Category Speed Painting

Held by the Edges


“Above is the black night of heaven’s height;
Below is the green water billowing on.”
~ Li Bai

Old Kowloon

Inspired by a recent post regarding the old Kowloon walled city on MetaFilter — and particularly the amazing cross-section diagram generated by a Japanese expedition into the walled city shortly before its demolition.

(Feeling a bit rundown and cobbled-together myself right now. Blame it on the season.)

Green Fangoid

A portrait of the artist when failed by technology

My apologies for the lack of updates lately. Many small emergencies — especially small emergencies involving that disaster of a language named Perl — have a way of depleting one’s motivation. I was able to knock out this lovely self-portrait easily enough, though. Even the horrid draftsmanship and terrible composition are evocative of my current mood.

Now, let us all vigorously sweep the surface of our desks.

Gold Star, Outlaw Cat!

Outlaw Cat is surrounded by a treasury of stars.

Outlaw Cat can’t help himself around shiny things… like, you know, stars.

(Personally, I always preferred the red or green ones. Could use a few of those right about now.)

La Dame Bleue

The Blue Lady

A quick portrait.

Site 11: Tumble Home

Surviving illustration of USS Macon (ZRS-5) approaching canyon entrance somewhere near Site 11.

Stern view of the USS Macon (ZRS-5) becalmed before another canyon opening near Site 11 or Site 12 sometime in 1933. As previously stated, many documents related to the FORTUNE BLACK IDOL program are missing, encrypted using ciphers for which no decryption keys remain, or are misfiled. Most documents related to Site 11 fall into that category — perhaps purposefully, given the sensitive nature of the program. Fragmentary logs indicate Site 11 was given the code name TUMBLE HOME. We believe this reflects the extreme environmental conditions encountered there.

The Gated Key

A small junk passes before a gated key device half-sunk in an unidentified body of water.

The attached illustration recently turned up in the estate collection of a little known 20th century American artist. The illustration depicts a small junk-rigged sailboat passing between two sea stacks in a coastal area (possibly Thailand?). We note a distinct similarity between the central structure depicted in the Site 12 illustration titled “Kalopsian Abyss” and the far “sea stack” depicted here.

Both objects feature a ring structure which surrounds — but is disconnected from — a cylindrical object of approximately half the ring’s diameter. The TABLET RUBY DOOR program identified anomalous devices with this topology as “Gated Key” devices and recommends their immediate quarantine or demolition when discovered.

Site 12: Kalopsian Abyss

Illustration depicting the ZRS-5 tethered within the cavern at Site 12.

The second illustration related to the FORTUNE BLACK IDOL expedition’s discoveries at Site 12 (abbreviated record). The image is labeled ‘Kalopsian Abyss’ and depicts the interior of a vast cavern from a perspective high on one wall. A complex structure is suspended in the approximate center of the cavern. The expedition airship is tethered near the middle of the construct and provides a convenient measure of the construct’s immense scale.

There is enough evidence present in this image to tentatively classify the central construct a ‘gated key’ device as defined in TABLET RUBY DOOR. Given the scale of the artifact—and our conjectures regarding the origin and purpose of the other anomalies identified during FORTUNE BLACK IDOL —we strongly recommend the immediate quarantine (or demolition) of this construct.

Site 12: The Vacant Preception

A view into the cavern of 'The Vacant Preception'. Ancient structures and curious light are visible within the cavern.

This is the first of two illustrations documenting the FORTUNE BLACK IDOL expedition’s discovery of Site 12. The first illustration is labelled ‘The Vacant Preception’ and appears to concern the interior of a cavern. The walls of the cavern are lined with structures. The design of the structures appears to be similar to those depicted in illustrations of other sites—most notably Sites 1, 2, and 16.

The airship of the expedition is not visible in the illustration. Given this, our historians believe this work was based on the view from the observation platform at the bow of the airship on its approach to the anomaly.