friendswithclay:

“Famous craftsman Moharam Gill Mohammad, at work on his potter’s wheel in Hala, near Hyderabad.”

From: “journey through Pakistan” by Amin, Mohamed; 1982.

(via fariharoisin)

wonderhome:

houseofmodernvintagenola.com

(via thisivyhouse)

oldpaintings:

Judith with the head of Holofernes by Johann Peter Krafft (German-born Austrian, 1780–1856)

(Source: sammlung.belvedere.at)

luthienne:

Natasha Trethewey, from Thrall: Poems; “Miracle of the Black Leg”

[Text ID: —what knowledge haunts each body, / what history, what phantom ache?]

weusedtobegiants:

I want to go back to the beginning. We all do. I think: hurt won’t be there. But I’m wrong.

Gregory Orr, from Concerning The Book That Is The Body Of The Beloved

(via luthienne)

oldpaintings:

Wojciech Weiss (Polish, 1875–1950)

itscolossal:

Tatiane Freitas Splices Contemporary Acrylic Elements Onto Traditional Wooden Furniture

satanasaeternus:

“Holding The Moon” Knights Ferry, California by Eric Hock

(via soracities)

textid:

anouri:

Evelyn Waugh, from Brideshead Revisited (1945)

Text ID: “Sometimes,” said Julia, “I feel the past and the future pressing so hard on either side that there’s no room for the present at all.”

(via obstinate-and-headstrong)

flowerytale:

Sharon Olds, from “Something Is Happening”, One Secret Thing: Poems

(via obstinate-and-headstrong)

I used to need to chronicle it all, record it fervently as signs of life. And while that proof is no longer necessary, I still feel its resurgence. The art and the writing and the reading and the internal racking, it comes from a different source now. It isn’t for work and not for play. But feeling that insistence again, I think it’s a response to the times. Even if not a conscious decision, our bodies are looking for signs of life.

dreamsofacommonlanguage:

Amy Key, A Bleed of Blue

(via soracities)

altcomics:

David Hockney

(via oddestishottest)