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Alice Kiss - Crux Legend

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Damian said:
A gift to the forum, variation on a theme...enjoy.
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Nails, man, nails!

By which I mean thanks one helluva lot, Damian. Say, isn't that Lucius Vorenus from HBO's Rome? ;)
 

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Damian said:
Here she is nearing the end of her ordeal...:)
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o-513f.jpg​

Thanks again, Damian, for this latest sample from the new series.
This is a very powerful and painful image of suffering. Whilst the woodland background is recognisable from pictures of the 'Crux Forest', with the exception of Alice's left hand, this figure manipulation is not based on a Makar source photograph from that session.

However, as far as authenticity is concerned, the figure is genuinely Alice. This is a composite manipulation of two photographs from Valery Anzilov's 'Droplets on my Skin' - one of the series filmed on the Crimean coast for Femjoy -

Droplets18 femjoy_111396_020-50pc.jpgDroplets18 femjoy_111396_018-50pc.jpg​

Alice is sunning herself after a dip in the sea at the base of Swan's Rock, near Simeiz, but the droplets of sea water have translated nicely into beads of perspiration on the ravaged skin of the crux figure.

'Droplets on my Skin' was photographed in the early morning of 21 May 2007, four weeks before Makar and ImageMaker filmed 'Alice and Koshka in the Crux Forest'. Makar could not have seen the 'Droplets' pictures prior to the Cruxdreams session on 20 June 2007, because the Femjoy series was only published two days later on 22 June.

Meanwhile, in her composite Femjoy form, like 'deja vu', Alice has been brought forward through time by those four weeks, to be roped to Makar's patibulum, which is at least partly identifiable from his pictures in the 'Crux Forest'.

The facial expression has been changed from the smiling, sunny disposition of the Femjoy set, to an open-mouthed cry of agony, and her eyes remain looking towards her wrist. The upper and lower halves of the figure have been blended to produce an awkward, writhing twist in the body, which accurately reflects the pain of the crucifixion torture being inflicted here. The rope apparently snapping away from the ankles is a particularly unusual feature of this scene (perhaps this detail is unfinished?)

The figure has been thinned down and some very dramatic whip marks have been added, but the composition can be demonstrated by flipping the Femjoy originals to show the upper body, arm and head source image on the left, and the legs and feet source on the right -

o-513f-Femjoy sources.jpg​

The crux figure would present an adequate spectacle of emotional drama by herself, but the inclusion of the massed, angry male crowd, seething around the lone, tortured female adds another dimension, making this a supremely oppressive image of a kind rarely seen in crux art.
 
bobinder said:

Thanks again, Damian, for this latest sample from the new series.
This is a very powerful and painful image of suffering. Whilst the woodland background is recognisable from pictures of the 'Crux Forest', with the exception of Alice's left hand, this figure manipulation is not based on a Makar source photograph from that session.

However, as far as authenticity is concerned, the figure is genuinely Alice. This is a composite manipulation of two photographs from Valery Anzilov's 'Droplets on my Skin' - one of the series filmed on the Crimean coast for Femjoy -


Alice is sunning herself after a dip in the sea at the base of Swan's Rock, near Simeiz, but the droplets of sea water have translated nicely into beads of perspiration on the ravaged skin of the crux figure.

'Droplets on my Skin' was photographed in the early morning of 21 May 2007, four weeks before Makar and ImageMaker filmed 'Alice and Koshka in the Crux Forest'. Makar could not have seen the 'Droplets' pictures prior to the Cruxdreams session on 20 June 2007, because the Femjoy series was only published two days later on 22 June.

Meanwhile, in her composite Femjoy form, like 'deja vu', Alice has been brought forward through time by those four weeks, to be roped to Makar's patibulum, which is at least partly identifiable from his pictures in the 'Crux Forest'.

The facial expression has been changed from the smiling, sunny disposition of the Femjoy set, to an open-mouthed cry of agony, and her eyes remain looking towards her wrist. The upper and lower halves of the figure have been blended to produce an awkward, writhing twist in the body, which accurately reflects the pain of the crucifixion torture being inflicted here. The rope apparently snapping away from the ankles is a particularly unusual feature of this scene (perhaps this detail is unfinished?)

