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Located right on the Benjamin Franklin Parkway in the heart of Philadelphia is the Benjamin Franklin Institute both named after USA founding father, postmaster, inventor and all around Renaissance man Benjamin Franklin. Philly’s Franklin Institute is a wonderful science museum that always has fantastic exhibits, like the current ‘The Art of the Brick’ which is World’s largest LEGO® art gallery from famed New York based contemporary artist Nathan Sawaya.
Nathan Sawaya was corporate lawyer in New York City who graduated from NYU who’s journey as an artist has been through the conduit of LEGO® building bricks, yes the same LEGO® for those of you who have children maybe very familiar with. Nathan’s art has been displayed in major art institutions all over the world. He has become a passionate supporter of arts in the schools and at home, in 2014 founding the The Art Revolution Foundation [www.artrevolution.org/] which promotes making art a priority in our lives, both at schools and at home.
This is probably his most famous work ‘YELLOW’, made completely of 11,014 yellow LEGO® bricks on display at the Franklin Institute. My youngest daughter was on her 2015 spring break, so we took a day trip and journeyed down to the city of brotherly love mid-March to the Franklin Institute to view Sawaya’s Art of the Brick. When there was similar exhibit closer to home, I was very ill just couldn’t get to see it. So I was happy to be able to see, admire and capture some of this unique artwork. Taken handheld with Olympus E-5, manual using a 12-60mm F/2.8-4.0 Olympus Zuiko Digital Lens, HDR using Photomatix and cleaned up using Adobe Lightroom.
Stepping into this piece feels like entering a sacred portal—a psychedelic shrine at the intersection of contemporary street art, Brazilian mysticism, and surreal theater. Created by Os Gêmeos, the celebrated Brazilian twin brothers Otávio and Gustavo Pandolfo, this installation titled Retrato (“Portrait”) serves as the luminous centerpiece of the Hirshhorn Museum’s expanded “Revolutions: Art from the Hirshhorn Collection 1860–1960” exhibition.
True to their globally iconic style, Os Gêmeos imbue the space with otherworldly energy. A faceless, yellow-skinned figure stands at the center of the altar stage, holding two floating vessels. Its entire head glows white—a source of divine radiance or internal vision—casting soft light across its limbs. Behind it, a painted sunset swirls with radiant oranges and golden clouds, reminiscent of spiritual ecstasy or dreams of flight. The frame is lined with a floral border, nodding to the folk traditions and Catholic altars of Brazil’s cultural heritage.
The installation is boldly architectural. Rainbow-colored stairs rise symmetrically on either side of the stage, drawing the viewer upward like a visual ascension. Atop each stair tower rests a large sculpted hand in a mudra-like gesture, holding a single all-seeing eye—symbolizing awakening, inner truth, or cosmic protection.
Color here is not just decoration—it’s vibration. The green platform on which the figure stands hums with life. Terracotta and ceramic vessels rest nearby, suggesting ritual or offering. The symmetry, the theatricality, and the dreamlike character recall both devotional spaces and pop surrealism. But the effect is entirely Os Gêmeos: playful, profound, and unmistakably theirs.
Their figures—yellow-skinned dreamers with closed or half-closed eyes—have long served as stand-ins for the artists themselves and for a larger, borderless tribe of dreamers. Whether dancing across skyscrapers or tucked into alleyway murals, their characters evoke timeless myth and futuristic optimism in equal measure. In this installation, the character has stepped into priesthood or prophecy, inviting viewers to witness an inner revolution.
The Retrato altar’s inclusion in the Revolutions exhibit isn’t just a nod to contemporary relevance—it’s a conceptual leap that connects historic ruptures in art to ongoing urban mythmaking. By juxtaposing works by Kandinsky, Léger, or Mondrian with Os Gêmeos’ luminous vision, the museum extends the story of modernism into the spiritual and streetwise 21st century.
As the Hirshhorn celebrates its 50th anniversary, this altar stands as a tribute not just to art history, but to the living, dreaming spirit of art itself—ever evolving, never still.
Radiant, regal, and resoundingly feminine, this work by Lady Pink commands the viewer’s attention like a queen stepping into frame. Known for breaking barriers in the male-dominated graffiti scene of 1980s New York, Lady Pink (Sandra Fabara) brings her signature confidence and visual rhythm to this mural-scaled portrait—part of the Hirshhorn Museum’s “Revolutions: Art from the Hirshhorn Collection 1860–1960” exhibition, expanded into a contemporary dialogue with street art titans like Os Gêmeos and Banksy.
