Uploaded November 2020 | Updated September 2026, 1 week ago
"I’ve had a different upbringing than most. My mother and her family are Slovenian Canadian citizens—with English as their second language—and my brother was diagnosed with autism when I was very young. At one point, I realized that the one thing that bridges everyone together is the understanding of an image. My brother learned how to associate words with images via flashcards. This led me to an extremely impactful realization: language is changed to accompany images. I also loved to draw and took great joy from the communicative aspect of illustration; I really wanted to tell stories and make them accessible to everyone. I knew I wanted to be an illustrator when I was 17, even though I didn’t have a strong concept of what being an illustrator meant! "
[More at: commarts.com/fresh/nicole-rifkin]
Music: Numina "Beyond Infinity"
"I’ve had a different upbringing than most. My mother and her family are Slovenian Canadian citizens—with English as their second language—and my brother was diagnosed with autism when I was very young. At one point, I realized that the one thing that bridges everyone together is the understanding of an image. My brother learned how to associate words with images via flashcards. This led me to an extremely impactful realization: language is changed to accompany images. I also loved to draw and took great joy from the communicative aspect of illustration; I really wanted to tell stories and make them accessible to everyone. I knew I wanted to be an illustrator when I was 17, even though I didn’t have a strong concept of what being an illustrator meant! "
[More at: commarts.com/fresh/nicole-rifkin]
Music: Numina "Beyond Infinity"
![Hallie Packard
The morning sun projects the day onto waking eyelids. In an instant, you are here. A tickle in the corner of consciousness brings a faint memory of a place. The tickle becomes an itch. The mind stretches furiously, straining to retrace steps, to push back into that otherworldly yet unsettlingly familiar “place.” Just as pieces begin to rematerialize, something slips and it all vanishes completely from beneath your feet. For a split second, you hover between two worlds. For a split second, it all comes back.
Hallie Packards works depict a place nostalgic and foreign—comfortable and untouchable at once. A place through which the presence of humanity echoes, but from a source that has long since expired. Human-made relics interact with the natural world, confirming the question of previous human existence and conforming to—even mutating to become one with—the wildly organic environment surrounding them. As reminders of the wonder that abounds and the respect it deserves, these works are dedicated to rediscovering and cultivating the magic of this world.
[from:https://www.halliepackardart.com/copy-of-about]
Music: Aglaia Vernal Equinox Hallie Packard](https://i.ytimg.com/vi/ccEf21kFwTY/mqdefault.jpg)
![Yuri Yakovenko
The name of Yuri Yakovenko is well known in Western Europe. Personal exhibitions of the artist were held in Spain, Lithuania, the Netherlands, Belgium, Poland, Sweden and Cyprus. The artist’s works are kept in the collections of the Vatican Library, galleries in New York, Toronto, Stockholm, museum collections in Russia and Belarus, as well as in private collections of Queen Elizabeth II, the Spanish and Swedish royal houses.
Yuri Yakovenko is a member of the Belarusian Union of Artists, an honorary member of the Russian Academy of Arts, a member of the International Club Graphic House (Sweden). In 2010, he was awarded the title “Honorary Citizen of the City of Grodno”. The master has more than 25 international and domestic awards for participating in the print and book graphic biennale. Among the latest achievements of Yuri Yakovenko is the Grand Prix of the II International Graphic Biennale of JOSEP de RIBERA in Javit (Spain). The most valuable award for the artist (by his own admission) is Rembrandt’s self-portrait, printed from the board of the great Dutchman.
[from: https://gallerix.org/pr/yuriy-yakovenko-gravirovannye-mify-frukty-zveri-koroli-v-galeree-belyaevo/]
Music: Oophoi/Tau Ceti Valles Marineris Yuri Yakovenko](https://i.ytimg.com/vi/d4GX4a_dkXU/mqdefault.jpg)
![Camille Saint-Saëns - The Cuckoo in the Depths of the Woods
Le Carnaval des Animaux (The Carnival of the Animals) is a musical suite of fourteen movements by the French Romantic composer Camille Saint-Saëns.
