Models present creations by Colombian designer Guio Di Colombia during the Inclusion catwalk and Expomujer in Cali, Colombia, November 3, 2016. The catwalk includes models of all sizes, races, sexuality and physical ability. (Photo by Jaime Saldarriaga/Reuters)

“Famous much?”. (Photo by Ronnie Yip). P.S. Please, click consistently two times to see the photo in an original size (this principle works everywhere at AvaxNews).

Ribbonesia is a modern ribbon company created by Japanese artist Baku Maeda. The word “ribbon” and ‘modern’ is an understatement when describing Ribbonesia because these are more like life-size modern sculptures made with satin and silk. I wouldn’t be shocked if he starts creating apparel in the near future.

The quokka the only member of the genus Setonix, is a small macropod about the size of a domestic cat. Like other marsupials in the macropod family (such as the kangaroos and wallabies), the quokka is herbivorous and mainly nocturnal.

Buddy Bears are a series of painted, life-size fibreglass bear sculptures originally developed in Berlin, Germany. The first Buddy Bear was created by the German businesspeople Klaus and Eva Herlitz, in cooperation with the sculptor Roman Strobl in 2001.

Romanian soldiers take part in a joint military exercise with NATO members, called “Agile Spirit 2015” at the Vaziani military base outside Tbilisi, Georgia, July 21, 2015. Georgian soldiers along with U.S. marines and platoon-size units from Bulgaria, Latvia, Lithuania and Romania are taking part in the exercises at the Vaziani military base outside Tbilisi. (Photo by David Mdzinarishvili/Reuters)

A general view of dried-up rivers in the Pilbara region of Western Australia December 2, 2013. Western Australia's Pilbara region, which is the size of Spain, has the world's largest known deposits of iron ore and supplies nearly 45 percent of global trade in the mineral. (Photo by David Gray/Reuters)

Moroccan photographer and filmmaker Achraf Baznani carries on the traditions of Surrealism with his wild, imaginative, and wholly impractical imagery. Among his inventive scenarios, small human figures—often the artist himself—appear trapped within glass jars or the size of a camera lens; in other works, Baznani more or less dissects his body, as for example, in one, he cleanly removes his brain from his cranium, or in another, twists off his hand, much as if it were a light bulb. Imparted throughout such works are strong senses of humor and wonder, and as such, Baznani’s art offers a Surrealistic take on life experience in the digital age.