“Mike Pelletier is an interactive artist & technical director, who has extensive experience working with artists, designers and directors in creative environments. He has participated and hosted a number of creative technology workshops and his his work has been featured in festivals and exhibitions around the world”.
Schönstaub produces machinewoven carpets of highest quality. The exclusive collections were produced in collaboration with the Schönherr Company (Member of Stäubli group), a Swiss family enterprise with a long tradition. The quality is well proven, the motifs unusual and new: Large formatet Carpet products for floors and walls create, with their galactic scenery, a window into another world and lend new dimensions to present rooms.
Philip Karlberg, whose stylish and immaculate photography has charmed us in past with work like Pin Art Portraits, got a little fruity for his latest work. Shot with stylist Mattias Nyhlin for the current, May edition of Plaza Magazine, take a look at these sunny, tasty fruity faces. They may appear restrained, but are as always effortless, light hearted, and just a little tongue-in-cheek.
I had to redesign the booklet of any artist for a college project. I chose the album Animals by Pink Floyd. This album makes a comparison between authority and animals. Being the dog, the police; the sheep, the followers or people who support authority; and the pig represents the wealthy people or people with some kind of power in society. I developed a concept from the idea that the government is a farm, according to Pink Floyd, and I based the design on the previous album artwork.
Born in St Bees in 1982, Jessica moved to Scotland to study sculpture at Edinburgh College of Art in 2000, going on to do an MFA before completing a practice-led PhD in sculpture in 2013 funded by the Arts and Humanities Research Council.
Her research considers the relationship between interior and exterior spaces of the body, but looks neither inwards towards a hidden core, nor outwards from the subconscious, instead looking orthogonally across the skin to the movement of the body itself, using the surface of the body as a mode of both looking and thinking.