Archive for January, 2012

Joe Hill street artist

January 27th, 2012

Amazing 3D pavement art – BREATHTAKING! – by Joe Hill

Joe’s home page here





Morten Harket, singer on talent

January 21st, 2012

Talent is an interesting animal. Where does it come from? You can be very talented and have no self-confidence and you will never utter a word or sing a note. That bird will never fly, because it just doesn’t dare to do it.  It has a stronger voice in it that tells it that if it leaps out of the nest it will plummet to the ground and die. So I am not sure anymore if talent is something that s just sprinkled on some people.  I think we all possess a lot more than we are aware of, and that it is whether you believe that you do and you try and open that thing in you that is the main difference between flying or not.

Source – psychologies collections – Wisdom – lessons from successful lives

Quote on creating

January 21st, 2012

There is a particular sadness where you can’t actually do anything or even get out of bed, but sometimes there is a sadness that has a certain weight to it, a seriousness, that can really help you create something good and solid. Writing and creating helps take you from one place to another, one understanding of the emotion to another – a way of getting into the core of the feeling but objectifying it in some way.  – Beth Orton, singer-songwriter

Source – psychologies collections – Wisdom – lessons from successful lives

Andres Zorn

January 11th, 2012

The master who makes all women look wondrously beautiful.

complete works HERE


Edvard Munch

January 11th, 2012

Very weird and still pretty interesting. I find his work too dark to really like, still inspiring sense of creativity, worth sharing …

With some strange reason I dont get ‘scream’ is his most famous and well-known piece of work I still prefer this one. I find it dark but there seems to be some hope left in this one.

A visionary – Yona Friedman, architect

January 11th, 2012

Yona Friedman was born in Budapest in 1923. He left Hungary in 1945 and went first to Israel, where he studied and worked for almost ten years before settling in Paris, where he still lives today. He also taught for a longer time at universities in the USA, and has participated in the work of humanitarian organisations all over the world. He became internationally known at the end of the 1950s with his radical ideas on mobile architecture and the ‘ville spatiale’ (approximately, the spatial, floating city) and his influential writings. Like many contemporary creators and groups – for example, Archigram, Constant Nieuwenhuis, Cedric Price, the Situationist International or the Japanese Metabolists – he too took an active role in animated international discourses evolving from the end of the 1950s around mobility, networks, opportunities offered by new technologies, the necessities raised by new social movements, and the role of the architect.

Although his plans remained, almost without exception, on paper, over the past twenty years, Friedman’s ideas—thanks to his countless writings and books—have become unavoidable for those engaged with sustainable urban life, architecture of crisis situations or participatory design in the USA, Western Europe and many other parts of the world. Meanwhile in his country of birth, Hungary, and the Central Eastern European region, his work is known only in narrow circles.

extracts, rest of the article HERE

Ewa Kuryluk

January 11th, 2012

One of my favourite artists. Her works tell her story …




Drawing at its hights!

January 10th, 2012

A few videos from the masters of the art HERE

Ilena Hunter‘s drawings







Concerning the Spiritual in Art (extracts) 3 by Wassily Kandinsky

January 10th, 2012

As examples of the new symphonic composition, in which the melodic element plays a subordinate part, and that only rarely, I have added reproductions of four of my own pictures.

They represent three different sources of inspiration:

(1) A direct impression of outward nature, expressed in purely artistic form. This I call an “Impression.”

(2) A largely unconscious, spontaneous expression of inner character, the non-material nature. This I call an “Improvisation.”

(3) An expression of a slowly formed inner feeling, which comes to utterance only after long maturing. This I call a “Composition.” In this, reason, consciousness, purpose,  playan overwhelming part. But of the calculation nothing appears, only the feeling. Which kind of construction, whether conscious or unconscious, really underlies my work, the patient reader will readily understand.

Finally, I would remark that, in my opinion, we are fast approaching the time of reasoned and conscious composition, when the painter will be proud to declare his work constructive.  This will be in contrast to the claim of the Impressionists that they could explain nothing, that their art came upon them by inspiration. We have before us the age of conscious creation,  and this new spirit in painting is going hand in hand with the spirit of thought towards an epoch of great spiritual leaders.


Jan Theodore Toorop

January 5th, 2012

Oh, how much I love his slender figures!

More info on his life and work here