Quote
"Eres a quien quería encontrar y cualquiera que intente rechazarte, debe estar loco."

— (via loves-stay-strong)

Text

No hay nadie más malo que Voldemort, excepto las divinas, nadie pasaba por su esquina.

pupila-sol:

comadre-lola:

Porque eran gasolina.

GASOLINA DEVERDAD

jkjakjakajkaj qe miedo esa esquina :/

(Source: loves-stay-strong, via loves-stay-strong)

Quote
"Pero, en definitiva, ¿qué es Lo Nuestro? Por ahora, al menos, es una especie de complicidad frente a los otros, un secreto compartido, un pacto unilateral. Naturalmente, esto no es una aventura, ni un programa, ni —menos que menos— un noviazgo. Sin embargo, es algo más que una amistad."

— (via loves-stay-strong)

Photoset

exhibition-ism:

Maud Vantours handles paper like no other. Be sure to check out more of her work here

(Source: exhibition-ism.com )

Photoset

likeafieldmouse:

Sarah Sudhoff - At the Hour of Death (2010-11)

Artist’s statement:

"Death, like birth, is part of a process. However, the processes of death are often shielded from view. Today in Western society most families leave to a complete stranger the responsibility of preparing a loved one’s body for its final resting place. Traditional mourning practices, which allowed for the creation of Victorian hair jewelry or other memento mori items, have fallen out of fashion. Now the stain of death is quickly removed and the scene is cleaned and normalized. As Phillipe Aries writes, Society no longer observes a pause; the disappearance of an individual no longer affects its continuity.

At the age of seventeen, I lost a friend to suicide. While visiting his home the day after the event, I witnessed a clean-up crew steam cleaning the carpet in his bedroom. All physical traces of the past 24 hours had vanished.

These large-scale color photographs capture and fully illuminate swatches of bedding, carpet and upholstery marked with the signs of the passing of human life. The fabrics which are first removed by a trauma scene clean up crew, are relocated to a warehouse before being destroyed. I tack each swatch to the wall and use the crew’s floodlights to illuminate the scene. The images are my attempt to slow the moments before and after death into a single frame, to allow what is generally invisible to become visible, and to engage with a process from which we have become disconnected.”

1. Seizure, Male, 25 years old

2. Suicide with Gun, Male, 40 years old (I)

3. Illness, Female, 60 years old

4. Heart Attack, Male, 50 years old (III)

5. Heart Attack, Male, 50 years old (II)

6. Suicide with Gun, Male, 40 years old (II)

With thanks to my friend C. J. Schrat for introducing me to this artist’s work.