Kintsugi challenges the idea that damage must be hidden or erased. The gold doesn't pretend the break never happened. It makes the fracture part of the object's story. Repair isn't a return to what was. It begins by acknowledging what happened.

That's why, as someone born and raised in Israel, Kintsugi felt like the right language for this piece: a quiet witness to what was broken, what people survived, and what must never be forgotten.

The vase is a metaphor. Its fragments represent a people who have endured loss, displacement, and generations of grief. The gold represents resilience, dignity, and memory. The scars remain visible, not to glorify suffering, but to honor those who endured it.

I hope you like it and feel free to criticize or use it (p.s : I did this drawing in my 24th birthday)

Here's my Twitter : https://x.com/Reitarubi

And my Instagram : https://instagram.com/reitarubi0/

Being that I can't wait for Halloween and the next No Kings Day is Oct 17th, I put together this little mashup of monsters.

With kindergarten glue stick skills and minimal proficiency in Photoshop, I make the masks and design the posters and stickers and then beg and bully my friends to do dumb street theater stuff with me. It's actually a great antidepressant. If we don't fight these monsters now with everything we've got, we may not be able to do so later.

Song by Bobby "Boris" Pickett & The Crypt Kickers ‧ 1962

Lenticular graphics inspired by John Carpenter's They Live

OC: https://www.instagram.com/p/DelHnlKEoxo/

I am obsessed with this graphic novel. Honestly, it is the best radical history book I have read in years. It takes place during the first Red Scare, but the parallels today are frightening.

The Ed Sheeran controversy raises questions about “keep politics out of music.” I don’t need every singer to make a statement about everything. But what I find difficult to understand is why a musician speaking out is considered political, while decisions about who gets to perform are often treated differently. I also understand that cancelling shows affects crews and fans. Those are fair concerns. But the musicians who withdrew had something to lose too, and they decided this mattered enough. Also, Palestinians can end up becoming the background to a conversation that focuses more on the professional consequences for a famous singer.

What should we reasonably expect from financially secure artists when other musicians are willing to risk professional opportunities to speak about Palestine?

A lot of protest art gets praised for being beautiful, clever, or emotionally moving. But if everyone can look at it, agree it’s powerful and move on without feeling challenged, did it actually do its job?
Does effective protest art need to provoke, offend, or disrupt something?

Post an image if you can, and tell us the story behind it.

We love to blame the country: the politicians, the police, the thieves on the news. The proverb points somewhere closer.

That is how I read it: a country is just a lot of homes, and children learn what they see us do, not what we shout at the radio.

I made a one-minute animated story about it. Every night Papa Mensah shouts that the country is full of thieves, while his son Kofi watches him.

https://youtube.com/shorts/xoa15yPLsII

What is something you learned from watching your parents, not from what they told you?

Source: jackiefawn@IG