fuck it

depression, aesthetic , nsfw . mortals dni

[dumb-n-rad]

Smoothing

"Its a rock,"

I said, and i threw it down.

We love the sand,

how she cradles us..

but have you ever heard the clacking

of a million - hell - millions of rocks as they

try to sink deeper

into the sea?

There was an octopus there once,

or at least a dream. A moment. That's all

you really need to believe.

How something so small can make me

feel smaller, its funny.

Time makes the sands, but too

leaves the crags.

What will it make

of me?

[naked-rat-girl]

My titty reflection

[miamaimania]

“Veil of Smoke” by Unknown Photographer ◇ Cigarette smoke caught between transparency and touch

[veryboringca]

[brushwork]

Weather camera self portraits (2012— )

Tatu Gustafsson

[caffeinatedopossum]

Me when I remember something I said ages ago that was wrong or my values no longer align with

[leggerezza-dell-essere]

* Bisogna vivere come si pensa, altrimenti si finirà per pensare a come si è vissuto.

Paul Bourget

______ Matteo Baroni.

[fiery-kitty]

Scythian Pectoral (4th century BCE)

Museum of Historical Treasures of Ukraine, Kyiv

The pectoral is considered one of the greatest masterpieces of Scythian goldsmithing and one of the most important archaeological discoveries in Ukraine. Its artistic sophistication demonstrates the close interaction between Scythian and Greek craftsmanship in the Northern Black Sea region during the 4th century BCE.

Place of origin: Northern Black Sea region

Findspot: Tovsta Mohyla kurgan (Dnipropetrovsk Oblast, Ukraine), discovered by Borys Mozolevskyi (1971)

Materials: Gold

Techniques: Enameling, casting, repoussé, stamping, forging, wire drawing, inlay, soldering

Decoration: The ornament is crescent-shaped and divided by four twisted torques into three horizontal registers, each filled with sculptural scenes. The pectoral consists of more than 160 individual elements

Dimensions: Diameter is 306 mm

[antiqueanimals]

Животные холодных стран, 1926. Illustrated by Alexey Komarov.

source

[thesilliestpotato]

I was looking for references and stumbled across a series of paintings from 1930s by Soviet painter Alexander Samokhvalov called "The young women of metro construction"

[feather-bone]

Hi y'all! New linocut design available now in my shop! All proceeds go to local mutual and legal aid for immigrants in my area. Direct donations are also an option. Reblogs appreciated!

[3688431-remade-deactivated20220]

MY guardian angel jacks off to me while i sleep

[loveridden1999]

[pmamtraveller]

Mammal in a Sunday Dress, by Georgina M. Cox, 2026

[originalaccountname]

Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

source

[dungeonlust]

Yuriko Ohno

[casimir0]

The Snake Charmer. Hermosillo, Mexico - Pieter Hugo

[somewordsarebiggerthanothers]