Le Carnaval was composed in February 1886 while Saint-Saëns was vacationing in a small Austrian village. It was originally scored for a chamber group of flute, clarinet, two pianos, glass harmonica, xylophone, two violins, viola, cello and double bass, but is usually performed today with a full orchestra of strings, and with a glockenspiel substituting for the rare glass harmonica.
Saint-Saëns, apparently concerned that the piece was too frivolous and likely to harm his reputation as a serious composer, suppressed performances of it and only allowed one movement, Le Cygne, to be published in his lifetime. Only small private performances were given for close friends like Franz Liszt.
Saint-Saëns did, however, include a provision which allowed the suite to be published after his death, and it has since become one of his most popular works. It is a favorite of music teachers and young children, along with Prokofievs Peter and the Wolf and Brittens The Young Persons Guide to the Orchestra.
Le coucou au fond des bois (The Cuckoo in the Depths of the Woods):
Two pianos and clarinet: The pianos play large, soft chords while the clarinet plays a single two-note ostinato, over and over; a C and an A flat, mimicking the call of a cuckoo bird.
[from Wikipedia]
Artwork:Remedios Varo,Creation of the Birds
Played by:French National Radio Orchestra (Pierre Carbidier). Camille Saint-Saëns - The Cuckoo in the Depths of the Woods](https://i.ytimg.com/vi/d4ll80_QpUI/mqdefault.jpg)
![Amelia Jane Murray
Amelia Jane Murray (1800 to 1896) or Lady Oswald, was a Victorian fairy artist from the Isle of Man in Scotland. Her watercolor paintings depicted fairies and flowers and were inspired by the folklore of the island. She was the daughter of Lord Henry Murray and the niece of John Murray who was the 4th Duke of Atholl.
Amelia Jane Murray was born in Port-e-Chee, which means `Fairy Music in Gaelic. Growing up, Murray lived in Mount Murray, her familys home which was five miles from Douglas.
Murrays fairy paintings were inspired by the rich folklore of the Isle of Man and many of them had embossed borders. They date to the early 1820s and the watercolor pictures suggest that Murray had significant knowledge of the flora and fauna. They are often based on Manx folklore and depict delicate fairies in the natural beauty of the landscape.
In 1829, she married Sir John Oswald of Dunniker, who was twenty-nine years older than her. They moved to Fife, Scotland where she looked after his six children from his previous marriage, as well as their own two.
Murrays paintings of fairies were later published for the first time in 1985, in a book called, A Regency Lady’s Fairy Bower.
[from Wikipedia]
Music: Vidna Obmana Dwells Into The Heart Amelia Jane Murray](https://i.ytimg.com/vi/d5tyNpqNkic/mqdefault.jpg)
![Arthur Rackham
Arthur Rackham (19 September 1867 – 6 September 1939) was an English book illustrator.
Arthur Rackham is widely regarded as one of the leading illustrators from the Golden Age of British book illustration which roughly encompassed the years from 1890 until the end of the First World War. During that period, there was a strong market for high quality illustrated books which typically were given as Christmas gifts. Many of Rackhams books were produced in a de luxe limited edition, often vellum bound and sometimes signed, as well as a larger, less ornately bound quarto trade edition. This was often followed by a more modestly presented octavo edition in subsequent years for particularly popular books. The onset of the war in 1914 curtailed the market for such quality books, and the publics taste for fantasy and fairies also declined in the 1920s.
Arthur Rackhams works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.
Rackhams illustrations were chiefly based on robust pen and India ink drawings.
Rackham gradually perfected his own uniquely expressive line from his background in journalistic illustration, paired with subtle use of watercolour, a technique which he was able to exploit due to technological developments in photographic reproduction. He would first lightly block in shapes and details of the drawing with a soft pencil, for the more elaborate colour plates often utilising one of a small selection of compositional devices.Over this he would then carefully work in lines of pen and India ink, removing the pencil traces after the drawing had begun to take form. For colour pictures, he would begin painting by building up multiple thin washes of watercolour creating translucent tints. One of the disadvantages of the 3-colour (later 4-colour) printing process in the early years was that definition could be lost in the final print, Rackham would sometimes compensate for this by over-inking his drawings once more after painting.He would also go on to expand the use of silhouette cuts in illustration work, particularly in the period after the First World War, as exemplified by his Sleeping Beauty and Cinderella.
