Thursday, June 27, 2024

Darkroom

Crawford Sinclair is a shutterbug. Love for the medium - a driving force in his life. Countless hours of dedication behind the lens - but he is also a man of secrets. They too are a driving force. Pushing him further, deeper into places he cannot escape. Dreams and fantasies revealed in trays of chemical solution. Malevolent desires hang to drip-dry in black and white.

Crawford Sinclair. A story of capturing more than just moments in time.



Darkroom

And Ye Shall Find

Into Bondage

The Aperture




The safe-light is on.


A new three-part painting series - coming soon.

Monday, June 17, 2024

"The Tunnel" - Final in the four-part series 'Project Hollow Point' - Mixed media on plywood. My 154th painting.


The driver leaps from the van, slams a small metal box onto the sidewall and returns to her seat behind the wheel. #03 makes eye contact with the dark-haired woman who drugged him.
 
“Cloaking device.” she offers while removing his restraints.
“Are you fucking serious?” he poses.

The driver quickly pops something into her mouth and swallows, turns and reaches out to the woman, dropping two capsules into her hand. She tosses one in and hands the other to the man - he’s reluctant.
 
“What is that, a suicide pill?” he snaps.
“Take it!” the woman commands.
“Fuck that!”

She raises her machine gun to his head. He relents.
 
The driver passes the woman a half-full bottle of water, she takes a drink to wash the cap down and hands it to #03 who follows suit.

“They’re to mask body heat signatures.” she says, giving him daggers.
 
The van door is left open for air, they all remain inside.

“So what now? What exactly are we doing?” he questions.
“You have no idea what you’ve gotten yourself into.” the woman relays grimly.

“And how the hell did you know where to find me?”
“Extinction level event. You know what that means?” she goes on.
“I saw you! At a building, burning bodies of women and children!”

The man feels around on the back of his neck, there’s a bandage over a sore spot. He rips it off and runs his fingers over a few small stitches.
 
“What did you do?” he yells.
“Chip removal.” the woman answers.
“The hell you did!”
“Incision was fresh, must’ve happened today. You didn’t know?”

#03 recollects his morning - the incident, hitting the floor, the nosebleed, waking up in a bed down the hall.
 
“That tech they installed at the base of your skull - it was to be used without your knowledge, or consent.”

“How?” he asks.
“You were going to be their very own crystal ball. A two-way mirror. Probably jack in to you during sleep. You never would have known.”

“Why? I was on-board with the sessions, I was helping them!” he exclaims.
“For now.”
“You say that like you know something I don’t.”
 
The woman lays her gun down on a wooden box beside her.

“The bodies you saw being burned - they were failed experiments.” she says.
“What kind of experiments?” he asks.
“DNA cross-pollination.”

His expression, quizzical.

“Inter-species hybrids.” she informs.

The man scoffs loudly.
 
“You actually expect me to believe that?”
“I broke every protocol, committed every form of treason to try and save as many of them as I could - but I wasn’t enough.”

A helicopter passes overhead. The man panics, moves away from the open door. The bird flies on into the distance.
 
“Maybe you don’t know as much as you think?” she challenges.
“If we were visible right now, that bird would’ve killed us from the air.” she continues.
 
He crawls back to his spot by the door.
 
“It’s humanity’s overblown ego - we place far more importance upon ourselves than we merit. We’re ants to them, no, roaches - that once were useful, but no longer.”

“Them? Who are them?” he asks.
“I have neither the time nor patience to explain, so it will have to be enough to just say - an off-world interest.”

“Aliens? Is that what you mean?” he guffaws.
“We’ve become a problem. More trouble than our worth. So they’re cutting their losses.”

“Wait a goddamn minute!” he spouts.

The woman finishes the bottle.
 
“For the sake of argument, let’s just say there are aliens, how do they expect to come and obliterate billions of people?”

“With technology a thousand years more advanced than our own.”
 
Emotion wells up in the man.
 
“We were only an experiment.” she says softly, shaking her head.
“So they’re just going to end humanity? Like that?”
“Yes.” she replies flatly.
“NO! This can’t be real! It makes no sense!”
“It doesn’t have to. It was done simply because it could be. Now it’s over.”

The woman climbs from the van, takes several steps in a wide semi-circle, scans the surrounding area and sky. Once back at the vehicle, she stands in the open door.