The figure has been thinned down and some very dramatic whip marks have been added, but the composition can be demonstrated by flipping the Femjoy originals to show the upper body, arm and head source image on the left, and the legs and feet source on the right -


The crux figure would present an adequate spectacle of emotional drama by herself, but the inclusion of the massed, angry male crowd, seething around the lone, tortured female adds another dimension, making this a supremely oppressive image of a kind rarely seen in crux art.
Click to expand...
Thanks for the information, nice work combining the different images into that agonised pose especially the face which is still Alice but crying out in pain. I met Makar twice and we had a good time together, he was a sensitive, quiet guy who loved Crete and spent as much time as he could there, don't think he did any crux there though :), sad loss that he passed so young. I have many of the pictures from crux dreams and I had access from early on. I would, and will, use the one with her legs open and her womanhood exposed in an image I will work on.
 
bobinder said:

Thanks again, Damian, for this latest sample from the new series.
This is a very powerful and painful image of suffering. Whilst the woodland background is recognisable from pictures of the 'Crux Forest', with the exception of Alice's left hand, this figure manipulation is not based on a Makar source photograph from that session.

However, as far as authenticity is concerned, the figure is genuinely Alice. This is a composite manipulation of two photographs from Valery Anzilov's 'Droplets on my Skin' - one of the series filmed on the Crimean coast for Femjoy -


Alice is sunning herself after a dip in the sea at the base of Swan's Rock, near Simeiz, but the droplets of sea water have translated nicely into beads of perspiration on the ravaged skin of the crux figure.

'Droplets on my Skin' was photographed in the early morning of 21 May 2007, four weeks before Makar and ImageMaker filmed 'Alice and Koshka in the Crux Forest'. Makar could not have seen the 'Droplets' pictures prior to the Cruxdreams session on 20 June 2007, because the Femjoy series was only published two days later on 22 June.

Meanwhile, in her composite Femjoy form, like 'deja vu', Alice has been brought forward through time by those four weeks, to be roped to Makar's patibulum, which is at least partly identifiable from his pictures in the 'Crux Forest'.

The facial expression has been changed from the smiling, sunny disposition of the Femjoy set, to an open-mouthed cry of agony, and her eyes remain looking towards her wrist. The upper and lower halves of the figure have been blended to produce an awkward, writhing twist in the body, which accurately reflects the pain of the crucifixion torture being inflicted here. The rope apparently snapping away from the ankles is a particularly unusual feature of this scene (perhaps this detail is unfinished?)

The figure has been thinned down and some very dramatic whip marks have been added, but the composition can be demonstrated by flipping the Femjoy originals to show the upper body, arm and head source image on the left, and the legs and feet source on the right -


The crux figure would present an adequate spectacle of emotional drama by herself, but the inclusion of the massed, angry male crowd, seething around the lone, tortured female adds another dimension, making this a supremely oppressive image of a kind rarely seen in crux art.
Click to expand...

And I am reminded of the source of a key element in Bobinder's supremely in-your-FACE crux image. :babeando::very_hot:
 

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Apostate said:
And I am reminded of the source of a key element in Bobinder's supremely in-your-FACE crux image. :babeando::very_hot:
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Thanks, Apostate. Since you mention it, those Femjoy pictures provided inspiring source material for the new composite figures of Alice which appeared in the 'Ivdaea Capta' series. Damian's figure, whilst flipped in mirror image, has the same component blending, arm realignment and face modifications as the earlier 'Ivdaea Capta 4' manipulation -

o-513f IC4b source.jpg​

The facial expression was originally developed for the tribute, 'Esprit de Makar', which was published on 1 December 2015. The modifications were made by digital painting, and the full figure manipulation was created in Windows 'Paint', since I was without Photoshop or any similar programme -

Esprit de Makar.jpg​

Damian said:
Beautiful work! More nails anyone?
Click to expand...
Thanks again, Damian - those nails look particularly cruel and painful!
And I thought this Femjoy source had great potential when I first saw it. :)

Whereas my figure is another composite blending of several components, your version employs the original pose intact, apart from the left arm adjustment. Although it is hard to see in this view, Alice retains her turquoise navel jewel in your picture - a feature which I deleted in 'Ivdaea Capta 12' -

o-513b IC12a source.jpg​

The major alteration to your figure is the new head, sourced from Makar's wonderfully expressive 'Crux Forest' portrait -

al img_7577.jpg​

In fact we have both used this Makar portrait with manipulated 'Crux Forest' backgrounds for recent pictures. And in each picture, we can recognise Makar's patibulum, roped to the tree. Mine is another tribute, ' Esprit de Makar 3', which emulates his style by manipulating components sourced exclusively from Alice's crux session -

Esprit de Makar 3 detail 1.jpg​

Your latest picture presents an interesting scene yet again, in terms of the male crowd who are reaching for Alice's legs. They seem to be forcing her knees apart, although they may be sympathetic admirers helping her to push up and breathe (but perhaps not helpful enough to take her down?) Whatever their motives, their presence contributes to another dramatic image of Alice's crucifixion.
 
