Office by Alex Penny
Musician; thespian; Whovian; Washingtonian; ocean dweller; hippie; brother; son; friend; lover; human.
(Source: pornographickittie, via e1ectric-feel)
(via thewhoreofvenice)
(via thewhoreofvenice)
Ivan the Terrible and his Son Ivan, 1885
Ugh, I love this painting so much.
Just some background stuff, Ivan the Terrible was the Tsar of Russia for most of the 16th Century. In I think 1581, he caught his daughter-in-law wearing ‘immodest clothing in front of everyone’ and struck her. She was apparently pregnant and she may or may not have had a miscarriage because of it.
Ivan’s son and the girl’s husband, also named Ivan after his father, hears about it and gets into a really heated argument with his father that ends with Ivan the Terrible taking a swing at his son with his pointed staff. It’s said that he immediately fell down and kissed his son’s face, pressing his hands against his left temple to try to stop the bleeding. He famously screamed “May I be damned! I’ve killed my son! I’ve killed my son!” His son briefly regained consciousness and his last words were “I die as a devoted son and most humble servant.”
I love all the details. I love the pointed staff lying on the ground and the signs of a fight with the tossed over chair, disturbed carpet, and the door wide open. I love the single tear on Ivan’s face and their position on the floor. This is a really gorgeous but raw depiction of one of the darkest moments in an incredible man’s life. I wish there were more historical paintings like this.the terror in his eyes
(via thewhoreofvenice)
Me and the boyfriend.
(via melliflu0us)
The Earth’s moon 1.5 days after its New Moon phase, with the International Space Station seen streaking across the sky and Jupiter shining amid the clouds.
(via nepula)
(via nepula)
(via nepula)
Arnaud Gerniers. Frame.
FRAME is a strange invitation to question our own gaze when faced with an image. the presence of a frame set up at the centre of a borderline hostile landscape functions as a magnet: our perception of the image oscillates between attraction and repulsion. our gaze, hypnotized by the luminous frame – an iconic and powerful element of the image – fixes on it, in an unfulfilled desire for a new element to see and interpret. one glances at the title, in order to feel less lost, but these geographical references, though they reassure us about the existence of the almost mythical landscape, do not shed additional light …
all one can do is obstinately stare at the photo and cross over to the other side of the frame, into what is not said of the image. mute and tenacious, it offers no form of narration and leaves us no choice but to go see elsewhere, beyond. in this same way, frame frees us from trying to decrypt things and forces us to look within, since we cannot project ourselves onto it. in this state of things, this necessary letting go, we end up “seeing.”
using the same principle as for the photos, the installation shown in the small room creates an intimate relationship and a questioning of what the spectator perceives. the black light troubles one’s vision and pushes away the limits of one’s visual stimulation. this perception of black transforms absence into a mystical poetry.
