Visual artist Barbara Nati attempts to analyse the chaos reigning underneath the surface of reality combining conceptually interesting visual landscapes that blur fantasy and reality.
In her new photographic series entitled ‘The House of This Evening, All Mine’, stunning post-apocalyptic ‘tree houses’ made of shattered buildings tower in desolated and beautiful landscapes.
Her digital manipulation work can be described as surreal, futuristic, imaginative, dreamy, playful and a little dark – all be it in a good way – yet still confronting the viewer with current social and environmental issues.
A recurrent obsession for ordinary objects allegorically camouflaged as other shapes implicitly invites the viewer to look again and never take for granted, offering the opposite point of view from the expected or predicted one and pulverizing the naïve trust in what we consider real but may not be.
History, visual art and advertising flair mix up in her cross-contaminated and very own stylistic approach where art ultimately fulfills its goal becoming a playful tool, speaking in a versatile and universal alphabet.
Barbara Nati lives and works in London. She trained at the Parson School of Design in NYC and the IEAO in Perugia, Italy.
She has exhibited her work in Italy, Ireland and the UK.
Previous projects include No Farewell Only Endless Goodbye, Futuristic Revivals and The Footsteps of Silence.
Conceptual artist and illustrator Gediminas Pranckevicius posesses an imagination to covet.
While most of his digital painting is centered around character design, his larger landscapes seen here are rich in detail, creating impossible but ingenious juxtapositions of water, land, and haphazard architecture.
You can see more of his work over on Facebook, and all of these are available as prints via INPRNT.
Double exposure portraits by Spanish artist Antonio Mora blending dreamy landscapes and architecture with images of beautiful faces Mora found online.
His seamless way of mixing various concepts together evokes a sense of mystery adding that the portraits “open a crack in our collective memory allowing us to watch, though only for an instant, the hybrid beings who populate our deepest dreams.”
I want people to feel inspired when observing my artworks, and that is what I long for.
I often look at images hundreds of times without finding anything, and then the spark just arrives.
It’s a bit like fishing, a matter of patience and intuition.
Handcrafted Surrealism: Photomontage by Richard Smith. Photos exploring unexpected interrelationships between everyday images through surrealist photomontage.
A self-taught graphic artist, Smith incorporates assimilated photographic techniques and modern photo manipulation approaches into his handcrafted compositions using only his smartphone.
He takes elements from nature, pedestrian objects, specially-commissioned photos, and scenes from his travels and neighborhood then fuses the components into ethereal yet cohesive views that transcend their origins.
I call my art “Handcrafted Surrealism,” as I photograph and compose exclusively via smartphone.
I believe this medium enhances the personal element of connection between artist and audience, because with a smartphone as medium—your fingers become the brushes; your movements become the brush strokes, and you literally cradle a creation as it comes into existence—all with an object you keep on your person and interact with likely hundreds of times a day.
Not all smartphone art has these craftsmanship-like qualities, but in the case of my work, every final creation taken in by viewers is something I have stared at, in hand, physically maneuvering, and repeatedly refining as the elements come into place.
See more of Richard Smith’s work, including prints for sale, at his website.