Category Archives: ART


© Jean-Paul Bourdier

Bodyscapes / Jean-Paul Bourdier

[highlight1]  Bodyscapes  [/highlight1]

A collection of surreal analog photographs that push our sense of wonder.

[dropcap]J[/dropcap]ean-Paul Bourdier, Professor of Design, Drawing and Photography in UC Berkeley’s architecture department, presents Bodyscapes. The photographic set focuses on the geometric beauty of the human body. He mixes body art and the surrounding landscape. His works have won many international competitions, he has a prestigious awards in the arts.

The artist chooses to photograph only on film (Analog photography), using no digital manipulation, which awakens a sense of timeless wonder in the traditionally created images. His photographs often have a strong sense of symmetry, both in shape and in featured color palettes. Mirroring the landscape, the bodies complement each scene with just the right visual combinations of physical interruption and environmental serenity.

Bourdier eschews any digital altering, instead combining primal forms and materials with diverse textures to create exciting new interpretations of timeless nature and temporal body. Intersecting many disciplines – photography, sculpture, performance, dance, land art, body art, design and acrobatics – the artist creates and choreographs each vibrant piece with a strong philosophy directing each scene, using the medium of photography, known to capture the ‘real’, to achieve the seemingly impossible, with thoughtful and surreal outcomes.

In the dramatic setting of the deserts of the American west he uses bodies as canvases to mirror their surroundings. Sometimes they’re blended in completely with the landscape, other times their contours are highlighted against the harshness of the setting.

  • The artist is now trying to get funding through Kickstarter for his second book “Leap into the Blue”, For this series, the models’ bodies are painted to become part of the surrounding landscape; it is clear that a great deal of attention is paid to matching the paint colors exactly to create a seamless integration of human and earth. Bourdier’s fascination with texture and form have given rise to a compelling series of surreal images.  A recent Kickstarter campaign for his second book, called Leap Into the Blue, was successfully funded as of August 17, 2012 (though Bourdier has invested $300,000 over the past 12 years toward this project).
  • You can help him fund his second book Leap into the Blue on Kickstarter, Or you can buy Bodyscapes on Amazon.

The book is a sequel to his previous Bodyscapes, and is a sonata composed of three movements: “Arising Geometry,” the mind’s organization of the environment into patterns; “Pas de Deux,” the body’s need to interact with another being; and “Leap into the Blue,” the spirit’s aspirations as represented by a flying body in motion. The 240 photographs of the book feature the interplay between body and earth, with the western deserts in the United States serving as the background for each image.

  • LEAP INTO THE BLUE by Jean Paul Bourdier with DVD by Carmen Cheung, Available December 2012

Jean-Paul Bourdier’s  “Leap into the Blue”

For the past twelve years, I’ve made countless expeditions into the deserts of the American West to photograph and artistically address the poetic relationship between the human body and the awe-inspiring landscape. My first book Bodyscapes (2007) contained vibrant creative artwork with painted bodies moving through some of the most diverse landscapes on earth.

This Kickstarter will allow me to round off the necessary funding to complete, print and publish a second book of photography. Leap into the Blue dives deeper into our beingness, creating “fantastic” interventions within the landscape that challenge viewers to question the lines we draw between mind and body; human and nature; figure and landscape; dream and reality.

Through a unique fusion of mediums (such as photography, painting and performance ), all 240 photographs point to our inner freedom, to the humor hidden behind our life predicaments, to our capacity to embrace the unknown, or the unity between our Mind and Body and between ourselves and the environment.

I’m hoping that through the unexpected wealth of surreal situations photographed, one may be brought to experience a different sense of living poetically or find new liberating perspectives in regards to how we can relate to our surroundings, appreciate beauty and light, or wonder about our own being or what we aspire to.



The first series of photos explores our Mind’s need to organize our surroundings into recognizable visual patterns and geometries.


The second series displays the Body and its innate impulse to engage with another human in an infinite dance, pas de deux, or literally, “step for two.”


The third series touches upon our inner aspirations that are here invoked through the flying body.


In a time when digital manipulation and effects reign in the visual environments that surround us, analog photography is not often the go-to format to creating what I call “staged photography.”

