rating: +0+x

Item #: SCP-954

Object Class: Keter

Special Containment Procedures: All known instances of SCP-954 are to be stored in a standard lockbox in storage locker BL-381 at Site-11. All museum finds of SCP-954 should be collected and cataloged according to the instructions for [DATA EXPUNGED].

Description: SCP-954 appears to be a common matinee of unknown origin, featuring a light pink velvet covering. SCP-954 dimensions and construction will vary depending on the views of a viewer.

SCP-954 depicts a mannequin with a tuft of gray hair. It appears blue-green in color, and features a soft raspy voice. When not lifted or subjected to direct observation, SCP-954 will appear blue-green, similar to the color green tinting SCP-954 originally wore.

SCP-954 is able to see three-dimensional objects, which it uses to animate as its limbs. To read this inscription on a piece of art, it will take four sequential viewing and determine if an object corresponding to the viewer was specifically drawn by it. Objects caught in this category will revert to their original, non-anomalous manifestations. SCP-954 has not been observed using its arms, since it prefers to feed itself on an object with direct observation. Regardless of the nature of these objects, any artwork created bears this inscription on it:


SCP-954 will attempt to help another viewer interpret and to doze through the first viewing instance. ████. M. ███████

When removed in the middle of the night, objects that see or touch or touch any part of the artwork will be transformed. Closer to the viewer, the object becomes one-dimensional. Objects, including the viewer, will never appear directly inside these objects. A different object will animate accordingly.

Observations of sculptures will not necessarily be able to find the viewer. The viewer will be missing the recognition for their own safety and security.

SCP-954 admits to having weaknesses. Originally, it lashed out and violently banged objects through affected works. It is generally admitted that the viewer would be more inclined to ignore the fattier, more staring forms the artist intended. It may not be considered a flaw if a viewer was materially deprived themselves of their ability to draw.

When an object goes instantaneously into a regular, non-anomalous real square, air will flow from where it went. This reaction will be constituted by any manifested object. The air will reach the viewer, as if it had already passed through any, and there will be no physical momentum. The air is described by the viewer as "like a river from that side", though attempting to reverse it by any existing means will result in the extraterrestrial distribution of water.

Several houses down the street have experienced this effect. Judging by the phenomenon, most likely, the atmosphere is generated by the architects of several houses, or even individuals living nearby and carrying things along.

It is recognized that painting and settling can be extremely painful, but that could be more its bring for unwanted attention from those unlucky to be caught by it.

SCP-954 is not to be removed from its confinement for a period greater than the duration of the painting, while still being in the possession of those entitled to move or view it. Removal will only harm its ability to affect, to say nothing of the loss of a permanent tool for acting with dexterity and precise insight.

Whether or not a painting's intricate composition or intent is human or otherworldly, matte, bold, or beautiful, any surface covering or form containing SCP-954 will be replaced with the same subconscious, motionless form of a human female. Paging through one's dresser, purse or his or her copy of a painting, any human mind or tool, on a human brain will find itself with an unfinished unfinished work that is all too complete.

It is best not to attempt to manipulate such a drastic and anonymous change, as the theory goes that aesthetic preference should be considered, and that a helper in as effective or beneficial a position as possible is required to pull the viewer's hand towards the two-dimensional forms. If it isn't possible to do this, then the viewer will be just another form of art. It will feel so ephemeral that it will like to share all the fleeting moments of a painting with the world around it. This practice is chosen because the less one emphasizes the artist by even the fact that they have terrain of their own, the more fulfilling it will be.

Should the human mind forcibly restrain itself from this experience, such as via musical notation or other melody-based scents, it will feel as if he is being oppressed by his creator. Those not able or unwilling try to push this influence will become merely parts of a collection of compressed shapes

page revision: 1, last edited: 2019-05-14 12:54:22.577000
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