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ArtistPreserve the original composition, framing, proportions, balance, perspective, Art Nouveau architecture, decorative borders, swirling sky, seated woman, sketchbook, floral drawing, ocean sunset, mountains, and the two dark house-shaped frames exactly as in the source image. Do not crop, rearrange, add, or remove any objects. Transform only the visual texture inside the two house-shaped silhouettes into an extreme high-contrast woodcut engraving. Fill every surface within the house shapes with dense, directional wood grain, carved timber texture, deep gouge marks, and bold black engraved lines. Use thick relief-print crosshatching, expressive knife cuts, rough carved channels, and highly visible grain patterns that follow the contours of faces, clothing, sky, mountains, water, and architectural elements. The wood grain should become a dominant design element, creating dramatic contrast between rich golden ochres and deep matte black carved recesses. Preserve all details while rendering them as if carved into seasoned hardwood with traditional hand-cut block printing techniques. Emphasize bold silhouettes, heavy black outlines, engraved highlights, irregular carving marks, and textured relief printing. Keep the Art Nouveau decorative curves and flowing forms intact, but reinterpret them as carved wood. The woman’s skin, dress, gloves, sketchbook, flowers, sunset reflection, mountains, clouds, and swirling sky should all exhibit pronounced engraved wood grain without losing their recognizability. Outside the house shapes, preserve the surrounding composition with minimal alteration so the carved interiors stand out dramatically. No text, no numbers, no logos, no modern digital effects, no photorealism. Rich golden wood, burnt umber, warm ochre, and deep black dominate the palette, producing a striking, museum-quality high-contrast relief woodcut aesthetic.
I’m in my cabin in southern Oregon. She’s an English novelist. I’m looking at my cabin through some kind of side diagram. It’s almost like it’s some kind of diorama of my dreams and my library organization talent.
There’s a woman there. She’s a novelist in her late 30s. I go outside the cabin, and I’m in Eugene, Oregon, at Eugene High School. I probably know about five people who grew up in Eugene: Bzar, Militia , Don, and Mr. P. I have karma with these people.
I go outside the gym, then back to my cabin, which is in the English department. I’ve been arranging a system by which to track information in my dreams. There’s some kind of number code. It brings me through the school, which is actually a giant library, and back to the English department.
There are millions of books. There is some kind of never-read novel. It’s on the wall in the form of a picture. It’s in a frame, and there’s a picture of my cabin in the frame, and it’s all covered in wood grain. Next to the picture, which is the main target, there are other little pictures, but they’re other novels. I sit on the couch with the novelist, looking the other way, and then turn my head back toward the frame on the wall, thinking about it.
Note: This is obviously me obsessing over 32 E. Madison, which, the more I look at it, looks like a university call number—another thing to obsess over.
Note: The image on the wall is obviously the picture Natalia did of Stripes, and somehow, in my dream, it turned into wood grain, so it’s the further progression of the image.
