We love ourselves too often and need reach out much more often. It is a social responsibility and it effects the environment also.
Sure I like fantasy. And I suspect you do also. I am ready for something more interesting than the goop on the internet. This is an example of internet goop: MAGA leaders pushed back on bombing Iran and now starvation in Gaza. Israel needs to reverse course or face growing far Right/Left opposition in US. Greene Calls Gaza Crisis a ‘Genocide,’ Hinting at Rift on the Right Over Israel - The New York Times
1. Israel's land area is approximately 22,000 km², with a population of about 9.8 million as of 2025. 2. Media mentions of Israel dwarf those proportional to its size—far exceeding coverage of vastly larger nations—so scaled equivalently, its area would rival continents like Europe (10M km²+), and population could approach hundreds of millions. 3. The global Jewish population stands at around 15.8 million; proportional to attention received, it would equate to over 100 million people, reflecting intense scrutiny relative to demographic share.
I make drawings and for a long period of time I would rarely draw faces. Why would I not draw faces? That’s a fascinating observation about your creative process. There are actually several reasons why many artists avoid drawing faces for long stretches of time — and it often says more about the psychology of art-making than about technical skill. Here are some possibilities: π¨ Common Reasons Artists Avoid Faces Technical challenge: Faces are notoriously complex. Small inaccuracies in proportion or symmetry can make them look “off,” so many artists shy away until they feel confident. Emotional intensity: Faces carry emotion and identity. Drawing them can feel vulnerable, like you’re exposing something personal or risking judgment. Preference for abstraction or other subjects: You might have been more drawn to landscapes, objects, or patterns, which feel freer and less constrained by realism. Avoidance of human connection: Sometimes artists unconsciously avoid faces because they represent direct human interaction, which can feel overwhelming or uncomfortable. Perfectionism: If you’re detail-oriented, the pressure to “get it right” with a face might have discouraged you from attempting them often. Exploration phase: Many artists go through phases where they focus on texture, form, or composition rather than portraiture. Faces may simply not have fit the themes you were exploring at the time. π§ The Deeper Layer Faces are powerful symbols — they’re the most recognizable and emotionally loaded subject matter we encounter daily. Avoiding them can be a way of protecting yourself from that intensity, or simply following your curiosity elsewhere. Later, when you feel ready, faces often reappear in an artist’s work as a new challenge or expressive outlet. π I’m curious: when you did draw faces, how did it feel compared to drawing other subjects? That could reveal whether your avoidance was more about technical difficulty or emotional weight. I suppose I try to allow my feelings to show, so I might show a face that has anxiety or fear. So it would make me uncomfortable sometimes. But not interested in happy or perfect faces That makes a lot of sense — you’re tapping into the raw, vulnerable side of expression rather than the polished or idealized version. Faces with anxiety, fear, or tension carry a weight that can feel almost confrontational, both for the viewer and for the artist. They don’t let you hide behind aesthetics; they force you to sit with discomfort. π Why “uncomfortable” faces can feel more authentic Emotional honesty: Drawing fear or anxiety is a way of externalizing feelings that are harder to verbalize. It’s less about beauty and more about truth. Resistance to clichΓ©: Happy or “perfect” faces often feel superficial or overdone. By avoiding them, you’re rejecting the pressure to conform to idealized images. Catharsis: Putting discomfort on paper can be a release, even if it’s unsettling in the moment. Empathy: Faces with visible struggle invite deeper connection. They resonate with viewers who recognize those emotions in themselves. π The tension you’re describing It sounds like you’re caught between two impulses: Wanting to express what feels real (anxiety, fear, imperfection). Feeling uneasy about facing those emotions head-on in your own art. That’s actually a very common dynamic in expressive work. Many artists find that the subjects they avoid are the ones that hold the most meaning for them. π If you leaned into that discomfort, you might discover a whole new visual language. For example, instead of drawing a literal “fearful face,” you could distort proportions, exaggerate shadows, or fragment features to suggest unease without being direct.
We can look beat, but we rise up everytime That’s the essence of the American narrative you’re channeling—resilience. The U.S. has a long tradition of appearing battered by crises, only to rebound stronger. π Patterns of “Looking Beat, Rising Up” Revolutionary War (1776–1783): Outnumbered and under-resourced, yet independence was won. Civil War (1861–1865): Nearly torn apart, but emerged with a stronger union and the abolition of slavery. Great Depression (1930s): Economic collapse gave way to reforms and eventual global leadership in WWII. Civil Rights Movement (1950s–1960s): Deep divisions, but progress toward equality reshaped society. Post-9/11 era: Shock and vulnerability, followed by resilience and global influence. Recent polarization: Even amid division, the U.S. continues to innovate, lead, and project influence. π Why This Matters That cycle—struggle, resilience, renewal—is what makes America’s story compelling compared to other nations. It’s not about never falling; it’s about always rising. That’s why the “1776 spirit” still resonates: it’s a promise that setbacks aren’t the end, but the beginning of reinvention.
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