Typically, Rackham contributed both colour and monotone illustrations towards the works incorporating his images – and in the case of Hawthornes Wonder Book, he also provided a number of part-coloured block images similar in style to Meiji era Japanese woodblocks.
Rackhams work is often described as a fusion of a northern European Nordic style strongly influenced by the Japanese woodblock tradition of the early 19th century.
[from Wikipedia]
Music: Monokle Gray Sparks, Goldmund All Four Holy Mountains. Arthur Rackham](https://i.ytimg.com/vi/dFPsI78yfDo/mqdefault.jpg)
![Nicole Duennebier
Nicole Duennebier’s delicately rendered paintings push the boundaries of traditional concepts of the still-life. In the artist’s compositions organic forms appear to be “growing out of darkness.” Some of the subjects are clearly depictions of botanicals and insects, while others are imaginative, strange hybrids. Using acrylic on panel, Duennebier paints a mysterious world where drama unfolds in an arena of darkness.
[from:https://zam.umaine.edu/exhibitions/past-exhibitions/nicole-duennebier/]
Natural phenomenon—dermoid cysts, fungus, invasive flora/fauna—and my love of candied, old-master opulence have a constant presence in my work. Through painting with attention to detail, I’ve become accustomed to the fact that nature itself, or anything living really, never totally allows you to have a perfectly idealized experience. Everything is always spewing, dripping, rotting a little. Similar to 17th century still-life paintings with those vibrant lusty fruits that show the light fuzz of beginning decay, I don’t see these works as allegorical depictions. To me it is more the realization that both the rot and the fruit are a textural attraction in their delicacy; both take the same concentration and care to paint.
The classic chiaroscuro darkness in still-life is a primordial soup, a pool of black that springs forth a decadent, and sometimes horrible, growth. I’ve always been attracted to the obsolete idea of spontaneous generation, all that awful stuff popping into existence for no reason. The paintings reflect this; they are more spontaneous generations than firmly rooted in actual living organisms.
[from:https://nicoleduennebier.com/about-boston-artist-nicole-duennebier]
Music: Alio Die Veritas Temporis Filia Nicole Duennebier](https://i.ytimg.com/vi/dam9H_xQ4k0/mqdefault.jpg)
![Chloé Poizat
Chloé Poizat is one of several illustrators whose work has been circulating via The New York Times feature “Notable Opinion Art of 2013”. The Paris-based illustrator’s piece (below) looked interesting, but I was in no way prepared for just how curious her images are. Chloé flirts with the edge of “commercial” and “creepy”; there’s a darkness to her collaged narratives—whether black and white or garishly-colored—that is irresistible.
[from: https://baladycreatives.com/chloe-poizat/]
Music: Numina The Shadow of A Day Chloé Poizat](https://i.ytimg.com/vi/dnWWU8yZHAs/mqdefault.jpg)
![Victor Safonkin
I enjoyed drawing, as all children do. Understanding my surroundings was still far away, but there were smells and feelings, huge rats and headaches.It was another life strongly influenced by nature.
I had been watching and examining for a long, long time, before all of this shaped itself, after many years, into conviction and painting. It all surfaced from subconsciousness. In the mean time I finished secondary school and begun studying technical school, where I gained secondary education. It gave me nothing, and did not fill even a little area of my brain hemispheres. I was feeling useless. Rationalism and routine, however, would have finally suppressed the psychedelic fever and would have feeded my minority complexes, if it was not for the striving of my subconsciousness. Taking its roots in the childhood it bursted the frontiers of banality.
1990 was not only the year of sun eruptions, but also of my brain. My heart confessed to me and opened the gate of creativity. I crossed it, forever, without looking back, with no doubt, lost for shadow and disbelief!!!