“We’ve got about three minutes so I need to know right now - are you in or out?”
“In or out of what?” #03 retorts.

“A mile past those trees, there’s a mountain with an entry point. Not saying it’ll work but it’s all we’ve got.”

“You’re gonna save us from global decimation by driving into a fucking mountain?” he asks, incredulously.
 
“No, not me - but that might.” she says, nodding to the oblong wooden box in the back of the van.

She jumps inside and takes her seat. #03 sits confounded.

“So either shut the door or be on your way.”
 
#03 looks out at the peaceful wooded setting and sighs before sliding the door shut.
 
The engine turns over and the dark blue van makes dust down the dirt path as it gradually disappears into the trees.


The six-foot-high black industrial gate was certainly out of place, more so was the electronic code entry keypad. Secrets. The kind for which people would often be killed to keep.

The tall, dark-haired lady stands aside as the young woman drives the van past and stops - the gate is secured and the armed woman jumps back inside.
 
They advance cautiously through the densely wooded area until a clearing presents itself. A few more crooks in the trail and the mountain entry point would be in view. Just over the next rise. On the descent - all things were negated.
 
Obstructing the path are two blacked-out vans and six heavily armed men in fatigues. Two soldiers approach the van and order the occupants out. All three captives have their hands restrained behind them and are pushed down onto their knees.
 
#57 exits one of the government-issued vehicles. The young woman driver is blank faced as tears run. #03’s eyes dart wildly. The dark-haired woman is without any show of emotion.
 
The agent stops in front of them, nods at the soldier to his nearest left - single rifle shot to the head of the young female driver. Her body catapults astern, landing crumpled on the ground.
 
“Stop!” #03 screeches.
 
#57 takes several paces and turns, removes his shades and cuts into the man on his knees.

“Why are you doing this?” he puzzles.
 
#57 nods a second time, the same soldier raises his weapon and drops the woman beside #03.
 
“No! Wait!” he screams.
 
#57 endeavors a slow and menacing gait towards #03. Only inches away - leering down at him - intimidating, denigrating.
 
“Are you still of any use to me?” he asks.
 
#03’s breath is labored, face twitching, sweat pouring.

“What do you want?” he cries desperately.

The agent’s prolonged silence destroys him by degrees. He moves leisurely away from the terrified man.
 
Two of the soldiers carefully remove the long wooden box from the dark blue van and secure it inside one of the blacked-out vehicles.
 
A very tense stand-off. #03 on the verge of collapse. #57 icing him down ten yards away. The agent nods to a soldier and climbs back into one of the vans.
 
The uniformed man stomps over to #03, pulls him to his feet and marches him to one of the vehicles, opens the back doors, pushes him inside and slams them shut.


Both engines roar and the two black vans speed away in opposite directions.

Thursday, June 13, 2024

"I See You" - Third in the four-part series 'Project Hollow Point' - Mixed media on plywood. My 153rd painting.



October 14, 1977.

“May I ask what happened yesterday?” #03 questions.
“No.” #57 shoots back.
“You haul ass out of here like there’s a fucking fire - "
“Eyes only, need to know.”
“What the hell is that supposed to mean?”
“We have work to do.”

#57 sets #03 up for another remote viewing session.


#57
Relax and focus on the individual in the photograph. Concentrate only on her and move to her real time current location. Tell me what you see.

#03
There’s a row of black vans. Outside a building. They’re all empty. Four, no five vans. Now people are exiting the building, about a dozen of them - women and small children. The woman, I see her! She’s behind the others.

#57
Describe her appearance to me.

#03
She looks the same, wearing army fatigues this time. Black baseball cap. Machine gun. The rest of them - dirty dark grey jumpsuits. She’s loading them into the vans. Two of the vans.

#57
Now, describe the building to me. All the details you can make out, as clearly as you can.

#03
Concrete faced building. Old. Crumbling in places. Single level.

#57
Rise above the building and tell me what you see.

#03
Big structure. Fifty feet wide, maybe a hundred feet long. Middle of nowhere. I see smoke, behind the building.

#57
Move to the source of the smoke and tell me what you see.

#03
Behind the building, huge bonfire, but it’s daytime.

#57
Describe the fire to me and what they are burning.

#03
Two men, throwing logs on, big logs. Moving closer, it’s smoking badly, wait - oh God, No!

