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There is something old-world in the work of Montreal artist Heidi Taillefer, an evocative and romantic air, her paintings featuring figures from ancient mythology, religion and history. They navigate between the classical and the figurative and her archetypal subjects.

His preoccupation with technology and the way it is changing the perspective on human existence and the way we relate to each other. His subjects are chimerical manifestations that combine human and animal body parts.

To which she adds, light bulbs and antique objects, making them float with anticipatory tension in their environment. In the case of Heidi Taillefer, she fuses classical figurative painting with the most dreamlike surrealism, to which she adds elements of mythology and popular figurative traditions ranging from Victorian romanticism to science fiction.

His work is in line with some of the surrealists of the twentieth century, such as Max Ernst and DeChirico. With this background he traces the profile of the human condition through different eras and cultures, building his own lens and language.

READ IT IN SPANISH: Épica mitológica en el mundo surrealista de la artista Heidi Taillefer

This approach reflects the omnipresence of technological advances in the world and how their influence is increasingly present in more creative fields. Born in the Canadian city of Montreal, Heidi Taillefer began drawing at the age of three, raised in a wealthy family.

She was fortunate to be brought up in a creative environment, where she was drawn to the strange and unusual. Fascinated by strange animal specimens. From the age of ten she took private art lessons, where she developed skills in watercolor painting.

After earning a degree in humanistic studies from McGill University in the 1990s, Taillefer began making numerous trips to developing countries. Paying special attention to the most universal themes of the human condition, in the context of an increasingly volatile and globalized society.

The organic sculptures of the artist Federico Gomez link the raw material used in their elaboration to the formation of an identity, whether it is forest residue or fallen trunks. He adopts them as his children and through the form of a tree he narrates in first person what he perceives.

Weaving an experience that he shares visually with other living beings, a gesture that seals his commitment to his natural environment. Dictated in an ecological key, the message travels through the transformation of the landscape where each piece is located.

Inspired by nature and each and every one of the elements that inhabit it, giving it its logic, he perceives each sculpture he makes as a totem. Through which to contemplate the world with a certain calmness and taking the necessary distance.

A CONTEMPLATIVE JOURNEY FROM THE GENESIS OF NATURE.

Reminiscent, except for specific nuances, of cave art, at least in terms of rhythm and expression. That draws on ancestral ethnic art to connect us with our past and show us what our future may be like.

The elaboration of each piece, therefore, involves applying high doses of temperance. Because it has a lot of craftsmanship technique involving a laborious process, where the characteristics of the environment are a major influence on the final result.

READ IT IN SPANISH: Federico Gomez, arbol y raíz como expresión de nuestros origenes

Born in Madrid, he lives in the town of Bustarviejo, where Federico has the appropriate environment surrounded by forests and in the middle of the mountains of Madrid where he works in the calm. Carving specimens of trees whose final result, whether individual works or sculptural ensembles describe a journey back and forth.

Where the roots and identity are a journey where the natural environment is always present. Manifesting itself in each hollow, in each and every one of the silhouettes and the fragility they represent before our eyes.

Perhaps the scientific formula formulated by Albert Einstein, his famous theory of relativity, which revolutionized physics in the first third of the twentieth century. It is the tattoo with which most people identify themselves.

But apart in the selection of scientific tattoos made by Carl Zimmer who is a writer and divulgator scientist, who has been receiving in his blog The Loom and has collected in a volume entitled Science Ink.

The first edition was sold out in bookstores during the first week of sale to the public. You can find references to any scientific discipline, tattoos that sequence DNA strands, such as the one using the four nucleotides that constitute the amino acids that translate proteins.

They reveal the initials of your partner becoming a gesture of love towards her. An act of love directed to your partner, as well as to the paractic and especially to the scientific divulgation.

A facet that has been parallel to his career as a member of one of the most reputable institutions in scientific terms in his country. Work in which he has applied himself providing numerous satisfactions, and enough knowledge that in his spare time he has incorporated to his other great passion, the artistic tattoo.

But you can also delight yourself with tattoos that are inspired by astronomical terms or that describe chemical formulas, or that give a glimpse of the different organs that remain lodged at the subcutaneous level.

READ IT IN SPANISH: El divulgador científico Carl Zimmer utiliza elementos cientificos tatuados para fomentar el amor por la ciencia

Works that show us the evidence that dozens of intelligent and intellectually perceptive young people recognize that the equations, symbols and elements that make up the periodic table. They can be transformed into the motifs that build an aesthetic narrative that will always accompany you.

A visual and elegant language through which the universe reveals its deeply buried and marvelous secrets. Showing us along the way traits of our personality, experiences that can guide us towards that destiny we long for.

A structure housed inside a similar structure, like a set of Russian dolls, is more or less the concept used by architect Xavier Claramunt, founder of the Barcelona-based design and architecture studio EQUIP XCL.

To design the plans for The Sphere, he chose to approach it from an inclusive perspective. In this way the two spheres nested one in the other would concentrate both residential uses, as well as those related to services and commercial.

