Art of Sanjay Patel

Sanjay Patel is an animator and storyboard artist at Pixar Animation Studios. He was born in England and raised in L.A. but never been to India. He was trained as a hand drawn character animator at CAL Arts and was dropped out with a messy portfolio, later went to work at Spumco Studios doing character layout for "The Simpsons". Then was recruited as an animator for Pixar Animation Studios. some of his sketches are below









He has published a book " The Little Book of Hindu Deities " The visuals are captivating and engaging. There's a good dose of humour in there as well.

Links: Pixar | Gheehappy | Amazon

The Art of Christian Lorenz

Christian Lorenz Scheurer is one of my favorite concept artist, can you forget Animatrix, The Matrix trilogy, Final Fantasy, Titanic, The golden compass ,etc. these are some of my +fav's... from some of his Digital works.

find more of Christian's work here

Erik Johansson's Photo Manipulations

Erik Jonansson is a very young and talented Photo manipulator from Sweden, his works have world wide recognitions and won various awards and stuff... he takes pictures using a digital slr and then he does the manipulation using photoshop these are some of his works,



This is my favorite, execution of this work is really awesome, and off course the photography and the creativity all in all a masterpiece

This is cool too

Link: website

Andrew Gonzalez Esoteric Art

A. Andrew Gonzalez, of San Antonio, Texas, is an award-winning figurative artist whose work has been exhibited in several countries. The paintings of Gonzalez are created with airbrushed acrylics on panel or canvas. Forms, values and highlighting are created by lifting pigment with an abrasive eraser, followed by the application of transparent layers of pigment. Influenced by idealism in the mystical, visionary and esoteric traditions, the artist describes his work as a contemporary Tantric or Transfigurative Art that explores the dramatic union of the sensual and spiritual. His work is akin to a revival of classical neoplatonic ideals centering on the figure as temple and vessel sublimed by transformative forces.

UnioMystica

Oracle

Oracle detail

AeternaSaltatus

Heart

MagiaDetail

Surrender

Andrew at work

Artist's Statement:

Raised in an artistic family, the tools for creative expression were a familiar part of my world. As a child, drawing gave me playful access to the exciting contents of fantasy and imagination. This playful communion with fantasy would later mature into the creative exploration of the patterns of my soul, and the celebration of the forces of life.

My childhood preoccupation with dreams and imaginal worlds would soon lead me to the masters of imaginative painting. But it wasn't mere "fantasy" art that would call to me, but an art with a particular revelatory power. I longed for an art that would contemplate the jewel of wisdom hidden within and reveal the glory and mystery of being, an art sublimed with grace and beauty, subtle, yet profoundly ecstatic and mythically bold in its declaration.

The augurs of this revelatory art that would initially inspire my imagination would be found within the visionary and mystical art traditions and disseminated within the movements of Symbolism, Art Nouveau, Surrealism and Fantastic Art. As a young teenager it was Dali's "Nuclear Mysticism" that first captivated my imagination, then followed by the preeminent work of Ernst Fuchs, William Blake and the mystical idealism of Jean Delville. And later as a young adult, the creative eye of my soul marveled at the prodigious possibilities brought forth by the ominous visions of H.R. Giger, the crystalline vistas of Robert Venosa and the transparent transfigurations of Alex Grey.
The kinship I felt with these artists gave me the conviction and hope that was vital during the initial development of my artistic skills and vision. Their mastery of technique combined with a clear and unique vision was certainly a prime motivating force. Above all, these revelatory artists, as well as many others, inspired my faith in the possibilities of what is yet to come in the art of the soul and spirit.

