3rd Wave of Inspiration
Since 2003
Manfredi Caracciolo, known as Fredi, is a standout digital artist whose work seamlessly blends bold shapes, striking lighting, and futuristic colour palettes.
His evocative creations often feature small figures set against expansive, shadowy backdrops of what may look like early avantgarde architecture, inviting a sense of introspection and narrative depth.
When prompt engineering is a state of Art.
“I’m Mac, a traveller in architecture and a lover of enduring design. As an architect, I have worked on many projects of different sizes. I run a small architecture studio and continue to consult on various real-life projects.”
Ph. Igor Khlopotov
Let’s imagine a gallery that exists only in the mind. Dmitrii Andrianov’s Mental Noise swirls with silver mists, Igor Khlopotov’s photographs blur like distant memories, and Polina Kulbachevskaia’s dancers move in quiet, shadowed rituals. The surfaces shimmers, not unlike that moment when you close your eyes and try to grasp at passing ideas, only to watch them dissolve.
Having been raised in both Russia and Israel, Andrianov bears the unique burden of a dual perspective. His background in disaster management manifests in works that attempt to organize chaos — a futile yet necessary pursuit. In "The Value of Hands," golden gloves rest on canvas like artifacts from a civilization that finally learned to honor its invisible workers. They remind us of discarded work gloves we've seen in construction sites, now transformed into something between reliquary and reminder.
Dmitrii Andrianov “The Value of Hands”
In Mental Noise (2023), abstract forms spiral in a silver haze, reflecting the chaotic fragmentation of human consciousness, constantly torn between media overload, misinformation, and the tangled, unsaid thoughts we carry.
OnlyFacts (2024) breaks apart reality, a digital collage of torn newspaper pieces scattered across the canvas — a metaphor for the shattered truths we live with. The work pushes us to reckon with the falsehoods, the gaps, the distorted realities.
Igor Khlopotov’s photography is rooted in personal history, a reflection on the passage of time and the fragile nature of memory. Through the viewfinder of his grandfather's camera, each frame emerges like a half-remembered dream. The machine itself is weathered, imperfect — a mechanical artifact carrying its own history in scratches and worn edges. Light seeps in where it shouldn't, creating aureoles of unexpected luminescence, like memories bleeding into one another.
Khlopotov's photographs exist in that liminal (the word of 2024) space between presence and absence. His lens seeks out the ordinary moments that slip between the cracks of consciousness — a hand resting on a windowsill, the particular angle of afternoon light across a wooden floor. These aren't documents but reveries, each frame an invitation to linger in that uncertain space between what was and what we think we remember.
What started with a child's fascination — "clouds, leaves, sun glare, friends" — has evolved into something more profound. The camera's mechanical heart beats with three temporal pulses: the grandfather's original touch, Khlopotov's present-day vision, and time itself, visible in the aging mechanism's peculiar signatures.
In Polina Kulbachevskaya's video "Midnight," nine dancers move through light that shouldn't exist — warm like fire but artificial, cool like moonlight but manufactured. Their bodies form and reform around an absent center, performing ancient gestures with modern anxiety, like priestesses caught between old magic and new world order.
The glow from above meets the flame-like warmth below, creating a space where time feels suspended. We watch the dancers circle their artificial fire, and somehow it feels both more and less real than genuine flame — not unlike the way Bill Viola's figures move through water in "The Crossing," suspended between elements, between states of being. The work loops endlessly, like a ritual that never quite concludes, never quite reveals its purpose.
The cyclical nature of the piece brings to mind Ana Mendieta's "Silueta" series — where the body becomes both present and absent, both performer and symbol. Kulbachevskaya's dancers, too, seem to exist between presence and absence, their movements shifting between sharp modernist angles and fluid, primordial gestures, as if their bodies are channeling both contemporary fluids and ancestral memory.
