destroying.

Stuff,
retrogasm:

Bzorp!

retrogasm:

Bzorp!

susiesnapshot:

Printed in U.S. Camera 1953 (edited by Tom Maloney)
Head Study by Howell Conant

susiesnapshot:

Printed in U.S. Camera 1953 (edited by Tom Maloney)

Head Study by Howell Conant

(via mudwerks)

(Source: chetzar, via skullgrind)

(Source: textless, via mudwerks)

(Source: error888, via skullgrind)

(Source: daysrunaway, via skullgrind)

(Source: dirtsmoker, via skullgrind)

retrogasm:

She must be really tall…

retrogasm:

She must be really tall…

kasieisdell:

Eunice lake from Tolmie peak.

kasieisdell:

Eunice lake from Tolmie peak.

(via backcountrystateofmind)

zombiesenelghetto:

Siouxsie Sioux live at the Vortex, London, October 1977
via

zombiesenelghetto:

Siouxsie Sioux live at the Vortex, London, October 1977

(via greatgrottu)

laurabacall:

My two favourite things in the world
Lauren Bacall and cats

laurabacall:

My two favourite things in the world

Lauren Bacall and cats

(via greatgrottu)

(Source: instereo007, via greatgrottu)

1910-again:

Lionello Balestrieri, Woman on a Paris Street at NIght 1924

1910-again:

Lionello Balestrieri, Woman on a Paris Street at NIght 1924

(via flowisaconstruct)

asylum-art:

Rebecca Stevenson’s Surrealist Macabre Sculptures

Rebecca Stevenson’s figurative sculptures are both eerie and beautiful. Using primarily polyresin and wax, her concept usually begins with a human or animal figure cast in a subdued monochromatic color that then appears to blossom or decay with varieties of multi-colored surreal compounds. These blossoms almost consume the figures, resulting in provocative, surreal sculptures. Her work embodies the process of creation and destruction, revealing the beauty that emerges from this organic cycle. Some of it reminds me of walking around farm pastures when I was younger, and discovering various animal skulls that the grass had begun to climb through. If her work is disturbing, it is only because it doesn’t try to mask the macabre beauty of the growth/decay process. ”My work is concerned with the visceral and the sensual. It draws upon anatomical drawing and botanical illustration, but occupies a liminal territory between scientific enquiry and the subjective, imaginary body.”

(via callipygianology)