Tempest
Situated southeast of the market on Flower Street at the corner of Burgundy Wine Terrace, this posh, exclusive nightclub was constructed in a building that formerly housed a small theater and attached second-story apartment. Tempest’s decor is largely illusory, continually shifting throughout the night, and those who pierce the veil and see through the club’s glamour see only plain tables and chairs.
The club’s strange entertainment would likely be considered unintelligible and inaccessible by the common folk, were they ever able to gain admission. Models pose on stage and throughout the club in elaborate live-art scenes, as if posing for an artist who never paints them. The theater stage is still used intermittently for short plays, as well; esoteric, counter-cultural performances written and performed by niche, aesthetically minded artists push the boundaries of what could reasonably be considered metaphor or symbolism.
The second floor of the club, situated around a series of balconies overlooking Tempest’s lounges and performing spaces, is the exclusive domain of the club’s most socially prominent members. It was the former studio of a famous Absalomian painter named Heinroque Bain, known for his disturbing and grotesque portraiture. Unique murals wrap around the walls, considered by many club patrons to be charmingly incomplete. Before his death, Heinroque publicly disdained profit and affectation, even destroying symbols of wealth and status in front of those who considered them precious. The club’s artists enjoy the irony of charging the district’s affluent, ignorant elite for access to his apartments.
The club’s strange entertainment would likely be considered unintelligible and inaccessible by the common folk, were they ever able to gain admission. Models pose on stage and throughout the club in elaborate live-art scenes, as if posing for an artist who never paints them. The theater stage is still used intermittently for short plays, as well; esoteric, counter-cultural performances written and performed by niche, aesthetically minded artists push the boundaries of what could reasonably be considered metaphor or symbolism.
The second floor of the club, situated around a series of balconies overlooking Tempest’s lounges and performing spaces, is the exclusive domain of the club’s most socially prominent members. It was the former studio of a famous Absalomian painter named Heinroque Bain, known for his disturbing and grotesque portraiture. Unique murals wrap around the walls, considered by many club patrons to be charmingly incomplete. Before his death, Heinroque publicly disdained profit and affectation, even destroying symbols of wealth and status in front of those who considered them precious. The club’s artists enjoy the irony of charging the district’s affluent, ignorant elite for access to his apartments.
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