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bobinder said:
Thanks, Apostate. Since you mention it, those Femjoy pictures provided inspiring source material for the new composite figures of Alice which appeared in the 'Ivdaea Capta' series. Damian's figure, whilst flipped in mirror image, has the same component blending, arm realignment and face modifications as the earlier 'Ivdaea Capta 4' manipulation -


The facial expression was originally developed for the tribute, 'Esprit de Makar', which was published on 1 December 2015. The modifications were made by digital painting, and the full figure manipulation was created in Windows 'Paint', since I was without Photoshop or any similar programme -



Thanks again, Damian - those nails look particularly cruel and painful!
And I thought this Femjoy source had great potential when I first saw it. :)

Whereas my figure is another composite blending of several components, your version employs the original pose intact, apart from the left arm adjustment. Although it is hard to see in this view, Alice retains her turquoise navel jewel in your picture - a feature which I deleted in 'Ivdaea Capta 12' -


The major alteration to your figure is the new head, sourced from Makar's wonderfully expressive 'Crux Forest' portrait -


In fact we have both used this Makar portrait with manipulated 'Crux Forest' backgrounds for recent pictures. And in each picture, we can recognise Makar's patibulum, roped to the tree. Mine is another tribute, ' Esprit de Makar 3', which emulates his style by manipulating components sourced exclusively from Alice's crux session -


Your latest picture presents an interesting scene yet again, in terms of the male crowd who are reaching for Alice's legs. They seem to be forcing her knees apart, although they may be sympathetic admirers helping her to push up and breathe (but perhaps not helpful enough to take her down?) Whatever their motives, their presence contributes to another dramatic image of Alice's crucifixion.
Click to expand...
I like to include other actors and leave what they may be doing to the imagination, we really have used this lovely lady in the most inappropriate ways :)
 
Damian said:
Greetings all, I am attaching a few images from a collection I have ready for a new booklet, about 48 pics in total, based on material and a scenario sent to me by another member and reworked by me. I have already sent a pdf file of what is ready to him but have not yet had a reply, he had expressed a desire to write for this. If anyone is interested in taking part in writing a narrative based on this idea that Alice made a big mistake of stripping off all her clothes below a holy place, being arrested, her trials and tribulations in prison and then being crucified and whipped in front of a crowd of men. PM me or say so here and I will include them in a thread where I will post the whole thing, (still a work in progress). Best, Damian
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Poor Alice can never catch a break...but she certainly should know better! :)

Great collection of artworks, Damian!
 
bobinder said:
Thanks, Apostate. Since you mention it, those Femjoy pictures provided inspiring source material for the new composite figures of Alice which appeared in the 'Ivdaea Capta' series. Damian's figure, whilst flipped in mirror image, has the same component blending, arm realignment and face modifications as the earlier 'Ivdaea Capta 4' manipulation -


The facial expression was originally developed for the tribute, 'Esprit de Makar', which was published on 1 December 2015. The modifications were made by digital painting, and the full figure manipulation was created in Windows 'Paint', since I was without Photoshop or any similar programme -



Thanks again, Damian - those nails look particularly cruel and painful!
And I thought this Femjoy source had great potential when I first saw it. :)

Whereas my figure is another composite blending of several components, your version employs the original pose intact, apart from the left arm adjustment. Although it is hard to see in this view, Alice retains her turquoise navel jewel in your picture - a feature which I deleted in 'Ivdaea Capta 12' -


The major alteration to your figure is the new head, sourced from Makar's wonderfully expressive 'Crux Forest' portrait -


In fact we have both used this Makar portrait with manipulated 'Crux Forest' backgrounds for recent pictures. And in each picture, we can recognise Makar's patibulum, roped to the tree. Mine is another tribute, ' Esprit de Makar 3', which emulates his style by manipulating components sourced exclusively from Alice's crux session -


Your latest picture presents an interesting scene yet again, in terms of the male crowd who are reaching for Alice's legs. They seem to be forcing her knees apart, although they may be sympathetic admirers helping her to push up and breathe (but perhaps not helpful enough to take her down?) Whatever their motives, their presence contributes to another dramatic image of Alice's crucifixion.
Click to expand...
The Encyclopedia of Aliceology can never be baffled! :)
 
Thanks for the compliments Shiva, you plainly have the talent to keep doing good stuff, glad I could be an inspiration. One more for the thread I am working on for the series, I say working on because I keep finding things to change or hopefully improve, enjoy.
 

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