All my photographs of flying bodies, cliff paintings and landscapes have been shot on analog film without the use of any digital technology.

A grand reward of funding this project is the invitation to be a participant in one of our future expeditions, to co-create the unimaginable and to witness firsthand our whole process.


Another purpose for seeing to completion the publication of Leap Into The Blue is also to give homage to the fifty friends who volunteered to be part of this project over these many years and contributed with their energy and creative talents.

Needless to say, each of the photographs you see is the outcome of many thrills and ecstasies, but also many trials and unseen sacrifices. All the little or big difficulties encountered during our trips have been outweighed by the unspeakable joys of experiencing the desert’s bare-bone beauty, and being in touch with the Body and Earth in an intimate and colorful way.

As much as myself, they would also love to inspire others with their artistic contributions, allowing us to see this Earth and our beings through a different lens.

ABOUT – Jean-Paul Bourdier

Starting at an early age in my native country of France, I have always held a passion for the earth, painting, drawing, dance, light, architecture and photography. My interests in architecture, landscape, archeology, and antique murals have greatly influenced my artistic endeavors.

My latest book, Vernacular Architecture of West Africa (in which I assembled my photographs and drawings of a disappearing way of building), came out in 2011 and my latest photography book Bodyscapes was published in 2007.

Since 2000, my photography has focused exclusively on the body and the land and I would love to include as many readers as possible in this ongoing exploration.

[highlight1]  Data  [/highlight1]

Name: Bodyscapes
Views: Mountain Views, Landscape Views
Theme Colour: Mix / Multi colour Theme
Year: Varies

[highlight1] The people [/highlight1]

Photographer: Jean-Paul Bourdier, University of California – Berkeley, Department of Architecture, 232 Wurster Hall, Berkeley,, California 94720, United States
Text Description: © Courtesy of Jean-Paul Bourdier, kickstarter
Images: © Jean-Paul Bourdier

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Digital Geisha - © Android Jones

Psychedelic Art & Surreal Photoshop Painting / Android Jones

[highlight1]  Psychedelic Art & Surreal Photoshop Painting  [/highlight1]

[dropcap]A[/dropcap]ndroid Jones seeks to expand the infinite boundaries of reality. He is a techno-mystic visual pioneer of digital art. He draws on a classical background of academic and traditional skills to interface with the machine, communicate to the mind and connect to the heart.

Android Jones is at the forefront of the visionary art movement, a wave of artists who emphasize creativity as the foundation of consciousness and an agent of social change. As a digital alchemist, Android builds on the technical developments of past centuries in art history while pushing the boundaries of the imagination with new technologies and media forms.

Moving beyond the traditional technologies of pencils, ink, and brushes, Android develops latent possibilities within software programs such as Painter, Photoshop, ZBrush, and Alchemy, discovering new combinations and uses for tools that exceed the original intentions of their programmers. In Android’s live art performances, including the acclaimed Phadroid dance performances with wife Phaedra Ana, he incorporates elements of chance and improvisation, inviting synchronicities that additionally exceed the individual artist’s intentions and allow for unscripted moments of beauty to shine through.

As an experience designer, Android has contributed to films, games, and to building communities through and, and his interactive installations have enchanted tens of thousands of participants at events like Boom and Burning Man. Viewing the digital domain as a medium of energy and light capable of expanding the nature of reality, Android’s art encourages others to explore the potential interfaces of mind and machine in this time of accelerating change and increasing novelty. To this end, Android’s art serves two related functions: it bears witness to realities accessible through heightened states of consciousness, and it also engenders heightened awareness through the processes of creation and audience interaction. Digital art becomes a tool for navigating reality and human awareness, and Android’s art invites others to join the advancing evolution of consciousness by speaking to the artist in everyone.

Jones Say:

“Philosophy Beyond the spectrum of what our visible eyes can perceive throbs an endless living current of creative energy that has been making its way here to Earth on a spiraling trajectory from the center of the universe. After millions of years of cellular development and ongoing evolution on this planet, humanity has earned the honor of tuning its conscious body to become a receiver and channel of this eternal energy. My art is the shadow of this light; the ashes of the fire that it leaves in its ever-present wake.