These three artists offer us different ways of seeing what usually escapes notice: the noise in our heads, the gaps in our memories, the rituals we can't quite explain. Through their lens, we learn to practice Lynch's art of sitting still, letting the unconscious surface through the cracks of perception. And so we return to our concrete slope by the river, by the ocean, by the sea, where time pools like water, and the boundary between seeing and remembering grows delightfully thin.
Looking through Rifu Hata cyber futuristic artworks, the closest insight we could get was the enormous Boris Vallejo with his epic sci-fi art of the early 80s.
Rifu Hata's works explore the intersection of the fantastical and the existential, presenting heroic and introspective characters. The artist focuses on creating intricate details, especially in textures like armour, fabric, and biological features.
Skillful fusion of technical mastery and narrative depth establishes Rifu hata’s work as a standout in modern cyber surrealism.
The works we have shared by the artist Mika fall into a category that we could describe as post-crypto and post-Wi-Fi art. She blends elements of digital culture, technology, and modern life into physical or conceptual pieces that question the relationships between technology, symbolism, and daily objects.
Post-crypto art is generally developed after or in response to the rise of blockchain technology and the NFT market. Most works reflect the hangover or disillusionment from the previous promises of decentralisation, democratisation of wealth, or even "crypto utopia" we all had in 2021.
Mika's works seem to record an irony or judgment toward this ultra-modern, technology-marinated world, in which crypto art was promising to change but then primarily problematic.
Therefore, these objects in the images have an implicit dialogue with the viewer, an invitation to consider some thought about tradition—for instance, swords, tea bags, crosses—and modernity; what better examples than laptops, Bluetooth, or iPhone chargers?
Mika works are reflections upon the omni-presence of internet connectivity and how it is affecting the physical world. In post-WiFi art, a common theme is a disconnect between virtual and real-world interactions, critiquing the reliance on constant online presence.
Mika invites deep reflection on the state of modernity through her work, critiquing or accepting the role technology plays in redefining our relationship to power, comfort, connectivity, and even spirituality. In the post-crypto, post-WiFi era, as we call it, these works toy with the absurdities of modern life and digital reliance, pushing back against the elevation of mundane or obsolete symbols to objects of reflection.
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Tree of Knowledge. Building from the kinetic sculpture series introduced with HUMAN ONE, the work has now added an interactive element — a means for viewers to explore a more nuanced relationship between technology and nature. As viewers turn the dial between signal and noise, the serene future of technology and the coexistence of nature noisily crash into the chaotic present filled with real-time data, media, and information overload. Beeple is looking to create an experience where viewers cannot be told what to think but can decide how much information they let in.
“We all get to choose our own reality.”
In collaboration with ultimate art platform Avant Arte, Beeple releasing a trio of limited edition prints: Signal, Noise and Choose Violence available for 48h starting October 9.
Dataland, scheduled to open in Los Angeles in 2025, will provide a permanent home for Refik's AI works. This reaffirms Anadol’s considerable cachet and the appeal of his algorithmic art.
The museum will be located inside the Grand L.A., a mixed-use development designed by Frank Gehry. This development includes a luxury hotel, apartments, and entertainment facilities. Dataland is part of the growing cultural corridor in Downtown Los Angeles, which includes the Museum of Contemporary Art, the Broad, the Music Center venues, and the Walt Disney Hall performing arts center. In 2018, Anadol used dozens of 50K projectors to cast shapeshifting videos onto the surface of the Walt Disney Hall.
Refik Anadol and Efsun Erkiliç, co-founders of Refik Anadol Studio (Photograph: Dustin Downing)
For DATALAND, Refik Anadol Studio is building a groundbreaking initiative — the Large Nature Model, the world’s first open source, generative AI model dedicated to nature, trained on the most extensive, ethically collected dataset of the natural world.
“We’re pioneering a unique approach by training our Large Nature Model algorithms on nature’s inherent intelligence. This diverges from the majority of Large Language AI Models that rely on human intellect.”