[from:https://www.safonkin.com/author.htm]
Victor Safonkin (born 1967 at Saransk) is a surrealist painter.Victor Safonkins work is self-described as Eurosurrealism, or European classic surrealism & symbolism. His work is redolent of Salvador Dali. Victors work has been highly acclaimed, and in 2005 he was invited to exhibit at the European Parliament in Brussels. The rock band Killing Joke used his Hosannas from the Basements of Hell as an album cover in 2006. Viktor Safonkin is featured in the 2007 [Venus and the Female Intuition,] published by SALBRU. Safonkin has been called one of the most brilliant artists I have seen in a long time, by master Surrealist Professor Ernst Fuchs.
[from:http://www.all-art.org/art_20th_century/safonkin1.html]
Music: Steve Roach Begin Where I End Victor Safonkin](https://i.ytimg.com/vi/e0zWTcwbox4/mqdefault.jpg)
![Syd Mead
Sydney Jay Mead (July 18, 1933 – December 30, 2019) was an American industrial designer and neo-futurist concept artist, widely known for his designs for science-fiction films such as Blade Runner, Aliens and Tron. Mead has been described as the artist who illustrates the future and one of the most influential concept artists and industrial designers of our time.
Mead was born on July 18, 1933, in Saint Paul, Minnesota. His father was a Baptist minister, who read him pulp magazines, such as Buck Rogers and Flash Gordon, sparking his interest in science fiction. Mead was skilled in drawing at a young age. According to Mead, by the time I was in high school I could draw the human figure, I could draw animals, and I had a sense of shading to show shape. I was really quite accomplished at that point with brush technique and so-forth. He described himself as being an insular child. Mead graduated from high school in Colorado Springs, Colorado, in 1951. After serving a three-year enlistment in the U.S. Army, Mead attended the Art Center School in Los Angeles (now the Art Center College of Design, Pasadena), where he graduated in June 1959.
In 1959, Mead was recruited to Ford Motor Companys Advanced Styling Studio by Elwood Engel. From 1960 to 1961, Mead worked in Ford Motor Company Styling in Detroit, Michigan. Mead left Ford after two years to illustrate books and catalogues for companies including United States Steel, Celanese, Allis-Chalmers and Atlas Cement. In 1970, he launched Syd Mead, Inc. in Detroit with clients including Philips Electronics.
With his own company in the 1970s, Mead spent about a third of his time in Europe, primarily to provide designs and illustrations for Philips, and he continued to work for international clients. Through the 1970s and 1980s, Mead and his company provided architectural renderings, both interior and exterior, for clients including Intercontinental Hotels, 3D International, Harwood Taylor & Associates, Don Ghia, Gresham & Smith and Philip Koether Architects.
Beginning in 1983, Mead developed working relationships with Sony, Minolta, Dentsu, Dyflex, Tiger Corporation, Seibu, Mitsukoshi, Bandai, NHK and Honda.
Meads one-man shows began in 1973 with an exhibit at documenta 6 in Kassel, West Germany. His work was later exhibited in Japan, Italy, California and Spain. In 1983, Mead was invited by Chrysler Corporation to be a guest speaker to its design staff. He created a series of slides to provide visuals to the lecture, and the resulting presentation was a success. It was later expanded and enhanced with computer-generated images specifically created at the requests of several clients, including Disney, Carnegie Mellon University, Purdue University, Pratt Institute and the Society of Illustrators. In March 2010, Mead completed a four-city tour of Australia.
In 1993, a digital gallery consisting of 50 examples of his art with interface screens designed by him became one of the first CD-ROMs released in Japan. In 2004, Mead co-operated with Gnomon School of Visual Effects to produce a four-volume how-to DVD series titled Techniques of Syd Mead.
In 2018, Mead published his autobiography, titled A Future Remembered. Regarding his work, Mead said, the idea supersedes technique, and that Ive called science fiction reality ahead of schedule.
