This painting by Matt R. Martin is unsettling at first glance, but it takes a moment to realize why. This is the sort of understated horror that I’m particularly fond of, the subtlety that Stanley Kubrick was particularly skilled at. In The Shining, for instance, the overt horror of the end comes as a culmination of smaller, quieter, yet no less sinister oddities, from a television that’s on even though it isn’t plugged in to an impossible hotel layout. We are unsettled, made to feel not-safe, because the natural, reasonable order has been upset, perverted, and we feel that, even before we count the fingers.
[If you’d like to see more of Matt R. Martin’s work, this article (Warning: nudity) has some good ones.]