Innocent Son
A complete unknown blinded by nostalgia, little bit of a cynical, I have a small messiah complex and an excellent taste for music.
Innocent Son
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saatchiart:

Oxytocin
Matthew Lawrence
United Kingdom 
Original: $2,000
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kevinlucbert:

Der Plan,
21 x 29,7cm, encre sur papier, Kevin Lucbert, 2013.
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cutebabe:

tHIS IS BY FAR MY FAVE PICTURE OF MAC EVER JS
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nickdrake:

Patti.
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radagraphic:

Sol III by Yo no me llamo Javier on Flickr.
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blastedheath:

Paul Henry (Irish, 1876-1958), The Lake, 1928. Oil on board, 15 x 21 in.
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blastedheath:

Jacques Yankel (French, b. 1920), L’Atelier. Oil on canvas, 115 x 146 cm.
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"I love you, but you don’t know what you’re talking about." - Moonrise Kingdom (2012)

"I love you, but you don’t know what you’re talking about." - Moonrise Kingdom (2012)

"I love you, but you don’t know what you’re talking about." - Moonrise Kingdom (2012)

"I love you, but you don’t know what you’re talking about." - Moonrise Kingdom (2012)

"I love you, but you don’t know what you’re talking about." - Moonrise Kingdom (2012)
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hollyruthsmith:


'It's all in your head'
March 2014 
hollyruthsmith:


'It's all in your head'
March 2014 
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7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’
7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’
7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’
7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’
7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’
7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’
7sobm:

Zack SecklerAbsolutely beautiful images from Botswana, the colours and patterns are breath taking. It’s so easy to forget how incredible nature can be.  7‘Being above the ground at such low elevations, and having the ability to precisely maneuver, was like gliding over an enormous painting and being able to create brushstrokes at will. As soon as I saw the landscape from above I knew there was potential to create a special body of work.’