Surrealistic paintings of women with unusual hairstyles or coverings.
Inspiration can come from many sources—dreams, observing life, other painters or the esoteric creative seed randomly appearing at will.
All these rich sources of influence provide Nick Fedaeff with elements that he valiantly translates to canvas.
The slightly disorienting, the hallucinatory quality of a dream, the element of surprise, the absurdity of life are cleverly layered into Nick’s work referencing Surrealism and the Old Masters of the Renaissance.
“It was a bright cold day in April, and the clocks were striking thirteen.”
Seventy years after the publication of Orwell’s masterpiece, Nineteen Eighty-Four, that crystal first line sounds as natural and compelling as ever.
But when you see the original manuscript, you find something else: not so much the ringing clarity, more the obsessive rewriting, in different inks, that betrays the extraordinary turmoil behind its composition.
Probably the definitive novel of the 20th century, a story that remains eternally fresh and contemporary, and whose terms such as “Big Brother”,“doublethink” and “newspeak” have become part of everyday currency, Nineteen Eighty-Four has been translated into more than 65 languages and sold millions of copies worldwide, giving George Orwell a unique place in world literature.
“Orwellian” is now a universal shorthand for anything repressive or totalitarian, and the story of Winston Smith, an everyman for his times, continues to resonate for readers whose fears for the future are very different from those of an English writer in the mid-1940s.
The circumstances surrounding the writing of Nineteen Eighty-Four make a haunting narrative that helps to explain the bleakness of Orwell’s dystopia.
Here was an English writer, desperately sick, grappling alone with the demons of his imagination in a bleak Scottish outpost in the desolate aftermath of the second world war.
The idea for Nineteen Eighty-Four, alternatively, “The Last Man in Europe”, had been incubating in Orwell’s mind since the Spanish civil war.
His novel, which owes something to Yevgeny Zamyatin’s dystopian fiction We, probably began to acquire a definitive shape during 1943-44, around the time he and his wife, Eileen adopted their only son, Richard.
Orwell himself claimed that he was partly inspired by the meeting of the Allied leaders at the Tehran Conference of 1944.
Isaac Deutscher, an Observer colleague, reported that Orwell was “convinced that Stalin, Churchill and Roosevelt consciously plotted to divide the world” at Tehran.
Do you own the complete Star Wars saga on blue ray? If so, then you’re already familiar with Cliff Cramp’s awesome work.
Influenced by artists such as John Singer Sargent, Howard Pyle, and Harvey Dunn; Cliff’s work spans a wide range of genres and has caught the attention of clients such as LucasFilms, 20th Century Fox, Nickelodeon TV Animation, Disney Entertainment, and much more.
His illustrations can be seen on covers such as Lucasflims/ 20th Century Fox Star Wars: The Complete Saga on Blu Ray, Hollywood Records Plain White T’s Wonders of The Younger CD, and 20th Century Fox Marilyn Monroe Special Anniversary Collection.
So, if you are ready to be blown away by some amazing art, take an exploratory trip with me through these incredible illustrations done by Cliff Cramp.
And don’t forget to check out his awesome gallery for more of his stunning art (I promise, you won’t regret it).
Inspired in part by the classic horror literature of H.P. Lovecraft, artist Jim Kazanjian (previously) assembles foreboding buildings using snippets of photographs found in the Library of Congress archives.
Equal parts secret lair, insane asylum, and the work of a deranged architect, Kazanjian’s collages are created from 50-70 separate photographs taken over the last century.
Each piece takes nearly three months to complete as he painstakingly searches for just the right elements, a process he likens to “solving a puzzle, except in reverse.” From his artist statement:
I’ve chosen photography as a medium because of the cultural misunderstanding that it has a sort of built-in objectivity. This allows me to set up a visual tension within the work, to make it resonate and lure the viewer further inside.
My current series is inspired by the classic horror literature of H.P. Lovecraft, Algernon Blackwood and similar authors.
I am intrigued with the narrative archetypes these writers utilize to transform the commonplace into something sinister and foreboding. In my work, I prefer to use these devices as a means to generate entry points for the viewer. I’m interested in occupying a space where the mundane intersects the strange, and the familiar becomes alien.
In a sense, I am attempting to render the sublime.
You can see much more of Kazanjian’s work on his website, and at Jennifer Kostuik Gallery in Vancouver later this year. (via Colossal Submissions)