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His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives. He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying. In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform through an inherently superhuman ability, divine intervention, demonicmanipulation, sorcery, spells or having inherited the ability. The idea of shapeshifting is in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common trope in modern fantasy, children's literature and popular culture. Source: Wikipedia
His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives. He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying. In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform through an inherently superhuman ability, divine intervention, demonicmanipulation, sorcery, spells or having inherited the ability. The idea of shapeshifting is in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common trope in modern fantasy, children's literature and popular culture. Source: Wikipedia
His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives. He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying. In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform through an inherently superhuman ability, divine intervention, demonicmanipulation, sorcery, spells or having inherited the ability. The idea of shapeshifting is in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common trope in modern fantasy, children's literature and popular culture. Source: Wikipedia
His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives. He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying. In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform through an inherently superhuman ability, divine intervention, demonicmanipulation, sorcery, spells or having inherited the ability. The idea of shapeshifting is in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common trope in modern fantasy, children's literature and popular culture. Source: Wikipedia
His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives. He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying. In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform through an inherently superhuman ability, divine intervention, demonicmanipulation, sorcery, spells or having inherited the ability. The idea of shapeshifting is in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common trope in modern fantasy, children's literature and popular culture. Source: Wikipedia
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Twilight Zone Series #7 'The Four of Us Are Dying' Painting

Philip Leister

Painting, Acrylic on Canvas

Size: 40 W x 40 H x 1.5 D in

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His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives. He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying. In mythology, folklore and speculative fiction, shapeshifting is the ability to physically transform through an inherently superhuman ability, divine intervention, demonicmanipulation, sorcery, spells or having inherited the ability. The idea of shapeshifting is in the oldest forms of totemism and shamanism, as well as the oldest existent literature and epic poems such as the Epic of Gilgamesh and the Iliad. The concept remains a common trope in modern fantasy, children's literature and popular culture. Source: Wikipedia

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Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:40 W x 40 H x 1.5 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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