Novelty has a razor’s edge – it is ceaseless in its pursuit after unheralded innovative applications to experience itself anew over and over again. The Art that I create is in service to this spirit. It keeps me up past the dawn, it feeds me an energy more precious than food itself. Throughout my whole life this energy has been guiding me onward, yet has never allowed me to gaze at its purpose. I am more than content to sit back and kneel in service to its endless unfolding mystery.”

About – Android Jones

Andrew Jones, a.k.a. Android Jones, is a U.S. visual artist working in the fields of concept art for movies and video-games, fashion design, body painting, illustration and digital performances. He started his career with George Lucas at Industrial Light and Magic, worked as the only North American concept artist for the Japanese gaming company Nintendo and became creative director for the entertainment development company Massive Black Inc., of which he is a founder.

In 2002, Jones helped found a non-profit online art community,, along with Jason Manley and artists like Coro Kaufman, which has attracted more than 80,000 registered users and more than 1.3 million international visits per month.

He made one self portrait every day for 1000 days between May 2002 and February 2005. His fine art features in The Shooting Gallery in San Francisco and he has work published in the Expose and D’Artiste art books.

In 2007, his art is featured on the cover of the annual Spectrum magazine – a selection of the best fantasy art. He has worked with fashion designer Tiffa Novoa. As of April 2007, he has started to perform digital live painting at concerts. His artwork has been featured on album covers of several electronic and psybient music artists such as Bluetech, Beats Antique, Sporeganic, and Phutureprimitive.

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Name: Psychedelic Art & Surreal Photoshop Painting
Type: DIGITAL ART, Visual Arts
Year: Varies
Technique: Photoshop Painting

[highlight1]  The people  [/highlight1]

Artist: Android Jones, Boulder Creek, CA 95006, United States
Text Description: © Courtesy of Android Jones
Images: © Android Jones

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© Simone Bossi

Duecentosessanta MQ art pavillion / Simone Bossi

[highlight1]  Duecentosessanta MQ art pavillion  [/highlight1]

[dropcap]T[/dropcap]he Italian architect won this year’s 260MQ International Competition, which encourages artists and designers to transform a certain space into something beautiful and useful. Bossi’s Duecentosessanta MQ (Italian for 260 square meters) is a scenic and serene man-made forest and lake in Trento, Italy.

Bossi’s artistic pavilion unites stone, wood, water, and air. Visitors can step along the stone path that floats upon a reflecting pool in the middle of a vast green field. At the end of the path, a large square stone patio contains a number of wooden boards jutting into the sky like minimalist trees. Their various heights and spacing resemble a peaceful forest, where people may either sit and relax or run and play throughout the landscape. The reflecting pool echoes the sky as the clouds float above the installation. The wood beams, in turn, reach toward the treetops as if they are holding up the sky themselves.

The 260MQ competition was to create a space that was functional as well as beautiful. Bossi’s pavilion is not only a meditative space but can also hold public performances for both music and theatre. Sonatas can bounce off the wood boards while actors can maneuver a unique story around the stone steps and reflecting pools. Visitors can enter into the opera, walking trough the wooden boards, sit in a small patio on a stone. They can relax for a while and consider what they have around. The pavillion can also be used for events and concerts as a real scenography where characters can dissappear or silently walk in the dark water that constantly reflects the sky.

[highlight1]  Project Data  [/highlight1]

Project name: Duecentosessanta MQ
Location: Levico Terme, Trentino, Italy
Type:  Pavilion, INSTALLATION, Public Space
Materials: Concrete, Wood
Project Area: 400 sqm
Project Year: 2012
Completion Year: 2012

[highlight1]  The people  [/highlight1]

Client / Owner / Developer: private competition – first prize
Architects / Artist: Simone Bossi
Text Description: © Courtesy of Simone Bossi, inhabitat
Images: © Simone Bossi

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© Iain Crawford

Beauty Female Photography / Iain Crawford

[highlight1]  Beauty Female Photography  [/highlight1]

[dropcap]L[/dropcap]ondon based beauty photographer Iain Crawford’s portfolio is made of beautifully composed images of vibrant colors in movement paired with flawless complexions. He creates high quality art works. Each photograph depicts a single moment in time, when the paint and model collide. When thrown at a model, liquid paint splashes and for a tiny sliver of time, creates sheets of paint that move through the air. These sheets of paint look similar to cloth and appear to clothe the model with color.

