human sludge

knives replace the air

~
rym
timeimmemorial:

Esko Tirronen (Finnish, b. 1934), Spring on the hills, 1988. Oil on canvas, 94 x 80 cm.

timeimmemorial:

Esko Tirronen (Finnish, b. 1934), Spring on the hills, 1988. Oil on canvas, 94 x 80 cm.

(Source: blastedheath)

timeimmemorial:

Brett Whiteley, Mrs Christie (1965)

timeimmemorial:

Brett Whiteley, Mrs Christie (1965)

(Source: blastedheath)

timeimmemorial:

As a general rule, desire is always marketable: we don’t do anything but sell, buy, exchange desires […] And I think of Bloy’s words: “there is nothing perfectly beautiful except what is invisible and above all unbuyable.”

― The Neutral: Lecture Course at the College de France, Roland Barthes; p 13

(Source: journalofanobody)

digital-future:

Miao Bin Si is photographed by Txema Yeste and styled by Tim Lim for Numero China August 2012

digital-future:

Miao Bin Si is photographed by Txema Yeste and styled by Tim Lim for Numero China August 2012

(via how-radical)

(Source: alexandrainspire, via fungi)

(Source: brain-d-a-m-a-g-e, via fungi)

(Source: jailbait, via drencrome)

inneroptics:

Votive offerings, LIFE Magazine

inneroptics:

Votive offerings, LIFE Magazine

(via drencrome)

likeafieldmouse:

Jordan Eagles

"Eagles is sometimes referred to as the ‘Blood Artist’, but this oversimplifies the intricate and significant nature of his experimental works and self-invented process, spanning over twelve years.

His unique pieces in bovine blood procured from slaughterhouses and acrylic resin explore themes of rebirth and the intangible connections between body, spirit and nature. The allegorical potential of his raw and precious materials form a compelling multi-sensory experience— providing a novel tale of life and death. Some pieces evoke stark minimalism while others a centrally explosive movement—all reminiscent of viewing otherworldly details from under the slide of a microscope.

The multiple layers of blood and resin used to create these pieces, some of which can be up to three inches thick, allow viewers to delve into the paintings. Each viewing allows the discovery of the nuances Jordan is able to create by manipulating his medium, from delicate cracking to concentrated fields of uniformity.” 

lasaraconor:

Edward Hopper ~ Boy and Moon, 1906

lasaraconor:

Edward Hopper ~ Boy and Moon, 1906

(via leadingtone)

you-need-satan:

Richard Tennant Cooper

you-need-satan:

Richard Tennant Cooper

(via luminousinsect)

free-parking:

Matias Hinostroza, Triangulo, 2011

free-parking:

Matias HinostrozaTriangulo, 2011