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I realized where I remembered your soul from.

It was in the sea. You were so pretty leaning over the water, and I was curious and got to close and got tangled in your fishing net.

And you freed me but your fingers got tangled in my hair. And then you took me home and we got tangled in each other instead.

And when you had to go out to sea again, we’d play a game, where I’d divine the day you’d come back. And when you did, we’d laugh and kiss all the new freckles on each others faces and lie tangled up together until you had to leave again.

But once, a storm blew you off course and delayed your return by a day, and when you finally came home you found I had gone out to look for you,
and when I didn’t come back you decided I was lost,
or worse, that I didn’t want to be found-
and so you never went to the sea again.

But the truth is that I was just under your boat, and always had been, for how could I stay ashore when you and the sea were my home?

(via camii23)




A mermaid 

Because they don’t always have to be whitewhitewhite.

I love this!

(via team-striker-eureka)


i called sebastian bruh because i’m a little shit and so i made gifs of it holla

(via team-striker-eureka)


I’m kinda shocked Drax called Peter an imbecile for going back for the mix tape
You drunk-dialed an army, sit down.

(via team-striker-eureka)


Don’t send nudes



(via aggpo)


if i ever stop reblogging this it’s because i’m dead and in my grave. 

(via ptolemaic)

"If she doesn’t scare the hell out of you a little, she’s not the one."

- (via buddhabrot)

(via jossgraymark)



Went kayaking with my girlfriend and we made the cutest friend!

excuse me WHY are his hands up i cant handle this

(via vaxeens)


Happy Birthday Frida Khalo

*with my fav photo of her… 

(via cavetocanvas)


Giuseppe Penone, Svolgere la propria pelle, 1970-71

From the Metropolitan Museum of Art:

Arte Povera was a uniquely Italian variant on the Conceptualism of the late 1960s and early ’70s. In place of skepticism and doubt, artists such as Michelangelo Pistoletto, Giovanni Anselmo, Giuseppe Penone, and others showed an unfailing confidence in the possibility of reclaiming the individual from the deadening effects of consumer culture; the group’s critical mouthpiece, Germano Celant, described the artist’s new role as “the free self-projection of human activity.”

In this piece, Penone photographed a glass slide pressed against different parts of his body until he had recorded his entire anatomy; the corporeal fragments (numbering more than one hundred) were then reassembled into a grid of tiny mercator projections mapping his personal landscape. The artist also created versions of this piece as a book and as printed images on photosensitized windows in an exhibition hall.