Powder paints have an entirely different effect, exploding into the air in a puff of color, and is reminiscent of a fur coat or collar. Viscose paints behave differently to other liquid paints, splashing off the model in a web-like arrangement, surrounding the beautiful girl with a temporary, transitory cage of color.

The liquids and powders that Crawford uses in his images add a tactile nature to the photographs, combining the human body with art products to create an alloy of sensuality and creativity. There is a sense of wildness and excess in each photograph displayed in the lavish way that paint is flung into the scene and photographed. This creative method stands in stark contrast to traditional art, in which paint is applied with deliberation and care onto a canvas. Crawford has removed the canvas and brushes from the artistic process, using fashion models as his canvas and photography as his medium.

Iain says:

“I’m passionate about finding new techniques and processes that allow me to push my photographic boundaries. I’m always trying to find new ways to do things. The process of how a photograph is created is my greatest passion, all that experimentation and planning leading up to the moment the camera clicks is highly controlled, and then as the shoot starts I let go and let the law of chaos take over, catching moments of graphical brilliance in a chance encounter far beyond what a human might try to contrive. But its all a team effort and I owe a huge dept to all the amazingly talented creative geniuses who I am lucky enough to work with, and I thank them”

About – Iain Crawford

Iain grew up in Africa and Malaysia and developed a passion for photography at an early age. On moving to London, he worked as an account handler for Saatchi & Saatchi but left to pursue his photographic career. After spending several years living and working in New York, he is now based back in London but continues to work internationally.

Iain loves to capture images that have a strong graphic and textural quality, often searching out the graphical symmetry in chaos, while still maintaining the personality and emotion of the subject. His career has lead him to shoot campaigns for many of the world’s top brands and receive commissions from a host of top international magazines.

Commenting on the ‘paint’ shoot, Iain says: ”I love the fusion between paint and model. The resulting shapes are as opulent as any piece of bespoke couture. The excitement and anticipation as we waited to see the next piece of unpredictable chaos was electric. There was something magical about how random chance materialised into beautiful images in front of our eyes.”

[highlight1]  Data  [/highlight1]

Name: Beauty Female Photography
Views: Beauty Female, high speed fashion photography, Makeup photography
Year: Varies

[highlight1]  The people  [/highlight1]

Photographer: Iain Crawford
Text Description: © Courtesy of Iain Crawford, mayhemandmuse
Images: © Iain Crawford

© Andre Kohn

Fine Art Paintings / Andre Kohn

[highlight1]  Fine Art Paintings  [/highlight1]

[dropcap]A[/dropcap]ndre Kohn is a preeminent leader of Figurative Impressionism today. His mature, fresh figurative painting style, portrays the subject through its movements, in a poetic interpretation of the human figure, finding the extraordinary in the ordinary. With his unmistakable pallet, style and interpretation of form, Andre Kohn is one of the most collected figurative painters on the American art scene today.

The precise convergence of three dynamic forces-culture, environment and talent-combined to produce one of the most collected figurative painters on the American art scene today. Raised by an artistically gifted family near the Caspian Sea in southern Russia, Andre Kohn’s childhood was marked by the natural splendor of mountains and sea, and by an unfettered access to all the creative arts.

His mother was a symphony violinist and his father a noted linguist, writer and sculptor. Both were educators trained in psychology who gave their only child unrestricted opportunity to explore the depths of art and his own obvious talent. Paintings, sculpture and books filled the family’s tiny, one-bedroom home. It was a childhood without material possessions, but a childhood which taught him that the creative arts are the only true wealth. Kohn’s parents also encouraged their son to draw on any surface-including the wallpaper in their home-which they simply re-papered when he grew old enough to favor sketchbooks. His memory of childhood is that “music and art were everywhere.