Ilya Kazakov, a name familiar to our readers, is an illustrator based in Paris, France, whose work we've showcased multiple times. Known for his incredible productivity and a style that's both simple and engaging, Ilya has recently ventured into the world of personal NFT projects. With his unique approach and swift, precise technique, he's created art and built a community of enthusiasts who actively participate in and support his ventures.
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What sets Ilya's projects apart is the level of involvement from his community. From dozens to hundreds, these individuals don't just offer ideas; they become co-creators. Take his latest project, FTCG, for example. Ilya draws each card specifically for the person who requested it, crafting a deeply personal connection and fostering a vibrant sense of community.
On Ilya's private Discord channel, fans can request cards for free using their NFT tokens. These cards are then grouped into sets of five and distributed through fun giveaways. Getting your card involves a mix of luck and patience, often requiring trades to complete your set. Participants describe this process as both enjoyable and thrilling. The third set is underway, with 240 cards already drawn, and the community eagerly awaits the 300th card.
Ilya thrives on challenges. He's completed multiple Inktobers and the 365 Project, where he drew daily. He has also embraced a new tradition from the crypto community on X (formerly Twitter): the 'GM' (Good Morning) greeting. Inspired by this, Ilya now sketches every morning, each piece reflecting his mood and offering a window into his life through art.
In wrapping up, Ilya Kazakov's artistic journey continues to enchant and inspire. His talent for storytelling through visuals enhances our world and invites us into a realm of boundless creativity. As we anticipate his upcoming works, we're excited to follow his artistic growth and always ready to be delighted by his next creation. Ilya's art isn't just observed; it's experienced, and we're eager to see where his imagination will take us next.
Hey is a creative studio based in Barcelona, established in 2007. Specialising in developing creative strategies and visual languages for a global clientele 🌍, Hey Studio thrives on a collaborative approach powered by a passionate team. Their designs are crafted to be impactful, meeting client needs while resonating with target audiences. Believing in the power of design 🎨 to communicate messages beyond mere aesthetics, Hey Studio fosters a vibrant creative community where personal and professional growth is encouraged. ✨
The HeyStudio x Kaleos collection combines sustainability with versatility by offering a single, customisable frame that transforms into 1,296 styles. This reduces the need for multiple frames and caters to diverse tastes with a range of colors.
This collaboration with Balvi reimagines the classic chess set through a modern, artistic lens. It features geometric shapes, vibrant colours, and a blend of traditional craftsmanship with contemporary design.
Caravelle Brewery's new Soda, their first non-alcoholic drink, embraces a summery retro vibe with a vintage label design, a single flavour-focused colour, and a bubbly custom typeface evoking nostalgia and fun memories.
Digital artist Olga Feldman, a professional with an extensive background in graphic design, vector art and abstract 3D drawing, recently began a new art series titled "Frequencies." In the collection of monochrome graphic art, Feldman aims to capture essential ideas and feelings through a simple yet striking visual language, representing a generative perspective of reality.
Feldman uses classic graphic tools and methods in "Frequencies," notably the stark contrast between solid black background and subtle white lines. Her systematic technique and minimised palette highlight her ability to generate complex thoughts through simplicity. The artist's careful craftsmanship and grasp of wave theory and electromagnetic oscillations are evident in every item in the series. By reducing expressive techniques, Feldman creates surfaces inviting viewers to explore the subtleties of perception and the nature of light.
The monochrome nature of the series allows for a focused exploration of form and texture. The contrast creates a dynamic tension that draws and holds the eye. This visual tension is further amplified by the optical illusions in each work, which seem to oscillate and shift as one moves around them.
One particular piece in the series, "Emotional Landscapes,” presents an abstract artwork executed in the artist’s favourite monochromatic palette. The composition grid, based on the Fibonacci sequence, contains multiple rectangular sections, each filled with intricate white lines, creating a complex geometric structure that challenges the viewer's perception of space and form. Each segment contains a unique pattern of lines, ranging from undulating waves to more angular and geometric forms, creating a fascinating interplay between organic and structured elements.
