likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer
likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer

likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer

(via worclip)

likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 
likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 
likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 
likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 
likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 
likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 
likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)
"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…
Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature. 
The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 

likeafieldmouse:

Bob Verschueren - Wind Paintings (1978)

"Crushed charcoal, iron oxide, chalk, terra verte, flour, yellow ochre, terre de Cassel, burnt and natural umber, laid out in a linear motif along the land…

Verschueren would wait for the wind to distribute the colored pigments and materials over the land. The resulting work was a stunning collaboration between man and nature.

The artwork usually only lasted a few hours before the wind that created them likewise blew them away.” 

likeafieldmouse:

Rare storyboards for Ridley Scott’s epic 1982 film Blade Runner
likeafieldmouse:

Rare storyboards for Ridley Scott’s epic 1982 film Blade Runner
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.
artmonia:


Rob Dobi.

Lazerzzz

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL
“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”
www.alexasherdaniel.com

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL
“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”
www.alexasherdaniel.com

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL
“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”
www.alexasherdaniel.com

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL
“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”
www.alexasherdaniel.com

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL
“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”
www.alexasherdaniel.com

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL
“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”
www.alexasherdaniel.com

lyfstyl:

Artist Spotlight: ALEX ASHER DANIEL

“The work can not help but evolve if it is coming from a truthful place, because you yourself are ever changing. Even when I have made a point to work in a uniform series- each time I begin a new painting I feel as though I have never painted before. I have found myself consistently drawn to certain subject matter, but the approach to how I paint it is always changing. In my early work I was inspired by the figure, but I was intrigued by the shape of letters, numbers and blocks of colour. I incorporated that into my work, and it came across very graphic and two-dimensional. Today, I still explore the human body, but I am searching for meaning within the unseen space around my subject- it makes for a much more multidimensional experience.”

www.alexasherdaniel.com

“I have complete faith in the continued absurdity of whatever’s going on.”
50 of the Greatest Jon Stewart Quotes

“I have complete faith in the continued absurdity of whatever’s going on.”

50 of the Greatest Jon Stewart Quotes