began to record in 1960 on the record “A Fool In Love.” The following year they recorded a hit for themselves with I’m Blue (The Gong-Gong Song). In 1965 the most well-known trio of Venetta Fields, Jessie Smith and Robbie Montgomery left the Ike & Tina Turner revue to record under the name The Mirettes. They were replaced and throughout the years they’ve been many different Ikettes.   

Entry #11 - Mercy

Idristan taps one finger impatiently on the railing as he looks down on the rest of the city. Night had come over Limsa Lominsa, though the white-haired Elezen didn’t seem to mind; there were certain benefits to being able to see aether, such as never having to worry someone might sneak up on you in the dark.

The downside was, of course, that it made large cities rather uncomfortable for him. The technique that Mirette had taught him took the edge off of his innate hunger, but he still didn’t like being surrounded by crowds–or at least, even less than he had back when he was entirely Elezen. Too much temptation, even now.

It was Mirette that was on his mind right now. Though he hadn’t seen the voidsent in a long time, she was never far from his thoughts. She couldn’t be.

He still wasn’t sure that he had made the right decision in letting her go off on her own. The wise thing to do would have been to send her back to the void while she was still weak, before she had a chance to get more aether and regain her strength. If she hurt someone now, it would ultimately be on his head as well.

But… he still wanted to believe that she could change, that he had been right to be merciful. Because if one could change, then maybe there was hope for the rest of them.

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“2.data”

∫ Oil & Digital anaglyph* paint on canvas ∫
. 170cm x 120cm.
. 67 “ x 47 ”.
————————————————————
* Toutes mes œuvres s'attelant à l'étreinte, de la peinture à l'huile et digitale, utilisent le procédé de la 3D anaglyphe! Un système purement mécanique permettant ainsi la manifestation de ces deux techniques dans l'espace tridimensionnel, expression finale de cette accointance entre le pigment et la macule numérique.
À défaut de ne pouvoir vous déplacer pour en observer l'union, chaque photo permet une retranscription exacte de l’anaglyphe, occultant cependant la facture physique naturelle de la touche huileuse. Pour en constater les effets, il vous suffit d'ajuster une paire de lunettes 3D (anaglyphe) à vos mirettes!
All my works, including oil and digital paint, use the process of the 3D anaglyph! A purely mechanical system allowing the appearance of these two techniques in the three-dimensional space, the final expression of this wedding between the pigment and the digital stain.
Every photo allows an exact retranscription of the anaglyph, erasing however the natural physical invoice of the oily touch. To observe the effects, you just have to put a 3D glasses (anaglyph) in front of your eyes!
~ Seconde et dernière phase de cette union entamée avec “Prawda” [travail autour de la matière numérique] l'an passé et s'employant désormais à concilier mojo originel et binaire (huile et digital / rapport plastique).
Prochaine expo le mois prochain… Корнишон имеет помидор! ~

❈ DISCUSS | EXHIB’ | SALE >> jf.fesil@gmail.com ❈

“4.data”

✥ Oil & Digital anaglyph* paint on canvas ✥
. 170cm x 120cm.
. 67 “ x 47 ”.
————————————————————
* Toutes mes œuvres s'attelant à l'étreinte, de la peinture à l'huile et digitale, utilisent le procédé de la 3D anaglyphe! Un système purement mécanique permettant ainsi la manifestation de ces deux techniques dans l'espace tridimensionnel, expression finale de cette accointance entre le pigment et la macule numérique.
À défaut de ne pouvoir vous déplacer pour en observer l'union, chaque photo permet une retranscription exacte de l’anaglyphe, occultant cependant la facture physique naturelle de la touche huileuse. Pour en constater les effets, il vous suffit d'ajuster une paire de lunettes 3D (anaglyphe) à vos mirettes!
All my works, including oil and digital paint, use the process of the 3D anaglyph! A purely mechanical system allowing the appearance of these two techniques in the three-dimensional space, the final expression of this wedding between the pigment and the digital stain.
Every photo allows an exact retranscription of the anaglyph, erasing however the natural physical invoice of the oily touch. To observe the effects, you just have to put a 3D glasses (anaglyph) in front of your eyes!
~ Seconde et dernière phase de cette union entamée avec “Prawda” [travail autour de la matière numérique] l'an passé et s'employant désormais à concilier mojo originel et binaire (huile et digital / rapport plastique).
Prochaine expo le mois prochain… שלום & חציל ! ~