The lines of the artworks generate an illusion of volume and texture reminiscent of topographic maps, ocean waves, or natural formations, inviting the viewer to explore the depths of each section. Despite the static nature of the image, the lines convey a sense of movement and flow, suggesting unseen forces at work within the composition. This juxtaposition of stillness and motion adds a layer of complexity to the viewer's experience.
The handmade quality of the artworks reminds of a human presence, emphasising the artist's direct engagement with her materials and subject matter. Feldman’s approach subtly contrasts Bridget Riley’s optical art, blending precision with perceptual experimentation.
“I am fascinated by the physical fact that the entire world visible to the human eye can be described by wave functions. That light, colour and form as we see them are nothing more than reflected waves and their refractions. I’m trying to show this in some of the simplest ways available to me so as not to lose the idea itself at the core.”
The series resonates on both an intellectual and emotional level. Conceptually, it engages with scientific principles in an accessible and visually compelling manner. Emotionally, the works evoke wonder and curiosity, prompting viewers to question their perceptions and explore the boundaries between art and science.
Olga Feldman was born in the north of Russia, in her words, "in a land of endless darkness", and currently lives in Israel. Before diving into monochrome art, Feldman garnered significant acclaim for her digital illustrations and graphic design. Her works were showcased at the OFFF Barcelona festival, a renowned event in the creative industry. Additionally, her digital illustrations have been published multiple times, including publications in "Hi-Fructoze" magazine, the book of digital and analogue illustrations "Dark Inspiration" by Victionary, and others, further solidifying her reputation as a versatile artist.
The graphics Olga Feldman created demonstrate her ability to blend conceptual depth with technical accuracy to produce visually captivating and intellectually engaging pieces. Feldman's continued investigation of minimalist expressiveness and generative perception demonstrates her potential and uniqueness as a creative.
Her use of frames in various shapes gives some of her pieces an additional layer of intrigue, which heightens the overall impression of her work. The intricate patterns and rhythmic repetitions create a meditative quality, encouraging prolonged contemplation and allowing for multiple interpretations based on the viewer's perspective and experiences.
Feldman's graphic works represent noteworthy accomplishments in modern art. They resonate with op art and minimalist art traditions, inviting the viewer to carefully examine and reflect on the interaction of forms and space. They ultimately showcase Feldman's mastery in creating complex visual effects through simplicity of line and contrast.
Holly Herndon and Mat Dryhurst’s "xhairymutantx," featured in the 2024 Whitney Biennial, is a bold exploration of identity within the sphere of artificial intelligence. This project exists both in the physical space of the Whitney Museum and online, where it challenges how AI models perceive and represent individuals, particularly through the lens of Herndon’s digital persona.
Herndon, a prominent figure in digital art and music, has become a recognizable presence in AI-generated content. When her name is entered into text-to-image programs, the output often reflects her signature look—white skin, red hair, and bright blue eyes. "xhairymutantx" takes this familiar image and distorts it, using AI models trained on manipulated photos of Herndon in exaggerated costumes.
The result? Strange, mutant versions of Herndon push the boundaries of her identity within AI.
This project isn’t just about creating unusual images—it’s about questioning how AI models, which often strive for "objective truth," can reduce complex identities to superficial traits. By amplifying Herndon’s distinctive features, the artists explore the idea of reclaiming some control over how AI represents individuals. They suggest that by exaggerating clichés, we might influence AI to redefine its understanding of identity.
"xhairymutantx" is both a playful and thought-provoking critique of AI’s role in shaping our digital selves. It challenges us to think about who controls our online identities and how we can assert agency in a world increasingly dominated by algorithms.