The composition centers on a stylized woman whose elongated figure recalls the divine proportions of ancient goddesses. She emerges from a prismatic corridor of color—rich purples, magentas, and reds step inward toward a glowing orange sunset. Her skin glows golden yellow. Her sleek, angular hair frames an expression of quiet power. Adornments dangle from her ears and neck, including what appear to be miniature heads and figurines, as though she carries her ancestors and alter-egos like jewelry.
Her skirt is a canvas of its own—translucent and aquarium-like, it contains what looks like a vibrant underwater world, perhaps a nod to subconscious depths or mythological oceans. This duality—earthly goddess and dreamlike guardian—is amplified by the symmetrical frame: rainbow bands suggest steps, pyramids, and portals all at once. It’s part fashion, part architecture, part fantasy.
The background pattern is vintage Lady Pink—multiple stylized women’s faces in repeating layers of warm and cool tones. The figures evoke a kaleidoscope of 1970s soul album covers, feminist pop art, and fashion illustration. They’re watchful and serene, forming a pantheon of female strength behind the central subject.
Lady Pink’s role in this installation is particularly poignant. While the Hirshhorn exhibit spans a century of artistic revolution—from the rise of abstraction to the birth of conceptualism—her contribution reminds us that the revolution also lives on subway cars, alley walls, and DIY murals. Her early work, painted illegally in New York City train yards, laid the groundwork for generations of female street artists around the world.
By bringing this powerful mural indoors, the museum reframes graffiti as fine art without diluting its intensity. It’s still brash, vibrant, and unmistakably rooted in urban vernacular—but here, it glows with reverence. The goddess figure may represent Lady Pink herself or a collective ideal, but she undoubtedly belongs in this modernist temple.
Whether viewed as a portrait of power, a celebration of femininity, or a psychedelic portal into the subconscious, this piece is an unforgettable chapter in the larger story Revolutions seeks to tell. And as the Hirshhorn marks its 50th anniversary, it’s fitting that artists like Lady Pink—who redefined the rules—stand center stage.
In "Romantic Ripples: The Harmony of Teal and Yellow", Rawlinson pushes the boundaries of traditional seascapes through AI-powered fluid transitions. The romanticized seascapes are brought to life with a palette of teal, yellow, and dark white, creating a detailed background that mirrors the rhythmic serenity of the sea. The marriage of contemporary AI tools and photography in this piece reaffirms Rawlinson's place in innovative art creation.
In this mesmerizing abstract piece, Duncan Rawlinson has skillfully harnessed the power of contemporary AI tools and photography to synthesize an oceanic dreamscape. The fusion of turquoise and yellow creates the impression of faith-inspired ocean waves. The fluid formation style amplifies the bold and graceful essence, evoking a sense of divine fluidity. The sublime balance of color and form is a testament to Rawlinson's mastery in creating intricate bio-art.
"Vivid Vortex: Spectrum of Oceanic Fantasy" is an explosion of color, symbolizing Rawlinson's profound understanding of AI tools and photography. He adeptly manipulates light turquoise, light gold, and other hues to create intricate underwater worlds. The result is a swirling, ethereal cloudscape that provides an aerial view of the ocean, a testament to Rawlinson's unique approach to art. The image transports the viewer into a vibrant realm, celebrating the fluid formation and beauty of the aquatic world.
emozionale MOLOTOV
autore fabrizio santona per ARTIDEMOCRATICHE
progetto sIStema / EXPLOSIVE art / uova ed alfabeto
EDIZIONE LIMITATA
Anno 2018 ad oggi
Materiali vetro, carbonio, plastiche terre e cotone
La MOLTOV emozionale.
In un contemporaneo ormai così avulso dal contenuto ed attento ad un mercato spesso dopato,
la molotov racconta e racchiude in se, sul fronte ed in esterno autore e serie in codice binario con un cotone a memoria di profumi ed odori catturati nel suo viaggio. Nel suo interno, una porzione di carbonio –atavica materia CHIMICA primigenia dell’Universo -che custodisce in se una parte ci cotone esposta AL MOMENTO E NEL LUOGO DELL’ESPLOSIONE catturandone e custodendone ODORE .
emotional MOLOTOV
Fabrizio Santona author for ARTIDEMOCRATICHE sIStema project / EXPLOSIVE art / eggs and alphabet
LIMITED EDITION
Year 2018 to date
Materials glass, carbon, earth plastics and cotton
The emotional MOLTOV. In a contemporary now so detached from the content and attentive to an often doped market, the molotov tells and embodies in itself, on the front and in the exterior author and series in binary code with a cotton in memory of scents and smells captured in his journey. In its interior, a portion of carbon - atavistic primitive CHEMICAL matter of the Universe - which preserves in itself a part of cotton exposed AT THE MOMENT AND IN THE PLACE OF THE EXPLOSION, capturing and preserving its ODOR.