#57
Tell me what you see.

#03
Not logs, bodies. They’re burning bodies! Oh God, women and children, the bodies are women and children!

The agitated man is hyperventilating, his composure dissolves and he falls from his chair. The agent rushes over to attend to the man who now writhes on the floor with a nosebleed.


TWO HOURS LATER

#03 rests in a bed down the hall. He’s been checked by a doctor and cleared to leave. #57 escorts him from the room to the elevator.

“Monday morning then.” the agent says.
The shaken man nods just before the doors close.

In the parking lot, crisp fall air brushes across his face. A midnight blue van reverses into the spot next to his. He opens his door and a voice beckons from behind.

“Got a light?” asks a blonde woman in sunglasses.
“Sorry, don’t smoke.”
“Thanks.” she says.

The van door thrusts open - exposing a young woman clad in all black. He feels a pin prick to his neck, turns to see the very blurry image of a person.

After an hour of driving the cocktail of knock-out drugs wear off - he comes to, zip-tied at wrist and ankle, hands behind.

Sitting across from him - the woman from the remote viewing sessions - only now she’s not wearing the shades, blonde wig or long parka. The van stops on a confined dirt road surrounded by tall, beautiful conifers.

Saturday, June 8, 2024

"We've Got Something" - Second in the four-part series 'Project Hollow Point' - Mixed media on plywood. My 152nd painting.

 


October 13, 1977.

#03 - the man who witnessed a grisly double-murder just the day before - was now sitting at that same table again. Same chair and spot. He could still see the bodies lying prostrate, though they had long been removed. The knot in his stomach, turgid and pulsing, mirrored the one in his throat.

#57 - the lead agent - enters the room with an off-white folder in hand. He moves to the table and stops directly across from #03 - lays the folder down, pushes it towards him and continues to the chair at the far right end.

He removes his shades, bearing down on the man several feet away, then cracks a thin smile. The visibly nervous #03 stares back blankly.

“Are you ready?” he asks.
A few quiet seconds elapse.
“Yes.”

TRANSCRIPT FOR REMOTE VIEWING SESSION #149

#57:
This is remote viewing session #149 taking place at 0900 hours on the 13th day of October 1977. This is a pre-session briefing to the remote viewer. I have provided you with a folder containing a photograph of an individual. Your task will be to focus on the individual and report her real time present day location to me.

So now you’re going to relax so the session can begin. Focus only on the individual in the photograph. Move to her real time present day location. Once there, describe all that you see. Concentrate only on the individual in the photograph and her exact present day location. Move to her location now and describe everything to me.

#03:
Dark. Everything is black. It’s hot, very hot.

#57
Move to her exact location in this present moment. Tell me what you see.

#03
It’s - a tunnel, maybe a basement. It’s long, there’s dust or yeah, dust. It’s dirty, there’s a light up ahead, barely visible. Definitely a tunnel. A woman’s voice. Other voices, further away.

#57
Tell me what she is saying. Tell me any words you can hear, from her or the others.

#03
Uuh, it’s muffled, hard to understand. The light is getting closer, it’s getting cooler, not as hot. GUN SHOTS! Oh God! There are shots! Machine guns! Oh God!

#57
It’s fine, relax. Stay with her. Tell me what you see.

#03
She’s running. The others are too, behind her. No more gunfire. Running towards the light.

#57
Tell me who the others are, the ones running behind her.

#03
Getting lighter, the woman - she’s bleeding. Shot, in the leg. Left leg. The others, oh God, the others - women and small children. They’re crying, the small ones.

#57
Describe to me what the woman is wearing.

#03
A uniform. Jumpsuit. Dirty, tattered grey jumpsuit. She’s limping. They’re approaching - a doorway, the light is bright, very bright.

#57
Tell me what you see at the doorway, what is just inside and what is in view from outside.

#03
So bright, hard to see. Very wide doorway, double doors. Metal plate. A metal plate above the doorway.

#57
Check the plate for markings. Tell me what is on the metal plate.

#03
Symbols - no, numbers. Numbers and letters.

#57
Describe to me the numbers and letters. Tell me what the metal plate says.

#03
9-JR-3-OWH

#57
This will be all for today, you’re free to leave.


The agent snatches the photo and folder from the table and sprints from the room.