Immerse yourself in 'Fields of Morning,' a captivating collection of five digital masterpieces by Laurence Fuller, created in collaboration with the talented Kesja Tabaczuk. This unique series, adapted from the acclaimed exhibition at Arcadia Contemporary (July 11 - July 31, 2024), seamlessly blends Tabaczuk's meticulous paintings with Fuller's evocative poetry. Fuller's journey into Tabaczuk's art began on social media, where he was drawn to the intricate balance between precision and whimsy in her work. Her striking images of roaming wild animals and incomplete birds boldly defy the ordinary, inviting viewers to explore a realm where the fantastical meets the familiar.
Fields of Morning captures the first steps taken into the fields each morning with the rising sun, symbolising a journey back to self-discovery. The Lyca character is inspired by a series of poems by William Blake. The collection explores our connection to the world around us, portraying us as creators and poets of each moment. It delves into the presence and beauty of being alive.
These masterful portraits provide an open space for poetic storytelling. In today's world, figurative painting has become rare and special, contrasting the reduction of all art to the instant. Certain moments in life linger in our memories with greater potency and contemplation. When sentiment is all that remains, imagination gains even greater significance than life itself. The world around us becomes an extension of our inner lives, and beauty reflects back to us, creating a paradise in this life. Fields of Morning evokes early memories of Mother Nature, highlighting our true potential.
Gloria, an Italian motion designer and passionate music lover, embarked on a unique project to honor Queens of the Stone Age’s album, “In Times New Roman…”. Over four months, she crafted a short animation for each of the album’s 10 tracks.
In June, Gloria released these animations online, culminating in a full edit to celebrate the album’s first anniversary. Her work beautifully merges visual storytelling with the band's distinctive sound, offering fans a new way to experience the music.
Explore Gloria's animations and see the captivating blend of music and motion design in her tribute to Queens of the Stone Age.
Latest showreel from the leading future makers collective Universal Everything formed by Matt Pyke
Marie Lourier is a name that resonates with audacity and innovation in the world of photography. Known for her defiant and surreal works, Lourier's portfolio is a testament to her relentless quest to question conventions.
With eight years of experience, Lourier has made a name for herself by consistently breaking new ground in artistic expression and capturing the imagination of audiences worldwide. Among her most notable projects are a provocative New Year series featuring a girl with traditional Slavic New Year dishes on her face and a poignant commentary on pollution depicted through a shiny girl washed ashore. Lourier’s evolution in photographic techniques, culminating in the use of AI prompting, has taken her art to unprecedented heights, including the socially impactful "F* Word" project focused on femininity.
Lourier’s New Year project, which went viral in 2019, is a visually striking series that merges cultural heritage with surreal artistry. In this collection, a girl is depicted with traditional Slavic New Year dishes arranged on her face, creating a bizarre yet captivating mask.
This fusion of familiar festive foods and the human form transforms a celebration of tradition into an exploration of identity and conformity. The vibrant colours and intricate details celebrate Russian culture and invite viewers to question how traditions shape and sometimes obscure individuality.
"Washed Ashore» (2020) is another compelling project by Lourier that explores the bond between humans and nature, highlighting the dire state of ocean pollution. Through striking imagery of marine creatures washed ashore, the project vividly portrays the devastating effects of pollution on marine ecosystems. The shiny girl, covered in reflective materials and debris, symbolizes the intersection of beauty and environmental decay. This series is a stark reminder of the impact of human actions on nature, with the girl's ethereal appearance contrasting sharply with the grim reality of pollution. By showcasing the plight of these stranded creatures, "Washed Ashore" prompts viewers to reflect on their role in protecting the oceans and taking action to reduce pollution. The project aims to inspire positive change and promote stewardship of our planet's precious marine resources. Exhibited in Venice in 2024 as collateral to the Biennale exhibition "Art For The Planet", the project underscores Lourier's ability to merge artistic vision with urgent global concerns.
