myloverseyes

Wannabe amateur photographer. Professional Procrastinator. Hopeless romantic...

I like shiny things, old things and things that are so crass they're amazing.
Currently obsessed with: art deco furniture & housewares; religious iconography.
Always obsessed with: Late Victorian art, culture, literature & science; action figures; horror movies; & dolls.

Before They Pass Away. Photographer Jimmy Nelson traveled around the earth to try and document the world’s most secluded tribes. 

THIS IS ABSOLUTELY FANTASTIC

(Source: cinemagorgeous, via childishhysterics)

wingthingaling:

The phantasmagorical and surreal animal sculptures by Canadian artist Ellen Jewett. Between dream and nightmare, some strange creations born of a symbiosis between organic and mechanical elements, a meeting between fantasy, gothic and steampunk. Some very detailed sculptures in clay on a metal frame.

Visit her website at http://www.creaturesfromel.ca/

via Ufunk.net

(via wilwheaton)

australiansanta:

my dad just went up close to my dogs face and looked him dead in the eyes and said “does it worry you being so hairy”

(via ofools)

It turns out procrastination is not typically a function of laziness, apathy or work ethic as it is often regarded to be. It’s a neurotic self-defense behavior that develops to protect a person’s sense of self-worth.

You see, procrastinators tend to be people who have, for whatever reason, developed to perceive an unusually strong association between their performance and their value as a person. This makes failure or criticism disproportionately painful, which leads naturally to hesitancy when it comes to the prospect of doing anything that reflects their ability — which is pretty much everything.

b-l-a-c-k-o-r-c-h-i-d:

Japanese Artist Ishibashi Yui’s Unsettling Figures

Japenese artist Ishibashi Yui’s sculptures are both unsettling and serene. Using a variety of materials, such as wood, resin, cloth, clay, steel wire, and stone powder, she often depicts figures whose roots extend and project outward in many directions. These figures appear passive and complacent to these protruding branches, aware of the lack of control they have over this organic process. Some of these protrusions seem painful or unexpected, but ultimately inevitable. Often her figures are off-white, while their protrusions are green or red-hued. These figures are human-like, but their soft, round and white bodies give the viewer a sense they are also of the earth, resembling a plant’s bulb. Yui’s work makes us deeply aware of how we are intertwined with the natural world, and the balance and cycle of nourish and depletion that living and dying requires.

(Source: b-l-a-c-k-o-r-c-h-i-d & f-l-e-u-r-d-e-l-y-s, via kimberleylongart)

littlelimpstiff14u2:

 The Ghostly Sculptures of Bruno Walpoth

Ghostly sculptures of Bruno Walpoth. Life-size, his powdered beauties, as if in opposition to their ghostly stature, seem heavy and grounded, their gazes locking whomever sees them into a spiritual arrest.

Working with traditional sculptural methods, Walpoth’s work is almost alchemical in quality.  Muscles, eyes and fingers that have been carved into wood (lime and walnut) or covered with lead leaf foils, seem soft and supple, sad and pensive. Idealistically beautiful, his figures show signs of bones and sinew under fragile skin.

Marks from carving tools show on the surface of the wooden bodies, and serve as quiet reminders that these creatures are not human. The marks break what anthropomorphizing has taken place and the observer is introduced to (or reminded of) the artist.  In a strange way, that break makes these works even more fascinating; they make clearly visible the love that has been passed from the creator to the created.

“Contrary to Geppetto, who constructed himself a child (Pinocchio) out of a piece of wood to banish his loneliness, Bruno Walpoth attempts, perhaps out of awareness of life’s transience, to immortalize the volatile spark of youthfulness he catches in the eyes of his models – sometimes his own children – into a wooden sculpture,” writes Absolute Art Gallery‘s Diana Gadaldi.  Walpoth’s figures are also reminiscent of the children in the paintings of Dino Valls and Gottfried Helnwein, yet are not so tortured nor forced into adulthood.  They are more ghostly, or perhaps more Buddhist, as if silently accepting of a new maturity.  Ms. Gadaldi also states that “[they] seem to be immersed in a moment of intimate meditation. Their detached attitude and dreamy expression are characteristic for the stage of life they are going through: one of slow but inexorable physical and psychological development. As they evolve from children to adolescents and from adolescents to young adults, the first traces of self-consciousness and emotional involvement appear on their often still infantile faces.”

http://www.walpoth.com/wood.html

http://www.modernism.ro/2012/02/19/ghostly-sculptures-of-bruno-walpoth/

(via ofools)