With a total surface area of 1,600,900 square meters, The Sphere skyscraper project. It is distinguished in several aspects, apart from the design, which is very attractive, such as in the planning of the different elements that contribute to its habitability.

These are designed to give its future residents and the professionals who install and exercise their activity in it, autonomy, comfort and dynamism. The inner sphere or core would be destined to the economic activity, locating the commercial and leisure area, in addition to community services and administration of the two spheres and cultural facilities.

Glazed with bioclimatic glass, the panels would be distributed in such a way that they would coincide on its axis with the huge holes drilled on the outside, allowing the entry of natural light. With which to illuminate their facilities.

In the outer sphere or permeable membrane would concentrate the residential fabric, offering different types of housing, due to its unique location. They have views both to the exterior and to the interior facilities, giving them a high degree of interrelation with their immediate surroundings.

READ IT IN SPANISH: EQUIP XCL/The Sphere, dos esferas para un rascacielos

Apart from the large circular openings, The Sphere has pedestrian accesses and discretional services in its lower part. In the neutral or common area, a surface located between the two spheres, landscaping has been planned, with species that favor oxygenation and air circulation inside.

The viewpoints oriented to the outside, become extensions of the public space, becoming improvised viewpoints where to interact contemplating the rest of the city.

Roughly speaking, the urban artist and tattoo artist Mike Giant, born in upstate New York at an undetermined date but living in San Francisco (USA), can be considered a creative entity that gathers all the characteristics of what is known as a genuine New Yorker.

In fact, although as I have already mentioned at the beginning of this post, he moved to the west coast of the United States. After a brief but intense experience, he decides to pack his meager belongings and return to the city of skyscrapers.

Where he observes and witnesses how the new forms of urban expression take over the public space. Bringing with him other aesthetic airs that revolutionize the narratives in an urban context unknown until then.

Proposals that for him meant a change of artistic direction, becoming the prototype of the unconventional urban artist. A nuance that can be perceived as soon as you observe his works and pay attention to their details.

Although it should be noted that apart from his purely urban activity, his career covers all disciplines that one can imagine, graffiti, photography, skateboarding, biking, alternative clothing designer, illustration. But perhaps his best known facet and for which he has become a reference for a whole generation is for his work as a tattoo artist.

READ IT IN SPANISH: Mike Giant pionero del tatuaje urbano en New York

Mike Giant's life and artistic experience runs parallel to the cultural and social chronicle of the West in the last three decades, this transformation can be seen throughout his career. How all these influences have been shaping his particular universe.

Contributing to the development of a personality represented by multiple nuances that are reflected in his work, regardless of the approach and the creative area where he works.

Now in his forties he has embarked on perhaps his most ambitious project, the launch of the clothing and accessories brand Rebel 8, which has meant for his career a territory in which to pour all his creativity and experience.

The horse is perhaps the animal that has most often served as a model for a multitude of artistic manifestations. Since its slender figure was reproduced in cave paintings, made by our prehistoric ancestors.

Using rudimentary dyes made with the essences extracted from roots and plants, they painted on the surfaces of the interior of the caves. Dozens of examples have been found so far where this noble animal is represented.

Due to their great plasticity, these equines have become the inspiration for hundreds of artists. The landscape sculptor and Land Art artist Heather Jansch, picks up these same roots of our ancestors to use the form acquired in their maturation to weave sculptures of mainly adult horses.

WILD HORSES ON AN ARTISTIC JOURNEY FROM PREHISTORIC TIMES TO THE PRESENT DAY.

Heather uses roots from the woods around the Westcountry in the UK. A region where forests and steppes abound, meeting the ideal characteristics so that since the first equine populations arrived thousands of years ago, they have been used for a multitude of tasks.

In the case of the horses that serve as Heather's models, they are a selection from her own stable of horses. Horses that the artist has been passionate about since her childhood, when she also acquired a taste for art, thanks in large part to her other great passion.

READ IT IN SPANISH: Heather Jansch - Driftwood horses, la raíz del caballo salvaje

That is none other than Leonardo Da Vinci, not only one of the most important representatives of his time, the Renaissance. But in addition to his artistic facet, he was prolific in others such as alchemy, as well as contributing with his inventiveness thanks to which he patented numerous formulas and prototypes.

Whose sketches represented a great influence in his working method. Inspiration that, if you pay a little attention, among other things in the notion of movement and volume that Heather applies in each and every one of the projects she undertakes.

Practically self-taught, Heather left the art academy on the advice of her tutor. Moving to a rural environment where she reconnected with herself through art, applying the little knowledge she had about art.

In the elaboration of the series Driftwood horses, of which you can find further documentation in her book titled Heather Jansch's Diary. Where, in addition to a large amount of graphic material, the author accompanies you with reviews and a portrait of each and every one of the sculptures collected in its more than one hundred pages.

Her equestrian figures, which have been the subject of numerous exhibitions, are predominantly exhibited in natural settings, and are highly sought after not only by collectors of equestrian art. But by a diversity of private and public collectors.