My early interest in all things arcane and mystical arose from my sensitivity for synchronistic experiences and profound vivid dreams, which in turn lead me to question our common perceptions of reality, imagination and being. I found myself drawn to various esoteric subjects ranging from comparative religion and mythology to Jungian psychology, alchemical and tantric symbolism, exotic physics and the frontiers of consciousness and dream research.
But it was these unique dream experiences that would awaken an undeniable call to devote myself to the development of a numinous artistic vision. A new beginning in my creative journey arose after a series of peak dream experiences that culminated at the age of nineteen. These "supernatural events of the soul" comprised of out-of-body experiences and lucid "waking" dreams, some of which involved brief encounters with mysterious adepts or messengers. On three occasions during my lucid dream practice I awoke enveloped in a fiercely radiant golden light, moving rapidly towards its blazing white center. Upon opening my eyes, I felt what could only be described as a sense of being reborn. Everything around me looked new, and I felt this wonderful sense of peace and clarity that would last for months. Whether real or illusory, these experiences inspired in me an acute sense of the astonishing miraculousness of everything.
To this day I feel that somehow these experiences may have caused an acceleration in the progress of my artwork. Perhaps this leap in my artistic ability was the result of my newfound focus and devotion, but what was unfolding was an imagery that would be the basis of my work today. Many years later, it would be the entheogenic experience that would recharge my inspired reverence for the ecstatic visionary possibilities of the imagination.

I would come to view my drawings after this period as mystical love poems to the soul. I would often relate to the female figures of my artwork as dakini messengers or as an anima mediatrix to the dimensions within, the projected mirror of the soul. For me, drawing and painting became soul-crafting.
The imagery began to develop the quality of a revived Pre-Raphaelite aesthetic, or rather a contemporary sacred symbolism with a predominant emphasis on the eternal feminine. I began to master the airbrush which allowed me to create a sculptural photographic look with incredible subtlety. It also allowed me to refine values and design with an almost unconscious immediacy that balanced well with my controlled conscious intent. My approach to the creative process is always a fine balance between order and chaos.

Feeling the need to contribute transformative images of beauty to the collective imagination, my imagery would develope an implicit antithesis to H. R. Giger's artwork. I felt driven to show in my work the liberation of the body and soul out of the dark depths of decay and perverse eroticism. By sublimating the erotic towards an angelic sensuality and by using ascension and rebirth symbolism, a sacred eros would emerge as the predominant theme of my work.
Not the erotic as simply the sexual, but as our bodily communion with the living flow and rhythms of energy. I can feel this primordial living energy flow through me as I paint, forming into the sensual movement of a transfiguring biosophic flame that flows through and around the figures in my imagery, suspending them in an ecstatic moment, an eternal dance poised on the threshold of a new birth. It is the archetypal dance of the sphere and the serpentine movement of form. The dance of the spermatozoa and the ovum, the serpent and the egg, the dragon and the pearl and the life giving waters of the comet and the sacred ground of the earth.

Jennifer Maestre Sculpture

Jennifer Maestre's statement as follows,

My sculptures were originally inspired by the form and function of the sea urchin. The spines of the urchin, so dangerous yet beautiful, serve as an explicit warning against contact. The alluring texture of the spines draws the touch in spite of the possible consequences. The tension unveiled, we feel push and pull, desire and repulsion. The sections of pencils present aspects of sharp and smooth for two very different textural and aesthetic experiences. Paradox and surprise are integral in my choice of materials. Quantities of industrially manufactured objects are used to create flexible forms reminiscent of the organic shapes of animals and nature. Pencils are common objects, here, these anonymous objects become the structure. There is true a fragility to the sometimes brutal aspect of the sculptures, vulnerability that is belied by the fearsome texture.

To make the pencil sculptures, I take hundreds of pencils, cut them into 1-inch sections, drill a hole in each section (to turn them into beads), sharpen them all and sew them together. The beading technique I rely on most is peyote stitch.

I’m inspired by animals, plants, other art, Ernst Haeckel, Odilon Redon, mythology. In fact, it isn’t easy to specify particular sources of inspiration. Sometimes one sculpture will inspire the next, or maybe I’ll make a mistake, and that will send me off in a new direction.

Aurora

This is my personal favorite, left with no words to explain...

Aurora

Asteridae

Springtime tall tale

There are lots of others too, check her site for more stuff here

These are some cool guitar art works, art work on guitars.

Bobsmade Designs

I love these urban art on headphones, there are tons of them, but i liked these ones here they are simple and nice, The design is made with Enamel on headphones, the artist (Bobsmade) is an art student from Germany. his website is currently unavailable.

well if you liked these, then check out some more cool stuff from Bobsmade, shoes, bags, i-phone covers, wallets, t-shirt's, walls and so on.