to move up and down
YOUNG PUP
19. Boston. Printmaking Student.
Barbara Kruger, Untitled (You Construct Intricate Rituals), 1981
(Source: , via useyourwordsasher)
dean spade's 'for lovers and fighters': the greatest explanation to any relationship woe. evar.
It was sweet, I was approached by a girl I had never met at school because she heard that I was in a polyamorous relationship and she is just getting involved with a couple. We ended up talking for 40 minutes and it was really cool being able to help someone understand their feelings and be honest with themselves. And did I recommend for lovers and fighters? Hell yes I did.
(Source: honeystomach)
Rummaging in our souls, we often dig up something that ought to have lain there unnoticed.
This book.
‘I think,’ said Anna, toying with the glove she had taken off, ‘I think … if there are as many minds as there are men, then there are as many kinds of love as there are hearts.’
I need
Returning to his carriage, he kept running through all the attitudes in which he had seen her, all her words, and in his imagination floated pictures of the possible future, making his heart stand still.
Think
What would come of it all, he did not know and did not even consider. He felt that all his hitherto dissipated and dispersed forces were gathered and directed with terrible energy towards one blissful goal. And he was happy in that. He knew only that he had told her the truth
I
Dawwpaul in 2005 / paul in 2011
Gpoyw! Showered and feeling human and ready to make prints!
My heart explodedBrows are on point, and I love the bodysuit.
More importantly, I love seeing black and brown femmes being presented as desirable in a non-fetishistic, casual way, so this photo gets a bunch of love from me.
Omg this is adorable
My heart just melted. I need to see more of this today.
this is a beautiful image for pretty much all reasons
Lauren Hayes and Paul DeRuvo are driven to explore the vulnerability inherent in exposing the personal relationships through which we define ourselves. This work addresses the difficulty of inhabiting a body, its comforts and discomforts, challenges and limitations. It reflects on the specificity of having a singular vehicle through which one is able to experience the world. The viewer is given an intimate perspective of the artists’ lives as a physical and empathetic observer. Recognition and familiarity are closely tied to this experience of empathy. Once evoked, the established connection must be contended with. Having the potential to be both awkward and revealing, the tenderness of the work becomes a necessary reprieve from the social expectations of modesty and composure. The vulnerability of InComfort seeks expression beyond the artists’ lives to become a shared moment of compassion.
