"Nunca abaixe a cabeça pra ninguém, nem levante o nariz alto demais. Olho no olho já é suficiente."

"Lembro das nossas conversas (…) nas quais eu me sentia tão sincera e tão livre, pelo fato de você dividir suas coisas comigo…"

"Sentamos e esperamos pelo sol e tudo o que viria pela frente. Eu não gostava do mundo, mas em tempos precavidos e tranquilos, dava até quase para compreendê-lo."

"Procuro suportar todos os dias minha própria personalidade renovada, despencando dentro de mim, tudo que é velho e morto."

delbertshoopman:

My Weekend (follow me on twitter- I’ve been rather busy and just posting stuff there) 

(Source: clementineandjoel)

"E se você odiar a minha história, desculpe, ela não foi escrita pra você."

(Source: so-quotes)

"Tempos de luz. É assim que chamo minha vida. Vivo eternamente em um estágio de luz, de alegria, de sentimentos e pensamentos inigualáveis, época de boas novas. Tempo de largar todas as coisas escuras do mundo e pular. Pular no abismo rumo a felicidade."

(Source: borbulhar)

hahamagartconnect:

THE GLOWING HOMELESS

We could not say this better than ignantblog.com…the following is an excerpt from their piece on Fanny Allie’s, The Glowing Homeless

“It is this ghostlike existence, the state of being absent while being present, which is of interest to the French artist Fanny Allié. ‘The Glowing Homeless’ is an installation of neon tubes which represents the silhouette of a sleeping human. It precisely refers to the figure of a homeless person who chooses to perform the actually intimate act of sleeping amongst the park’s crowd but still stays excluded. He becomes a part of the surroundings of trees, benches and playgrounds and is thus almost invisible. Using the warm glow of the neon tubes, the artist creates an alluring object with the aim to bring light in to the darkness of New York’s parks and to change people’s attitude from avoidance into curiosity so they are drawn towards the figure on the bench. Thus Allié brought an object into being that represents the thousands of homeless that face social exclusion and the troubles of street life every day and night and, without becoming monumental, she also manages to aesthetically confront the difficulties of the ongoing art theoretical debate of the merge of private and public space.”