” While always innovative in drawing and painting, Kohn’s professional art education began at age 15 when he was chosen to apprentice in the studios of Moscow’s most esteemed Impressionist and Social Realist artists. At that time, Impressionism in Russia was nearing the end of a harmonic and prolific century-a prodigious period in Russian art that literally changed the world. Kohn’s childhood and art education corresponded with an eruption of cultural progress in all the arts, including ballet, literature, music and painting. He was principally influenced by such artists as He followed the apprenticeships with a classical art education at the University of Moscow where he studied with members of the last great generation of Russian Impressionists. With his talent already in evidence, he quickly earned an invitation from the Artist’s Union of Bulgaria (Europe) to stage a prestigious one-man show in one of their country’s major exhibition halls. Still in his first year of college, Kohn was the only student so honored for the year.

He fondly remembers the majesty of the University. “The experience was totally unique,” he has said. “The atmosphere was one of huge columns, marble floors and masterworks on the walls. Legends of the Russian art world walked the halls and discussed your work. It was a privilege to be there, and it laid the foundation for my entire career.” However, fate soon dramatically redirected the young artist’s life and art. His father, a colonel in the Russian Army, was the first candidate to participate in the post-Cold War officer exchange program at the U.S. Air War College in Montgomery, Alabama. In 1993, while Kohn was in America visiting his parents, his father announced his intention to defect to the United States. Suddenly, the young artist realized he would never again be permitted to return to his homeland.

It took little time for American art audiences and media to discover the mature, fresh figurative painting style of the young Russian. His first one-man show in America created instant interest in his work and helped introduce Kohn to audiences in his adopted country.

Kohn remains a preeminent leader of Figurative Impressionism which seeks to capture the complexity as well as the simplicity and directness of the human form. “I’m seeking my own unique, poetic interpretation of the moment,” he says. “I’m striving to find the extraordinary in the ordinary.

” Despite Kohn’s unrepeatable pallet, personally developed style and unique interpretations of form, his education is enduring. From his home in Arizona, Kohn travels the world for inspiration, periodically returning to France to continue his formal, classical studies.

Kohn’s work is represented by premier galleries in the United States and he is a regular contributor to invitational exhibitions. Kohn is a frequent subject of highly regarded art publications, and his unique ability to communicate the expressiveness of the human form has kept him a mainstay of private, corporate and permanent museum collections worldwide.

Andre Kohn

Andre Kohn was born in Stalingrad in the heart of the former Soviet Union. He spent his first 12 years in the Southern part of the country near the Caspian Sea. Growing up in the small town of Baku gave Kohn an appreciation for nature, which he carries with him to this day. For years Andre had pursued a sports career, and had become a promising young athlete by his teens. He had always been a romantic at heart, so at the age of 15 he left athletics to study art.

He began by studying the works of the masters, surrounding himself with volumes of texts. He found his way into the studios of some of the most prominent artists in Russia, including painter Natalya Govrishenko and sculptor Anatoly Vrubel. Studying under these talented artists he developed a love for the world of art and a passion to make his own contribution. Kohn spent years honing his skills through personal studies and work as a scenic artist before enrolling in the Fine Arts Department at a prestigious Russian university.

The art world began taking notice of the 19 year old freshman. He was invited to exhibit his paintings in a one-man show at the Central Exhibition Hall in Ruse, Bulgaria. The event drew press from all over the country, bringing Kohn into the public spotlight. Many of his works were purchased for private and corporate collections.

Andre Kohn’s Upcoming Shows:

  • SOLO SHOW, Shaw Gallery, Naples, FL. Jan. 2013
  • SOLO SHOW, Mary Martin Gallery, Charleston, SC, April 2013
  • GROUP SHOW, Greenhouse Gallery, San Antonio, TX. November 2012.
[highlight1]  Data  [/highlight1]

Name: Fine Art Paintings
Type: Fine Arts, Painting
Dimensions: Varies
Year: varies
Technique: oil painting, Oil on canvas

[highlight1]  The people  [/highlight1]

Artist: Andre Kohn, Stalingrad, Soviet Union
Text Description: © Courtesy of Andre Kohn
Images: © Andre Kohn

© Matthew Shlian

Paper Art Sculpture / Matthew Shlian

[highlight1]  Paper Art Sculpture  [/highlight1]

[dropcap]M[/dropcap]atthew Shlian’s artwork is sculptural and highly technical. Shlian uses a variety of techniques to cut, folded and reconstruct the paper into geometric shapes which are then painstakingly assembled into intricate lattices or sweeping planes. The finished work combines micro-level complexity and macro-level simplicity, balancing the two in a pleasing, minimal aesthetic.

