Fine Arts


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When you look at the works by Vania Zouravliov, you feel being enthralled by illusions of the wonderful world where beauty is mixed with the ugliness, life with the decay and everything is interpenetrated with the blazing sensuality. His works are vibrant, they communicate the simple elements of life to the viewers in the most expressive and memorable way. What can describe the diversity of reality better than the explicit symbols like the opposition of dark and eroticism that is frequently found in his images? Speaking about this artist, we speak about the mature talent, inspiring provocative and symbolic art. While browsing his versatile portfolio you can notice the beautiful oriental motifs, elements related to Russian tales, the animal theme is also described in his art.  All his works are created with the desire and each of them has a certain zest and bears some message.

He was born in Russia and inspired from an early age by influences as diverse as The Bible, Dante’s Divine Comedy, early Disney animation and North American Indians. Something of a child prodigy in his homeland, he was championed by many influential classical musicians including Ashkenazi, Spivakov and Menuhin. He even had television programs made about him and was introduced to famous communist artists, godfathers of social realism, who told him that his work was from the Devil.

By the age of 13, Vania Zouravliov was exhibiting internationally, visited Canterbury several times as well as Paris, Colmar and Berlin. He subsequently studied in the UK, and during this time began creating illustrations for The Scotsman and comics for Fantagraphics and Dark Horse in the US. His most recent projects have been for Beck’s The Information and National Geographic.

Vania Zouravliov main site


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If you’ve ever been lost in the woods, you might have come to the realization that nature is not a benevolent force. It looks down upon you with supreme indifference if, for example, you drop your flashlight into a burrow or fall into a cold stream. These are just two things that happen to the boy and girl “Owl Scouts,” subjects of this show. Chicago-based Todd Baxter hired the boy and girl, dressed them in their inventive scout uniforms (the boy’s incorporates a fox pelt) and used digital processes to create many of the scenarios that boy and girl stumble into. To say that these photos are staged is a little like saying Rembrandt or Caravaggio used models. That is, these photos, like the finest paintings, grab you and shake you and almost render any discussion of technique (flawless as it is) pointless. There is a narrative and cinematic force to — as well as an archetypical current running through — these photographs. Everything cumulates in a tragic climax that wouldn’t ring true if there were any hint of irony or shock for shock’s sake.
– Dan Grossman

After studying photography, painting, drawing, and sculpture at the University of New Mexico, in his hometown of Albuquerque Todd Baxter spent two years After studying photography, painting, drawing, and sculpture at the University of New Mexico, in his hometown of Albuquerque Todd Baxter spent two years teaching photography and art in the Albuquerque public school system. A recruiting call from abroad only two years into his teaching career found him traveling to Muscat, Oman where he taught for another two years at the American British Academy and explored the Middle East, Asia and Africa in his free time. Upon his return to the United States in 2002, Todd began freelancing as a designer and art director for many of Chicago’s advertising agencies, eventually working full time as an art director at Cramer Krasselt. It didn’t take long before he had officially started his own business and by 2004 Todd Baxter Photography was in full swing servicing a variety of agencies and editorial clients.

Todd Baxter main site

Todd Baxter on Facebook


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Beneath their floating space galleons, men shelter from sickening skies and exploding suns. They dare not breathe the air nor touch the soil. Instead they view these desolate vistas through apertures in their visors and helmets. There are secrets in these strange places, but none they will ever fully understand.
These are the worlds of dreams and half-memories. The collision zone of past-futures and futures-past, derived from blueprints laid down decades earlier on the pages of battered sci-fi paperbacks, fantasy art books, and mid-century design quarterlies.

The soundtrack here is one of electronic signals, sculpted voltages, sonorous clangs, drones, hiss and squelch: a dancing energy shape hurtling towards the edge of infinity. Coaxed from the dusty circuits of machines bristling with knobs, switches and patch-cords, these aural tapestries establish a tone for the visual work; surreal landscapes and abstract forms.

Operating from his home studio in Adelaide, Australia, Dan McPharlin works across various media, in 2D and 3D. His artwork has appeared on record sleeves, international magazine covers, books and websites. In 2006 he began work on a series of cardboard models, known as the Analogue Miniatures. Photographs of these tiny models of fictional synthesizers and tape machines were subsequently used on a variety of record sleeves and magazines. Lately Dan has been occupied with various science-fiction illustration and design projects.

Dan McPharlin official site

Dan McPharlin Flickr

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