Nightmarish Illustrations By Alex Andreyev Are Straight Out Of The Matrix

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For the Surrealist digital artist Alex Andreyev, reality gives way to the nightmarish and imaginary; his grotesque urban landscapes are dominated by giant spiders, snakes, and eyeballs. Much like the world of The Wachowshi Brothers’ 1999 film The Matrix, Andreyev’s dreamscape is dystopian, seemingly operated by frightful machines that lurk in dark alleyways and within murky, polluted puddles. Like Neo before the rabbit hole, the artist sits at his computer, delving into his nightmares in search of psychological truths that transcend the laws of reality and escape the revelation of daylight.

By maintaining a graphic comic book aesthetic, Andreyev’s images compose a suspenseful, quick-paced narrative; clearly rendered with computer technology, his subjects appear like online avatars, their experiences symbolic of the human condition without directly mirroring it. Like the Surrealists Odilon Redon and Rene Magritte, the digital artist uses the image of the eye to subvert reality; as eyes wearing grotesquely tall top hats chase a helpless man down a dark, dank underground, we viewers are made to perceive our own eyes as villainous, to assume that what they record might not accurately reflect the world around us. Another sketch presents a man slicing his eyes open with a razor, the implication being that to truly see and to understand, we must endure pain and strife.

In this realm where the inner eye takes precedence over superficial vision, a wondrously dark and lonesome creative space begins to emerge. The spider, a symbol which harkens back to the work of Redon in particular, is used here perhaps to represent the isolation of introspection and of the endlessly complex imagination; as a man retreats into his computer, an arachnid nests in the darkness next door. Similarly, man and beast walk alone in the rain. Take a look. (via TrendHunter)

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Barbie As Famous Works Of Art

Johannes Vermeer ,“La Jeune Fille à la Perle”

Jocelyne Grivaud reinvents Barbie as famous works of art and cultural icons throughout the ages.

“This design needed time to take root, as often. The whole story began one day, in November 1967, with a present, all tenderness.

It was pink, vaporous and extremely delicate. With the patience of an angel, my mother had secretly knitted a dressing gown and tiny bootees for my Barbie. It seems to me there were more clothes, but these bootees, with their little pink knots on top totally fascinated me.
Then I grew up. The doll vanished, but I kept in mind the elegance and grace of my Barbie as well as a little bootee deep down my secret box.
One day, the idea of extending the happy part of my childhood through pictures I love took shape. Barbie is often criticized for being too blonde, too superficial, too skinny,  too “ideal marketing”, too “this” and too “that”…. My aim was to adjust this so famous profile to different emblematic representations.

Here’s my personal contribution as a birthday present to my mascot, Barbie, superimposed on the vision of artists whose work I greatly appreciate.
Let me thank them all for creating such intense pictures. Many thanks to Ruth Handler for creating this dolly model that enraptured me throughout my childhood.”

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