Mead worked with major studios on the feature films: Star Trek: The Motion Picture, Blade Runner, Tron, 2010, Short Circuit, Aliens, The Spirit of 76, Timecop, Johnny Mnemonic, Mission: Impossible III, Elysium, Tomorrowland and Blade Runner 2049. George Lucas created the AT-AT for his Star Wars saga based on art by Mead. Mead also contributed to the Japanese film Solar Crisis. In the 1990s, Mead supplied designs for two Japanese anime series, Turn A Gundam and the unfinished Yamato 2520.
In May 2007, he completed work on a documentary of his career with the director Joaquin Montalvan entitled Visual Futurist:The Art & Life of Syd Mead. The short 2008 documentary film 2019: A Future Imagined, also explored his works. Mead also appears in movie documentaries such as Dangerous Days: Making Blade Runner and Mark Kermodes On the Edge of Blade Runner, and promotional materials such as the DVD extra for Aliens and a promotional short film about the making of 2010.
Mead was in a personal relationship with partner Roger Servick; the couple married in 2016. They established a publishing extension, OBLAGON, Inc., in Hollywood and relocated in 1998 to Pasadena, California, where Mead continued to work.
On December 30, 2019, Mead died in his Pasadena home at age 86, after three years of lymphoma. Shortly after his death, tributes to Meads life were posted on Twitter.
[from: https://en.wikipedia.org/wiki/Syd_Mead#]
“ There are more people in the world who make things than there are people who think of things to make. ”
— Syd Mead
Music: Steve Roach The Passing Time Syd Mead](https://i.ytimg.com/vi/edVznYyqpJU/mqdefault.jpg)
![François-Xavier Delmeire
François-Xavier Delmeire (born 1971 in Moustron, Belgium) is a lover of images. For over 20 years, he’s owned a bookstore specializing in graphic novels. During that other life, he also became an artist and a devoted creator of collages and assemblages.
Raised to the level of Fine Art by the avant-garde of the 20th century, collage is inseparable from the Surrealist movement. This practice of irreverence par excellence cultivates discrepancies and diversions. The collagist isn’t content to merely displace reality, he engenders an unprecedented aesthetic and intellectual experience.
[more at:http://kolajmagazine.com/artistdirectory/francois-xavier-delmeire]
Music: Alio Die & Parallel Worlds Circo Divino François-Xavier Delmeire](https://i.ytimg.com/vi/fs7ATxuz8q0/mqdefault.jpg)
![Dorothea Tanning
“Anything that is ordinary and frequent is uninteresting to me,” remarked artist Dorothea Tanning, whose paintings, installations, stage designs and poems were populated by tentacled sunflowers, anthropomorphized divans, stag-headed ballerinas, newlywed werewolves and other curious denizens of the subconscious.
Dorothea Tanning was born on August 25, 1910 in Galesburg, Illinois. She attended Knox College for two years and later settled in New York, where she found employment as a commercial artist. The art director at Macys was taken with her fashion plates and introduced her to the legendary gallerist Julien Levy, who gave her two solo shows and introduced her to Max Ernst, whom she married in 1946 in a double wedding with Man Ray and Juliet Browner in Hollywood. Having also forged friendships with Yves Tanguy and Salvador Dalí, Tanners early work was closely associated with Surrealism, although she shrugged off the mantle of that terminology, as she did “woman artist.” Her paintings became more ambiguous in the 1950s and by the 1960s was nearly nonobjective. Ernst died in 1976, after which Tanning returned to New York and continued to work in visual art and poetry. In 1992, the New York Public Library mounted a retrospective of Tannings works on paper; other major career surveys would follow at the Malmö Konsthall (1993) and the Philadelphia Museum of Art (2000). Tanning died on January 31, 2012, at the age of 101.
Tannings work is represented in the collections of numerous world museums, including the National Gallery of Art in Washington D.C., the Tate Gallery in London, and Musée National dArt Moderne in Paris.
[from:https://www.sothebys.com/en/artists/dorothea-tanning]
Music: Robert Rich Generosity Of Solitude Pt.1 Dorothea Tanning](https://i.ytimg.com/vi/gD4TSfUYR8w/mqdefault.jpg)