Marie Lourier’s artistic journey is marked by her relentless experimentation with various photographic media to achieve her unique vision. Initially, she used a combination of traditional photography, digital manipulation, and mixed media to create her unreal images. These techniques allowed her to create works that were intriguing and captivating, forging new paths in the realm of visual art.
However, it was the discovery of AI prompting that truly transformed Lourier’s work. With AI, she was able to explore new dimensions of creativity, generating images that werenot only surreal but also hauntingly realistic in their unreality. This technological advancement enabled her to bring her wildest visions to life with an unprecedented level of detail and complexity.
One of Lourier's most impactful projects is the "F* Word" series, where 'F' stands for femininity. This innovative project employs AI-generated visuals to spotlight the challenges faced by women worldwide. By blending provocative imagery with crucial themes, Lourier underscores technology's role in illuminating key social issues. The "F* Word" initiative aims to foster awareness and catalyze efforts to combat gender inequality and the diverse challenges confronting women globally. This project exemplifies Lourier's dedication to harnessing art as a catalyst for social change and empowerment. It debuted in Tel Aviv in 2023, drawing attention for its daring exploration of femininity and societal norms.
Marie Lourier’s artistic pursuits exemplify a groundbreaking approach to expanding the horizons of photographic art. She distinguishes herself as a visionary by seamlessly integrating traditional methods with digital techniques and notably incorporating AI. Her creations transcend mere photographs, evolving into intricate narratives that captivate, confront, and stimulate contemplation. Constantly exhibited worldwide, Marie's work graces renowned galleries and museums, showcasing her innovative techniques and unique artistic vision. Additionally, she has garnered over 100 publications in various media outlets, further solidifying her influence on contemporary photography.
However, it’s essential to recognise that Lourier’s work can sometimes prioritize shock value over substance, potentially alienating some viewers. The intense surrealism and provocative content may not resonate with all audiences, leading to debates about the accessibility and intent of her art. Despite this, the provocative nature of her work is often what spurs dialogue and critical reflection, making her art both controversial and influential.
Looking to the future, Marie Lourier's next moves are highly anticipated. Her rebellious spirit and innovative use of technology ensure that her forthcoming projects will continue to captivate and challenge. As she evolves and explores new artistic frontiers, Lourier’s work will undoubtedly remain a powerful reminder of the limitless possibilities of photography. Her art invites viewers to see the world through a lens of imagination, critique, and transformation, promising to inspire for years to come.
Arseny Vesnin founded Designcollector, a platform established in 2003 in Russia. Designcollector is one of the pioneering digital magazines dedicated to covering and supporting the creative art scene and communities in Russia and beyond. The platform showcases a variety of content related to digital art, design, and visual culture, providing artists, designers, and creatives with exposure and inspiration. Over the years, it has expanded to include digital art events like the Digital Decade, an exhibition featuring emerging visual artists and designers. Designcollector has always covered the intersection of art, design, music and culture.
Born in Iran and currently residing in Tehran, Hanie Soltani is an artist whose work is deeply inspired by a profound love of nature and the intricate spectrum of human emotions. Renowned for her vibrant use of colours and delicate brushwork, Soltani finds solace in the beauty of the natural world, striving to capture its essence in her art. Yet, it is the complexity of the human condition that truly captivates her, fueling her creative exploration and expression.
“As an artist, my work is a manifestation of my deep exploration into the human experience and the raw emotions that reside within us. Through my paintings, I aim to evoke a sense of connection and introspection, inviting viewers to embark on a personal journey of self-discovery.”
Chema Mendez is a renowned artist who has been working in digital art for over a decade. His works are always surreal, with a high degree of detail regarding the digital components that blur the lines between reality and imagination.
Over the years, the style Mendez worked on has grown in people and more over his NFT collectors, placing him as one of the prominent figures in digital art globally.
His surreal compositions grace the covers of albums by top musicians, adding visual depth and intrigue to their musical tales.
Chema’s work has also adorned the covers of various prestigious magazines, implying that the artist is versatile and opens his creative vision to a large audience.
