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minha filha isso é uva (my daughter this is grape)

@sweetsweetemo / sweetsweetemo.tumblr.com

once you've killed the bully in your head we can talk
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Pinned

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Blog info - last updated: 11th July 2026

Some boundaries for people who already follow me (feel free to unfollow/block me based on these)

  • Tumblr swallowed my Bio, so here's some basic info:
Name: Angel
Age: +18
★ he/him ★
Brazilian 🇧🇷
⚢ Fag&Dyke Solidarity ⚣
♡ if you send me hate I'll kiss you on the lips ♡
  • Please unfollow me if you're under 15
  • I won't tag the q word or the f slur, feel free to unfollow and block if those are triggers for you
  • I wont stand for fascist bullshit, get insta blocked loser
  • I made an art tag for you 🥺

If you're my mutual, get my discord via DMs

#pinned#my art#<- click that
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Reblogged thecreatureinthedark
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Actually you SHOULD make problematic content. You SHOULD explore dark or taboo topics. You SHOULD have a space where you can cope with your traumas or explore sensitive topics in a way that doesn't hurt anyone.

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Also you should make problematic content for funsies. You don't need to have had trauma or need to be coping in order to explore dark creativity. You can just be a human who wants to explore dark and taboo topics because you want to. That's completely normal, btw.

Every single person on this planet thinks about dark and taboo things. It's literally the most normal thing in the world.

Go draw the horror porn and be free.

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we should all be more like david cronenberg and write fucked up stuff. For Funsies

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Reblogged thecreatureinthedark
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I need more of Mortum and Ortega's drivalry or just Mortum/Ortega in general. I need it. I don't even care is Sidestep is involved or not I just want to know more about their dynamic.

#REAL
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Reblogged thecreatureinthedark
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Mammal in a Sunday Dress, by Georgina M. Cox, 2026

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Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

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tysm to @eden-evercrisp for inspiring me i decided that i will in fact do it <3

flower: mother of the evening/dames rocket

weather: sun shower

color: old mauve

food: fish and chips (her inspiration is british sorry guys)

beverage: a nice sunrise mimosa

object: surveillance camera

place: by a pond or a lake, preferrably far away from people

animal: babiest and scrungliest barn owl

#fhr#fhr sidestep#Cynthia Brown#my art
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Reblogged
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i hope tumblr dies a slow and painful death more slowly and painfully than every withering event in this website and i also wish the system continues haunting every hand that has had a play in its existence for the rest of eternity

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Reblogged amatres
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not every piece of art centered on a straight woman is "hetslop" and at some point it becomes misogyny to dismiss art abt women with that term

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Reblogged lambinajam
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Talking about medical gatekeeping in trans healthcare really feels like,

"Hey we should stop sending trans people to a fucking exorcist before they're allowed to transition? Since we know, scientifically, that demons are Not Fucking Real?"

"Ok but what if someone regrets transition though?"

"DEMONS ARE NOT FUCKING REAL."

"You really don't care about the possibility of regret?"

"DEMONS. ARE NOT. FUCKING. REAL. THE EXORCIST. HAS NOTHING TO DO. WITH REGRETTING ANY TRANSITION PROCEDURE. ON ACCOUNT OF EXORCISM BEING FAKE AND MADE UP."

"The trans community needs to talk more about transition regret. You have to acknowledge this, or you'll never get anywhere."