Matthew Shlian works within the increasingly nebulous space between art and engineering. As a paper engineer, Shlian’s work is rooted in print media, book arts, and commercial design, though he frequently finds himself collaborating with a cadre of scientists and researchers who are just now recognizing the practical connections between paper folding and folding at microscopic and nanoscopic scales.

An MFA graduate of Cranbrook Academy, Shlian divides his time between teaching at the University of Michigan, mocking up new-fangled packaging options for billion dollar blue-chips, and creating some of the most inspiring paper art around.

Shlian began collaborating with Ghostly International in early 2011 with The Process Series, a collection rooted in basic geometry and inspired by electronic music. His second series with Ghostly, The Tessellation Series, evokes the joy of improvisation, and hints at a wellspring of inspiring works to come.

Of his work, he writes: “In my studio I am a collaborator, explorer and inventor. I begin with a system of folding and at a particular moment the material takes over. Guided by wonder, my work is made because I cannot visualize its final realization; in this way I come to understanding through curiosity.”

His creative process draws on both high and low technology — on the conveniences of the digital world (plotters, AutoCAD, and the like) and the tools of the analog world (X-Acto knives, archival paper, glue) to create work inspired by everything from virus structures to Brian Eno. That, in turn, gives Shlian lots of room to experiment. “I’d say my starting point is curiosity,” he says. “I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it. I need to be surprised.”

  • “I have a talent for spatial relations. I failed math in high school, I failed algebra…But I can understand things if I can see them, and I can actually understand them better if I can hold them in my hand.”
  • “A lot of my work is about curiosity. If I don’t understand something, the work that I make is the way for me to understand it. I come to understand it through making.”
  • you can buy Matthew’s art: here
[highlight1]  Data  [/highlight1]

Name: Paper Art Sculpture
Type: Crafts, PaperArt, SCULPTURE
Dimensions: Varies
Year: Varies
Technique: cut, folded and reconstruct the paper into geometric shapes

[highlight1]  The people  [/highlight1]

Artist: Matthew Shlian
Text Description: © Courtesy of Matthew Shlian, theghostlystore
Images: © Matthew Shlian

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© Tomas Saraceno

On The Roof ‘Cloud City’ / Tomas Saraceno

[highlight1]  On The Roof ‘Cloud City’  [/highlight1]

[dropcap]T[/dropcap]he installation by Saraceno on the rooftop of the Metropolitan Museum of Art in New York explores the possibility of a utopian city free from the physical constraints of the ground below. Visitors may enter and walk through the cluster of habitat-like, modular structures.

Challenging traditional notions of cities in terms of space, time and most notably gravity, Cloud City, the recent installation that has landed on the rooftop of the Metropolitan Museum of Art, New York from what appears to be another planet, explores the possibility of a utopian city free from the physical constraints of the ground below, yet in constant dialogue with it. Composed of a large network of interconnected polyhedrons, the bubble-like artwork measuring 54 feet long by 29 feet wide by 28 feet high assumes a commanding position atop the Roof Garden, transporting viewers into an alter-reality.

Designed by Argentinean-born artist Tomás Saraceno, widely known for his 2009 Venice Biennale installation ‘galaxies forming along filaments, like droplets along the strands of a spider’s web’, in which he constructs an intricate web made of black elastic ropes that visitors must navigate in, through, and around; the Frankfurt-based artist’s work has always explored multiple dimensions of art, architecture and science. Trained as an architect, his fascination with all things utopic, generative, as well as cosmic has been a recurrent theme throughout his body of work. Cloud City, currently on view at the Met through November 4, is the most recent iteration of his ongoing project Cloud Cities/Air Port City (2001-present) that explores the ways in which we inhabit and experience the surrounding environment. The largest by far in the series, the installation redefines the notion of scale through the relationship between individual and environment.