Through Mendez's oeuvre, he continues to push the limits of digital artistry, significantly impacting contemporary visual culture.
Karina Eibatova is a visual artist who has previously published work on our website and has also appeared in Juxtapoz, the New York Times, Wired, and The Verge. She has shown her artworks in Vienna, Berlin, Tokyo, London, and Los Angeles. Karina, born in St. Petersburg during the USSR's twilight, has pursued her passion for art and established an international career and academic trajectory from a young age. At the moment Karina is based in Devon, UK.
Karina's first collaboration with a UK company was with Atlantic Records in 2010. The artist created the cover artwork for the Versaemerge "Fixed At Zero" disc. The popularity of Karina's graphics in the early 2010s brought her many projects around the world at the very beginning of her artistic career.
Karina began her fine art studies in 2007 at a foundation school in Sweden. In 2014, Karina studied at Central Saint Martins in London on the Fine Arts 4D faculty. She later studied art in Tokyo and attained her first MA in fine art from the Art Academy in Vienna.
Solos show Project Space 1, AUP, Plymouth
Later in 2020, she did a cover for the fabulous British musician Tom Adams, which will only be released this year. After, Karina pursued her second Master's degree at the Art University Plymouth in the Southwest of the UK. There, she reached a new level of creativity, where her practice took on a more personal and profound approach: her paintings increased in size, and from watercolour and pencil graphics, she began to focus more on oil painting.
Renowned artist Richard Kenton Webb, who is an award-winning artist and educator with over 30 years of extensive experience at institutions including The Slade School of Fine Art, admires Karina's work, and he has left a review of Karina's last exhibition.
“What am I considering when I encounter Eibatova’s visual poetry? A sublimity of mind and a genuine ambition for wonder. These thoughts have been my companion when I engage with this painter’s vision. A vision that is both compelling, fresh and unnerving. I am not necessarily comfortable or put at ease when I spent time with these accomplished paintings, I like that fact, they are enigmatic. What I find is I am compelled to look, digest and converse with them face to face, to behold and hear their voice asking me questions. They certainly ask why to any certainty I consider a fact of seeing.
I find I am writing the words, apocalyptical and visionary. We could discuss English qualities of the painter and printmaker John Martin or the writer and academic J.R.R.Tolkien, or the extraordinary Gray’s Anatomy as sources, if necessary, for inspiration. Yet we for all this referencing we are certainly in what painting is now, contemporary thinking and making, not in a past, but a forward thinking, inside cinema graphic questions of fiction that are rooted deep in nature.
We are in the language and use of colour. Where colour is used to carry a magnificent narrative, that speaks into the soul of the viewer from an exquisite detail to a soft velvetiness of flat colour. I witness the sensibilities of the Cornish painter Peter Lanyon, his eyes and inheritance of being in Devon and Cornwall. Where painting is made air-born. Her diptych that is so beautifully original and statically poised about this particular place and landscape. As a gull floats on the wing, looking, stationary high over hundreds of feet of cliff beside the ocean. It makes me understand being inside a thought.
Karina’s paintings are like a dial in slow motion materializing hope. Of being a witness inside a dream, and renewed because of it. Collectively the ten paintings in this exhibition organise a great sense of otherness that we have shared in a great calm, like witnessing a flower open into its glory, but it seems just for us alone.”
“Currently, my personal creative practice is centered on oil on canvas. I explore imagery drawn from nature, dreams and imagination and strive to create an immersive and contemplative experience for the viewer through color and symbolism. My painting is at the crossroads, somewhere abstract, in some places not so much: a landscape or a body, a stone or a tree. In my recent works I try to reflect the value of the human body and of life itself, without resorting to depicting human figures, I try to depict our inner world, a secret landscape full of organs and light. Through a combination of neon, dark and pastel colours I want to express a sense of hope”.
