Do I Wanna Know (Arctic Monkeys cover)
Hozier

nextbestcoast:

Hozier - Do I Wanna Know (Arctic Monkeys cover)

I’m straight up obsessed with this.

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turecepcja:

Lutz Wagner aka Moto Waganari born 1967 in Germany, creates transparent network-sculptures which outline a delicate body frame. By illuminating his sculptures the artists multiplies his three dimensional objects by a two dimensional shadow revealing the immaterial alter ego of every figure. His characters seem to visualize a surreal, parallel world filled with surprise and enigma. Moto Waganari’s sculptures seduce the spectator with their appealing beauty and sophisticated weightlessness / via Hollis Taggart Galleries



Q
Thanks for the dead bird eurghhhh not cool
Anonymous
A

thefrogman:

I think you are mistaken. Here is the previous photo of that bird. 

The photo in question. 

And the caption of that photo: 

"Portrait no.2 Patiently waiting for a tummy scratch."


crossconnectmag:

Martine Johanna is a Dutch born and raised artist, right from the green heart of the Netherlands, now living and working in Amsterdam. From a young age music, high fashion, folk culture, nature, odd movies and storytelling where and are still major influences in her life. After a career as a fashion designer, mid 2008 her direction turned entirely towards painting and drawing. Sometimes on the streets most of the times just anywhere possible. When she makes prints or paints she tries to use bio-degradable materials and inks whenever possible. Most works are build up from mixture of materials water-based oil paint, graphite, ink on wood or canvas, sometimes just a paper & pencil is enough. 

'When I draw or paint, the world becomes translucent and fluid. Like the tale of Alice, but I am not a lost girl, I am the dark wanderer over rooftops, sliding into your dreams…'via

                                            :-)

Cross Connect Mag // Facebook - Flickr - Twitter

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tapist:

 Leong Leong Architecture - Turning pink 

tapist:

  - Turning pink 

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ca-tsuka:

8-bit Ghibli by Richard J. Evans

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