for noodle lovers :)
I'd rather be in outer space 🛸
let's talk about Bridgerton tea, my ask is open
noise dept.


DEAR READER
sheepfilms

tannertan36
Alisa U Zemlji Chuda
Jules of Nature

★
PUT YOUR BEARD IN MY MOUTH
YOU ARE THE REASON
Show & Tell
d e v o n
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AnasAbdin

Discoholic 🪩

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@jessetheharp
for noodle lovers :)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
This animated gif was inspired by Yasujirō Ozu’s Good Morning 1959
my 1st animated gif :)
Daisy Domingue from The Hateful Eight
Yasujiro Ozu’s 1959 film ‘Good Morning’
Gouache on watercolor paper
4″x8″
Cinematography: Yûharu Atsuta
Turn on 📢 my week 1 animation homework

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Wim Wender’s 1984 film ‘Paris, Texas’
Gouache on watercolor paper
4″x8″
Cinematography: Robby Müller
Sleater-Kinney, The Hard Rock
Made this painting last year for Pitchfork.
Gouache on watercolor paper
8″x8″
Photo by Marina Chavez
Gouache in wood panel
4 x 6 in.
gouache on watercolor paper

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
gouache on wood panel
Planet Earth 2 is sad and amazing. #planetearth2
#throneofblood #macbeth (at Williamsburg Bridge)
A painting for the FADER magazine AD @kyleblue #fadermagazine #gouache

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
A new piece for Monocle Magazine animation @peterharp
A new piece for the New York Times.
AD: Matt Dorfman