The origins of anatomical illustration–roughly parallel to the invention of the printing press in the 15th century–couldn’t be farther from the medical illustrations in the anatomy textbooks we know today.

I am a painter of large-scale “natural abstractions” in oils. Color and movement are the two key elements in my art. Color relates to emotions and perception; movement relates to the physical self, natural energy, and vitality.

It may be argued that some of the most mysterious, paradoxical art has been produced by reclusive souls. There are many and I do not intend to list them all. But some of these artists and literary figures whose work I return to again and again share this same quality. Henry Darger, Fernando Pessoa, and Emily Dickinson are among my favorites.

Before the Dutch artists Dre Urhahn and Jeroen Koolhaas started developing the idea of creating community-driven art interventions in Brazil, they made a raw, powerful documentary about the vibrant hip-hop culture in some of the poorest areas of Sao Paulo and Rio de Janeiro, slums known as favelas.

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