Thomas Schneider

” Human consciousness occupies a myriad of frequencies. There exists a tiny space between the conscious realm and subconscious sleep, the wake of life, or the slipstream of consciousness. This often overlooked and briefly occupied slipstream is a very powerful space – a space where time loses its grip and mythologies are born. This experience fascinates me. I make a daily effort to be observant and diligent while in this space and to try to record what happens there. More often than not, I am occupied with a sense of falling that accompanies the loss of consciousness, or the sense of confusion brought about by the mind trying to define its state and realizing that it is neither awake nor asleep. In the time that it has taken one to read these last couple of sentences, the mind may slip into dreamtime. Once in a great while and with great effort, one may find them self conscious of the transition and make note of it. For as Kahlil Gibran wrote, “And the treasure of your infinite depths would be revealed to your eyes.” I have found it to be a fantastic and mysterious space, where physics and canons are turned on their heads, colors become as logical as numbers, and events move too fast for language. This is the threshold where the memories of the day rush and elbow to try to get a spot in the cinema of one’s dreams. The ones that make it through are immediately transformed into something that defies tenets of ratiocination. Keeping in line with the methodology of thousands of years of tradition, it is from this well of mystery that I drink for my imagery. I believe that this space is the birth place of art. Through digging as deeply as possible and blending the images of other frequencies of consciousness with concepts from my daily experience, my work can represent more of my total self. ” – Thomas Schneider

David Sossella

Loving the work of David Sossella. His old sketches is what really caught my eye. Check him out.

Donalee Peden Wesley

” The intent in my work is to address issues / relationships between human and animal. These issues manifest themselves on various stages . I choose to neither preach, accuse nor explain . I simply allow this theatre to unfold before the viewer. I refer to the viewer directly by the use of representational vocabulary. I often create multiple dualities in my drawings both of association and emotions . I seek to delve into the experiences that will touch the inner psyche and the gut…. ” – Donalee Peden Wesley

Stefanie Rocknak

Read on…

” Although I was born and raised in the United States, there is no doubt that my sculpture has been significantly influenced by my trips to Europe. In fact, having been trained as a painter, I may not have started sculpting had it not been for the semester I spent in Rome in 1987 or at the very least, it may have taken me longer to realize that I prefer three dimensions over two. While there, I was especially impressed by traditional marble sculpture, particularly, the work done by three classical giants: Michelangelo, Dontatello and Bernini. But never once did I entertain the (currently popular) idea that their work is superficial, trivial, or even trite, primarily because it has been so popular, particularly with the masses. So, quite content with the vulgar appeal of representational sculpture, I returned to the U.S. and began working in wood, which was the only medium available to me; I made George at this time. But in the back of my mind, I was certain that I would eventually work in some kind of stone. However, over the next few years, I grew attached to the warmth and unpredictability of the wood. I was hooked. ” – Stefanie Rocknak

Peter Land

‘ The Danish artist Peter Land is well-known for his humorous and often self-ironic video art, productions which explore the absurdity of life and man’s frequently failed conduct in the world. Peter Land moves freely between video, photo, performance and installation works and more traditional types of work in drawing, gouache and oil paint. In the various media he stages a tragicomic male figure, modeled on the artist’s own body or simply played by Peter Land. Consistently the works are executed with an evident reference to the artist himself, in that Land appears in different but always immediately recognizable characters in the bulk of his pieces. Common to the works is also the depicted male figure’s lack of command of the situation. Thus the inadequacy and the fundamental lack of control are recurrent features in Peter Land’s works. ‘ (via Arken)

Resa Blatman


Resa Blatman’s statement:

Through my work, I attempt to show nature at odds with itself by playing with the contradictions of emptiness versus fullness, lush versus barren, and rapture versus displeasure. In my paintings, the berries, linear loops, and tiny dots represent an abundance of embryos, eggs, and seeds. Heaps are an important element: these berries, loops, tiny dots, and sometimes creatures accumulate in piles and mounds and represent the bounty of femininity and ripeness.

My compositions are inspired by the Baroque, Romanticism, and Victorian decorative art, as well as botanical imagery, to create a visual feast of fruit, flora, wildlife, and pattern. I take those elements out of their context and give them a surreal landscape or contemporary stage. Most of the elements are representationally painted with form, yet in the same picture others might be used as decorative backgrounds. The elements and patterns represent a kind of human life cycle, with all of its changes and complexities, while the juxtaposition of these “three-dimensional” and flat forms creates a visually rich dialog that refers to the ongoing contradictions mentioned above — lush versus barren. Themes of excess and beauty are also represented through the decorative qualities in the paintings. Yet, these ornamental, invasive patterns creep into the fecund environments of the birds and bats — sometimes overtaking, even strangling the animals — and along with the ominous berry, create a picture of sensuality mixed with undertones of wanting and dismay. (Continue reading…)

John Casey

John Casey is obsessed with fictitious human morphology, which he explores in his ink drawings and small sculptures. At first glance, his works seem to portray a menagerie of deformed creatures. A collective analysis reveals this array of oddball creations to be a series of psychological studies — self-portraits of the artist’s inner psyche in all of its multifaceted incarnations. Some sad, some horrific, and some whimsical, these characters evoke responses from laughter and sympathy to disgust and discomfort. While one might call Casey’s work the exorcising of inner demons, his creations inspire more empathy than they do loathing. By depicting the grotesque as pitiable, John Casey illuminates the darkest corners of the mind, seeking redemption for all of us.

Jorge Lopes Dos Santos

Brazilian design graduate Jorge Lopes Dos Santos has developed a way of making physical models of foetuses using data from ultrasound, CT and MRI scans. He developed the project in collaboration with a paediatric cardiologist at Imperial College while studying on the Design Products MA course at London’s Royal College of Art. Jorge Lopes Dos Santos hopes the models, which are made using 3D printing techniques, can be used to train doctors and to help with emotional support for parents whose child may be born with deformities. (via Dezeen)


Denise Julia Reytan is a German artist and jeweler who created the t1mepeace watch, to encourage the wearer to forget about time and enjoy life. Cool stuff!

Raveland Robotics


This is just wonderful. I’m thrilled to have stumbled upon Raveland Robotics. Lots of pretty fun work. You’ll find a lot more of it in their Flickr stream. Link here.