Allan O'Marra (Canadian b. 1947), The Bather (La Baigneuse), 2014,. Oil and Acrylic on canvas
we're not kids anymore.
will byers stan first human second

Origami Around
noise dept.

Andulka
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roma★
YOU ARE THE REASON
let's talk about Bridgerton tea, my ask is open
"I'm Dorothy Gale from Kansas"
2025 on Tumblr: Trends That Defined the Year
Sweet Seals For You, Always
Aqua Utopia|海の底で記憶を紡ぐ
I'd rather be in outer space 🛸

PR's Tumblrdome

#extradirty
Lint Roller? I Barely Know Her
todays bird

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seen from Türkiye
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@rgb-hex
Allan O'Marra (Canadian b. 1947), The Bather (La Baigneuse), 2014,. Oil and Acrylic on canvas

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when i was a child for multiple halloweens in a row my costume of choice was “fancy lady” who was a character i invented who looked like this
Saint Hildegard. The First Vision of the Trinity, The Fifth Vision, The Sixth Vision, The Seventh Vision, The Eighth Vision, God’s Road to Salvation in the Course of Time The Ninth Vision, The Tenth Vision of Hildegard von Bingen. Liber Divinorum Operum (Book of Divine Works). 1174.
The 4pm bird gets the weird and fucked up spider
Errol Le Cain

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Angela Smyth (British, based Halifax, West Yorkshire, England) - Insomniac, 2026, Paintings: Acrylic, Ink
ap of my henry and pebbles print, on horrible sketchbook paper which is why it’s so dry and uneven. I’ll finish up the text on the banners, it’s just so tiny and my neck was hurting lol. (edit: final here!)
reference was this dot work medieval print of st. george. (under cut)
Age of Rot
Henryk Weyssenhoff (Polish, 1859-1922) - Premonition (1893)
via

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my bug
ana mendieta “people looking at blood, moffit, iowa” 1973
“In this piece, Mendieta spilled a large amount of what appeared to be chunky blood over a doorway and sidewalk on an Iowa City street. Then she removed herself from the scene and, from a distance, photographed the reactions of various passersby. […] It intimates to passersby that a grievous and dramatic injury has taken place, but it gives no explanation and, more important, no recourse to action. It may incite horror, concern, compassion, and revulsion—in short, pity and fear—but it doesn’t offer anywhere for these feelings to go. […] Each pedestrian’s only real choice is to walk on by, which looks from the outside—and likely felt, on the inside—like an uncaring abandonment, even if of an indeterminate or imaginary entity. […] And somewhere out of sight lurks Mendieta, a voyeur of each passerby’s involuntary voyeurism. […] People Looking at Blood says, Look at this pile of carnage, with no clear story, source, assailant, or victim. Just look at it. Now look at others looking at it. (And I will be looking at you looking.)”
— The Art of Cruelty, Maggie Nelson
bitches hate me for my earnest whimsy and my pathological degree of avoidant behavior
Lily McMenamy By Talia Chetrit For Re-Edition Magazine October 2019
life can be so beautiful

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please don't touch me, 2021 by Luka Khabelashvili