This year, Karina was awarded the “Artist of the Month” prize in Zima magazine, one of the most recognised Russian-speaking media projects based in London. One of her works is on display in the city centre of London this summer.
“Karina Eibatova’s works combine tenderness, organicity, lightness of abstract forms, painted with special care, expression and force, a kind of rumbling, reminiscent of works about the terrible judgment of the English Romanticism artist John Martin. In her paintings there is a certain confidence, power and resilience of a soft, feminine flow of forms – not something corporeal, not something cloudy, not something earthy and tangible, not something airy and elusive. This remarkable balance of opposites allows the viewer to feel a profound visual comfort. The works envelope the beholder like a soft blanket and immerse him or her in other levels of this visual aesthetic, where he or she encounters an intense vitality, some even doom. One plunges into this painting like a cloud, which, while outwardly harmless, carries thunder and lightning. Karina has been shortlisted for the prize several times and we are delighted to finally present her with the award she deserves”
Intriguingly, two individuals made a similar comparison with English painter, engraver, and illustrator John Martin, which prompts the audience to contemplate the relationship between the apocalyptic landscapes of the 19th century and Karina's dramatic works. We'll continue keenly observing this gifted artist's upcoming creative endeavours.
About the author
Arseny Vesnin founded Designcollector, a platform established in 2003 in Russia. Designcollector is one of the pioneering digital magazines dedicated to covering and supporting the digital art scene and creative communities in Russia and beyond. The platform showcases a variety of content related to digital art, design, and visual culture, providing artists, designers, and creatives with exposure and inspiration. Over the years, it has expanded to include digital art events like the Digital Decade, an exhibition featuring emerging visual artists and designers. Designcollector has always covered the intersection of art, design, music and culture.
Hugos is an Italian illustrator bending the art world where tradition meets digital innovation.
His work goes into the traditional limits of illustration, achieved by contemporary tools and techniques, to evoke a compelling, detailed form of storytelling. It is an imagination mixed with emotion and technique that begets original illustrations, which touch deep within viewers.
Each piece is an exemplar of his mastery of both classical methods and cutting-edge digital artistry.
In Hugos's work, innovative fusion preserves the cultural legacy of Italian art and takes it into uncharted territories. At the same time, it seduces audiences worldwide with its unique visual narratives.
INA VARE is a seasoned analogue video and glitch artist with over a decade of experience and has been a part of the crypto art scene for over three years. Her work uniquely blends technical skill with poetic expression, often incorporating performance art.
In winter 2023, INA VARE debuted with an axe in her conceptual video artwork 'BEAR SERENITY'. This piece was part of the 'BITCHES, BUTCHES AND BEARS' exhibition, curated by OONA and SamJ, and minted on the CampFire platform (Avalanche blockchain).
By December 2023, INA VARE repurposed footage from 'BEAR SERENITY' to create a meme artwork aligned with the #TEZPOLE trend, which she minted on the Tezos blockchain.
INA VARE's cross-chain project kicked off with the minting of 'THE TIDE IS COMING' on the Tezos blockchain on June 7, 2024. This single-edition NFT was auctioned off to much acclaim. Now, INA continues the saga on Foundation/Base with three new artworks that build on the original piece.
These three artworks depict the arrival of the main characters at the sea.
INA describes it as a sea of opportunity that is cold and salty. There's not much to do here, so it's a good idea to practice some axe moves in the calm and chilly air.
INA VARE is a Latvian glitch and analogue video artist.
Her artistic journey stems from her innate technological curiosity, which crosses from the physical world of analogue to digital. Her creative energy has given her growing recognition in the CryptoArt movement.
Her signature style has developed through her deep understanding of digital, VHS and circuit-bending tools and processes. By experimenting with retro-analogue video aesthetics, INA re-creates a nostalgic visual experience which reflects the depths of noise, error, and glitches. Her artistic narrative is balanced between sentimental and deeply personal matters ranging from complete abstraction to parody and the grotesque.
