Ce Petit Coeur
I AM A KID & THE WORLD IS SO BIG
Ce Petit Coeur
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breathtakingdestinations:

Adirondack Balloon Festival - Glens Falls - New York - USA (von EJP Photo)
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nevver:

Hey Monster
nevver:

Hey Monster
nevver:

Hey Monster
nevver:

Hey Monster
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catdad:

feralhouses:

This is what I want my family portrait to look like. Just farm animals.

Look at those bangs. Who IS she?
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"for there is nothing heavier than compassion. Not even one’s own pain weighs so heavy as the pain one feels with someone, for someone, a pain intensified by the imagination and prolonged by a hundred echoes."
Milan Kundera, The Unbearable Lightness of Being (via whyallcaps)
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kateoplis:

'Morning.
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peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
peaceful-moon:

elenamorelli:

{ into the forest // darkness and light and bokeh }

☮ nature aฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎d good vibes ☾
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i-doll:

1806; day #3 vii
i-doll:

1806; day #3 vii
i-doll:

1806; day #3 vii
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asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
asylum-art:

Edith Bergfors
For her latest series ‘We’ve Gone Commercial’ Edith Bergfors’, a photographer based in London, worked together with creative director Matthew Holroyd for the amazingly satirical magazine, ‘Dis’. It shows split photographies which remind us of fashion commercials. The artists explain: ‘We were looking at stock imagery and wanted to pull in some of the recurring elements, and then deconstruct them quite literally. Stock imagery has that wonderful dullness to it, and we wanted to embrace it wholly and humorously, appropriating it into our own versions.’
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"I found god in myself
and i loved her
i loved her fiercely."
Ntozake Shange (via observando)
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eartheld:

obsol:

obsol:

brutalgeneration:

Emei Golden Summit Early Morning II (by lylevincent)


nature

☁︎ nature ☁︎

mostly nature
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thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew
thegirlwiththechameleoneyes:

Onata Aprile & Alexander Skarsgard: What Maisie Knew