Exocubic Studio

To Steve

I was shocked at how deeply the news of Steve Jobs’ death affected me. There I was, standing in the back yard, looking up at a blue October sky blurred by tears. I had to look inward a bit, try to figure out just why this man I’d never met - whom I had no personal relationship with, and new nothing of beyond what his publicist and the tech punditry presented to me - had such a profound hold of my heart. Wandering around the internet, I found loads of people whose connection with him started with their first positive experience of computing on an Apple ][ or an early Macintosh. Many others cited the new freedom their iPod brought to their enjoyment and experience of music. But for me, I realized that Steve Jobs had nurtured a radical and transformative seed that had already germinated in my mind in 1988 when I bought my first Mac. That seed was the idea that beauty MATTERED - that the esthetic quality of anything and everything was the differentiating factor between a good experience and a bad one. His dedication to infusing mundane gadgets and heretofore boring and drab computing with style, grace, and capital-B Beauty was instrumental in forging my understanding of art and my desire to make it. I am an artist today at least in part because Steve Jobs made me feel it was something worth doing.

Thank you, Steve.

Leviathan / Kapoor / Grand Palais 2011

Leviathan / Kapoor / Grand Palais 2011

originally uploaded by

Co & Isa


A fantastic piece in a stunning space. I’d love to make it to France to check this out.

Co & Isa’s photostream contains some of the best shots I’ve seen of Kapoor’s new knockout.

I'm in love.

Rowan Own Side Now

(This video used to embedded here, but that broke sometime along the way.)


Andreas Christen

Raum2 2b

More info here.

Marcus Sandeman

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Finding Emilie. One of the best episodes of Radiolab, ever.

On inspiration

“The advice I like to give young artists, or really anybody who’ll listen to me, is not to wait around for inspiration. Inspiration is for amateurs; the rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself. Things occur to you. If you’re sitting around trying to dream up a great art idea, you can sit there a long time before anything happens. But if you just get to work, something will occur to you and something else will occur to you and somthing else that you reject will push you in another direction. Inspiration is absolutely unnecessary and somehow deceptive. You feel like you need this great idea before you can get down to work, and I find that’s almost never the case.”

Chuck Close

Real Craftsmanship.




(Very cool kinetic sculpture. Links are rotting fast.)

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Tessel - David Letellier (Lab[au]) (by Niels Wouters)

I Am the Walrus 20x16

"I Am the Walrus" 20x16

The success of the last couple paintings gave me the confidence to try a bigger canvas. I’ve done insect paintings before, and I love the sculptural forms joining up with such brilliant colors. I had the strange experience of coming back to this painting later in the day and finding myself a little shocked, almost feeling like someone else had worked on it for me. I guess that’s when you know you’ve really gotten into the right headspace for making art.

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George Coll lives west of Loveland, my home town - and paints his ass off. Visit George’s blog, and marvel at the sheer quantity of beautiful plein air paintings.

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Rick Nilson paints awesome crabs.

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Liza Hirst.

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Leah Giberson paints cleverly stylized scenes with bold geometry and edible shadows.

Ariba Familia - sold (by Leah Giberson)

Technical skill is mastery of complexity, while creativity is mastery of simplicity.

Erik Christopher Zeeman

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A whole page of awesome geometry.


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Amazing linework from Lu Cong. They’re paintings are stellar as well.

(by Lucong)

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Water Balloon rebound (by BeninManc)

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Festo AirPenguin (via FestoHQ)

Ravensbourne College, Greenwich, London


Foreign Office Architects

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Really like the combination of digital iconography (pixelated imagery) with wood craftsmanship - and color!

(Couldn’t locate the source on this one.)

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Absolutely stunning builidng by Shigeru Ban. The roof structure of interwoven wood beams and steel was inspired by Chinese hats.


I’m not sure the roof and what it covers interact all that well - there is too much contrast between the materials to convey a unified program. I really do dig the organic flow of the roof - so much more elegant than anything Gehry can muster. (Click the picture to see more, from designboom.com).

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Cool piece in Bergen, Norway. The artist who did the computer modeling explained on the FormZ forum that it is a CNC carved understructure with a skin of hand-hammered steel. Impressive.

The artists here certainly won’t share this problem because the power to rise above self-consciousness is almost a defining quality of artists. Artists are superb at switching off awareness of self. As you can tell if you watch one eat. Others of you however, fellow non-artists, might understand what I am talking about. And talking is the problem. While I could not be more delighted that we live in a verbal world, I do understand the pleasure in occasionally laying language aside and letting some other non-verbal part of our brains take over. For you cannot explain a work of art in words. A painter makes a painting out of paint – paint is its language. If you can define it, nail it, comprehend it in words then something is rather wrong. A work of art is precisely that which remains when you have run out of words to describe it. The works that move us most are those that have the most life and power in them when the talking stops. If an artist could have said it in words, well then they would have done. Instead they have said it in paint, or stone, or bronze, or glass or whatever medium they may have chosen. “All art is at once surface and symbol,” Oscar Wilde wrote. “Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors.

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Jim Denevan has made the “Largest Artwork in History” - I’m quoting that claim, as I have no idea if it is true or not. Awesome nonetheless.

(Edit - he did this last year in the Nevada desert, a few miles from Black Rock City of Burning Man fame. The piece has been erased by weather and off-roaders.)