The site-specific work, realized for the Museum’s annual (since 1998) single-artist installation on the Cantor Roof Garden, is one strong wind shy of floating away. Tethered to the roof of the Met’s terrace, Cloud City creates juxtaposition with the stoic city of New York while also producing a seemingly necessary dialogue with it and among the relationship between individual and environs. The artwork is both an object for consideration as much as it is a vehicle by which to view the outside world. According to the artist, “What I’m trying to do is redefine what is big and what is small – how far or how near you are, and maybe reconsider this.”

The participatory nature of the artwork, which permits viewers to enter the multi-storied object through a series of staircases, walkways and passageways that provide different vantage points to both observe and be observed. One of the strengths of this project is the multiplicative and reflective property of the structure, constructed from steel, acrylic, and polyester that enables the viewer to “perceive an alter-reality and reconsider how far or near certain things are.” This crucial relationship between individual and object helps us begin to mediate the relationship between individual and our surrounding environment.

In the design and implementation of this artwork, Saraceno not only considered the relationship between the individual on the roof deck, but also the individual in the apartment across from the roof deck just as much as the individual from the International Space Station who could see this piece from Space. “Seeing through the reflection,” Saraceno remarks, “they see us and we see them.” Creating a dialogue with both the microcosm of the City and the larger Universe, the work actively engages the observer beyond traditional social, political, and geographical states of mind. These multiple dimensions of perceivability and consequently, understanding allow for the opportunity to enlarge one’s own capability of sense more than the reality that is known, ultimately expanding the way we think. Even the name itself – Cloud City, according to Saraceno, refers to the idea of building future cities. This so-called future city that Saraceno creates is as realistic as it is idealistic in terms of how it asks individuals to reconceive their relationship between self and outside environment, whether that environment spans the size of the roof deck, the City of New York, or the larger cosmos, Saraceno so widely refers to.


Artist Tomás Saraceno (born in Tucumán, Argentina, in 1973) has created a constellation of large, interconnected modules constructed with transparent and reflective materials for the Museum’s Iris and B. Gerald Cantor Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The interdisciplinary project “Cloud Cities/Air Port City” is rooted in the artist’s investigation of expanding the ways in which we inhabit and experience our environment.

  • Tomás Saraceno’s Cloud City will be on view at the Metropolitan Museum of Art New York Roof Garden through November 4. The Met is open Tuesday through Thursday, and Sunday, from 9:30 a.m. to 5:30 p.m., and on Friday and Saturday from 9:30 a.m. to 9:00 p.m. The Roof Garden is closed in inclement weather. The Metropolitan Museum of Art is located on Fifth Avenue at 82nd Street. As always, the price of admission to the Met is “suggested.” For more information about the Met’s Roof Garden exhibition of Tomás Saraceno’s Cloud City, please see the Met’s website, here.
[highlight1]  Data  [/highlight1]

Name: On The Roof ‘Cloud City’
Location: The Metropolitan Museum of Art, 1000 Fifth Avenue (at 82nd Street), New York, NY 10028, United States
Dimensions: 54 feet long by 29 feet wide by 28 feet high assumes
Year: 2012

[highlight1]  The people  [/highlight1]

Artist: Tomas Saraceno, Tucumán, Argentina
Additional support: Cynthia Hazen Polsky and Leon B. Polsky, The Daniel and Estrellita Brodsky Foundation, William S. Lieberman Fund, and Eugenio Lopez.
Text Description: © Courtesy of Tomas Saraceno, abitare
Images: © Tomas Saraceno

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[highlight1]  Location Map  [/highlight1]

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© Francoise Nielly

Explosive Colorful Portraits Paintings / Francoise Nielly

[highlight1]  Explosive Colorful Portraits Paintings  [/highlight1]

[dropcap]F[/dropcap]rançoise Nielly’s painting is expressive, exhibiting a brute force, a fascinating vital energy. Oil and knife combine tsculpt her images from a material that is, at the same time, biting and incisive, charnel and sensual. Whether she paints the human body or portraits, the artist takes a risk : her painting is sexual, her colors free, exuberant, surprising, even explosive, the cut of her knife incisive, her color pallet dazzling.

