solitude is bliss

Ask me anything   /// tu dis que tu es mon juge, mais je ne te crois pas ///

"you know you’re fucked when those late night thoughts start hitting you in the middle of the day"
— 1 day ago with 248411 notes
"I don’t think I’ll get over his smile. To be honest, I don’t want to."
3 am thoughts

(Source: suspend, via manolescent)

— 1 day ago with 28386 notes
missfolly:

Self-portrait with the Portrait of Dr. Farill Frida Kahlo (1951)

missfolly:

Self-portrait with the Portrait of Dr. Farill
Frida Kahlo (1951)

— 1 day ago with 59 notes
fotojournalismus:

Palestinian children look out from their family’s house, which witnesses said was badly damaged during the recent Israeli offensive, in the east of Gaza City on Aug. 28, 2014. (Majdi Fathi/NurPhoto/Zuma Press)

fotojournalismus:

Palestinian children look out from their family’s house, which witnesses said was badly damaged during the recent Israeli offensive, in the east of Gaza City on Aug. 28, 2014. (Majdi Fathi/NurPhoto/Zuma Press)

(via seqments)

— 1 day ago with 4570 notes

archatlas:

8 Secondes Nicolas Ruel

Any urban space, from a village to a megalopolis, furnishes my work with the fictional raw materials for transfiguration. I take a formal approach to photography, based on urban design and architecture. Structuring and disarticulating these elements is the predominant theme of my work. I am fascinated by transitory and transitional sites—places that in their nature and function incarnate motion and metamorphosis, such as ports, terminals, docks, highways, construction sites, churches, and stadiums. These spaces belong to a form of monumentality that when deserted inclines to material silence a vacuum in the world of things and beings.

For a number of years I have been using very long exposures that function like a movie set, condensing each photograph into a kind of 8-second micromovie. This long exposure makes it possible to assemble key moments in a single take, analogous to the process of condensation in dreams. Thus, in this dolly shot, I translate the actions and spectacle of the city and its residents as I follow their unceasing movement.

Through each exposure, I intensify a symbolic charge, which I then recombine in order to reverse the codes attached to the photographed real. And because I print onto stainless steel, I need to take into account a sculptural reality, as if my work were an image being crystallized. I photograph the city in the knowledge that the metal, like a prism, is going to change reality in its turn. So it is that the imaginary cities I inventory fall into place.”

— 1 day ago with 776 notes

Unknown
Antony Gormley 

Unknown

Antony Gormley 

(Source: vjeranski, via thegiftsoflife)

— 1 day ago with 185 notes