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ぽみ (闇堕ち)

Published on Oct 26, 2026

ぽみ (闇堕ち)

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1girl, solo, lying on back, full body, wide shot, forest, river, black hair, long hair, low ponytail, hair tied low, red eyes, black evening gown, sleeveless gown, floor-length black satin dress, flat color planes, bold geometric patterns, faceted surfaces, interlocking shapes, sharp angles, collage-like elements, mixed media, synthetic cubism, multiple viewpoints, geometric fragmentation, rich colors, from above, foreshortening, arms above head, looking up Seen from above and slightly behind her head, a wide shot lays the whole forest riverbank out below the camera: one girl lies flat on her back on the mossy stone shelf at the water's edge, body on a diagonal from the lower left corner toward the upper right, foreshortened so her head sits nearest the lens and the hem of the black evening gown runs far away downstream. Her long black hair is gathered into one low ponytail tied close at the nape, the tail fanned across the wet stone beside her shoulder, a few loose strands stuck to the rock; her head is tipped back so her face reads upside-down in the frame, both red eyes open and directed up past the camera into the canopy, chin lifted, lips parted on a slow breath. The gown is sleeveless with a plain bodice, black satin broken into flat planes of charcoal, ink and a single cold blue highlight, the skirt spread wide and floating in the shallows so the fabric's edge ripples where the current lifts it. Her right arm is flung above her head, the back of the hand resting on stone, fingers loosely curled; her left arm lies across her waist, palm flat on the satin, the elbow bent at a sharp angle; both legs extend to the far corner, one knee slightly drawn up, the other straight, the bare feet just under the surface of the water. She is fragmented across the canvas in simultaneous views: the face is presented frontally and in profile at once, the torso in three-quarter and in pure side, the skirt flattened into an unrolled oval of planes, each view cut into faceted polygonal patches with hard clean edges and no blending, the joints between them stepped and overlapping like pasted collage pieces. The forest is built the same way: trunks cut into interlocking rectangles and triangles of deep green, olive and near-black, a canopy of stepped angular foliage overhead, the river a river of flat colour planes in teal, jade and pale blue, its surface broken into repeated zigzag facets that read as current rather than as reflection. Cut-paper collage edges sit slightly proud of the painted planes with a thin drop shadow along each pasted shape, and a few newsprint-textured scraps and stippled mixed-media passages are worked into the stone and the moss; the lettering on them stays illegible. Palette is rich and saturated throughout -- emerald, jade, viridian and cobalt against the dress's blacks, with her red eyes and a single warm ochre patch of sunlit stone as the only heat in the frame. Light comes from high above through the canopy: it strikes the upward-facing planes -- her forehead, the tops of her thighs, the flat leaves -- while everything tilted away falls into green shadow and the undersides of the pasted facets hold a hard dark edge. Water laps over the gown's hem instead of being pushed away by it, and thin wet lines run along the rock seams to the river. Still, jewel-toned, monumental.

ぽみ (闇堕ち)

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