Francoise Nielly lives in a world of images. She has explored the different facets of “image” all her life , through painting, photography, roughs, illustrations and virtual, computer generated animated graphics. It is clear now that painting is her direction and her passion. She gets her sense of space and construction from her father, who was an architect.

Francoise Nielly found her first inspirations in the surrounding natural beauty of the Cannes and Saint-Tropez with their colorful, diverse, and live atmosphere. Her father, an architect, was her first teacher, who presented the mysterious yet amazing and luring world of art and images to the small girl. Since her early childhood, Francoise was fond of faces, which attracted her much and motivated to paint. With the inherited art vision and painting talent, Francoise could not help choosing the career of a painter, a designer, a photographer, or simply “an image maker” as she positions herself. After her success in advertising business, about 12 years ago Francoise decided to devote herself exclusively to oil painting. With over 500 completed works and exhibitions around the world, Francoise promises even more to come…


Being a passionate woman, Francoise Nielly finds her inspiration in the surrounding world. She loves life, architecture, blue lagoons, Internet, open spaces, chocolate at night, love, Paris, and much more… Faces are the special attraction and passion of the artist. Human faces often work like triggers for her, launching the imagination and the process of producing art. Raised in the atmosphere of the Mediterranean Sea cost, Francoise has a subtle perception of deep colors, strong contrasts, and intense light, which are so clearly reflected in her paintings.


Francoise Nielly is a well-established artist with mature painting technique. In order to create her masterpieces, Francoise uses mainly knives and oil paints. Working on portraits, she usually takes black-and-white photos of her models, which are later used as the references for paintings. She never draws preliminary sketches with a pencil, just a few general outlines to create some fixed reference points. Francoise works with very thick layers of oil paint, thus most of her masterpieces are formed with multiple layers, put on the canvas one by one by a skillful hand of the artist with no chance for a mistake. Francoise Nielly loves colors and contrasts. That is why her paintings contain the entire palette of colors and shades. Sometimes, she chooses one particular color, such as yellow or orange, to dominate on the painting.


To date, Francoise Nielly completed about 500 paintings. Most of her works are portraits with close attention to faces and unique ultimately intense way of expressing human sensitivity and passion. Her expressive way of painting is enforced with the dimensions of the canvases, which often reach 55-78 inches in size. It is interesting to note that whatever series of Nielly’s paintings you’ll take – black-and-white portraits or those with yellow or orange dominating colors – all of them are filled with expression and sensuality, radiating right from the eyes of the models.

About – Francoise Nielly:

Growing up in the South of France where she lived between Cannes and Saint-Tropez, is never far from the light, the color sense and the atmosphere that permeates the South of France. This is coupled with her studies with her studies at the Beaux arts and Decorative Arts, and her sense of humor and of celebration.

Françoise Nielly’s painting is expressive, exhibiting a brute force, a fascinating vital energy. Oil and knife combine tsculpt her images from a material that is , at the same time, biting and incisive, charnel and sensual. Whether she paints the human body or portraits, the artist takes a risk : her painting is sexual, her colors free, exuberant, surprising, even explosive, the cut of her knife incisive, her color pallet dazzling.

Françoise Nielly is a passionate woman who loves life, wide open spaces, sushi, blue lagoons, the Internet, humor, books, Paris, New-york and Vancouver. Resolutely inscribed in her epoch, she is an accomplished artist ; 20 years of artistic expression explain the maturity of her work and the perfect mastery of her art.

She lives and paints in Paris near Montmartre; shows and sells her work in Europe, in Canada and in the United States.

[highlight1]  Data  [/highlight1]

Name: Explosive Colorful Portraits Paintings
Type: Painting
Colour: Colorful, bright colours, vivid colours, cheerful color
Year: Varies
Technique: Oil on canvas, palette knife technique

[highlight1]  The people  [/highlight1]

Artist: Francoise Nielly, Paris, France
Text Description: © Courtesy of Francoise Nielly
Images: © Francoise Nielly

[highlight1]  Video  [/highlight1]

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