EXPLOSIVE ART
emozionale MOLOTOV
autore fabrizio santona per ARTIDEMOCRATICHE
progetto sIStema / EXPLOSIVE art / uova ed alfabeto
EDIZIONE LIMITATA
Anno 2018 ad oggi
Materiali vetro, carbonio, plastiche terre e cotone
La MOLTOV emozionale.
In un contemporaneo ormai così avulso dal contenuto ed attento ad un mercato spesso dopato,
la molotov racconta e racchiude in se, sul fronte ed in esterno autore e serie in codice binario con un cotone a memoria di profumi ed odori catturati nel suo viaggio. Nel suo interno, una porzione di carbonio –atavica materia CHIMICA primigenia dell’Universo -che custodisce in se una parte ci cotone esposta AL MOMENTO E NEL LUOGO DELL’ESPLOSIONE catturandone e custodendone ODORE .
emotional MOLOTOV Fabrizio Santona author for ARTIDEMOCRATICHE sIStema project / EXPLOSIVE art / eggs and alphabet LIMITED EDITION Year 2018 to date Materials glass, carbon, earth plastics and cotton The emotional MOLTOV. In a contemporary now so detached from the content and attentive to an often doped market, the molotov tells and embodies in itself, on the front and in the exterior author and series in binary code with a cotton in memory of scents and smells captured in his journey. In its interior, a portion of carbon - atavistic primitive CHEMICAL matter of the Universe - which preserves in itself a part of cotton exposed AT THE MOMENT AND IN THE PLACE OF THE EXPLOSION, capturing and preserving its ODOR.
Smart creative types are quickly learning how to leverage the idea of AI art, and are drinking from a creative firehose. It is simply staggering to see how quickly things are evolving out there.
Take the case of Kelly Boesch. I have no idea who she is, or where she is located, but am mesmerized by her work after it crossed my path one day.
Check out this fascinating video, with all the scenes AND music generated by AI. (The scenes are from MidJourney, animated with RunwayML, and the music is from Suno.)
www.youtube.com/watch?v=o4ikd7C0smQ
Writes Kelly in her post related to her work:
I’m completely obsessed with AI. I create AI images and video. Hope you enjoy my stuff.
She goes on:
I made another one of these dancing music videos last night. It took me a while to get a song i liked and then i finally got this . The images were made with #Midjourney. Animated with @Runway. Music made with #Sunoai.
That will mostly be incomprehensible, but it implies that she is working hard at redefining her creative boundaries through a relentless exploration of what she can do with all the AI tools available to her.
Suffice it to say, I'm obsessed with her work. Here's another one:
www.youtube.com/watch?v=K3FYQs3HeBw
You need to watch this! Read about her process:
I created this video from start to finish in exactly 70 minutes. Video created using Runway Gen3 And VO also created in Runway. Script created in ChatGPT. I edited it in B Premiere. This is getting insane how good the video is getting. This is fun! So excited I get to test the new Runway.
You can find her work on Youtube, Instagram, and other social networks.
This is but one person working away at exploring the boundaries of AI to explore their artistic imaginations. There are thousands if not tens of thousands or hundreds of thousands of folks like Kelly, working away, redefining their creativity engines. There is no doubt that within the next few years, all of this is going to go mainstream with television, radio, and film impacted in new and different ways.
Not only that, but new business models for monetization of this creative process are going to emerge. Just the other day, Suno - one of the most popular AI music generation programs, and the one used by Kelly - announced a deal and a contest with the popular artist Timbaland.
There is absolutely no doubt in my mind that something new is emerging in the field of artistic creativity, at a furious speed - and we have no idea how it is all going to turn out!
But what I do know is that the results are already astounding, and we're barely scratching the surface of what's possible, as the tools behind the scenes are themselves evolving and maturing at an astonishing speed.
Stay tuned and buckle up - AI is a steroid for creativity!
#AICreativity #CreativeInnovation #ArtRevolution #AIArt #FutureOfCreativity #DigitalArt #ExplorePossibilities #Innovation #CreativeTools #NextGenArt
emozionale MOLOTOV
autore fabrizio santona per ARTIDEMOCRATICHE
progetto sIStema / EXPLOSIVE art / uova ed alfabeto
EDIZIONE LIMITATA
Anno 2018 ad oggi
Materiali vetro, carbonio, plastiche terre e cotone
La MOLTOV emozionale.
In un contemporaneo ormai così avulso dal contenuto ed attento ad un mercato spesso dopato,
la molotov racconta e racchiude in se, sul fronte ed in esterno autore e serie in codice binario con un cotone a memoria di profumi ed odori catturati nel suo viaggio. Nel suo interno, una porzione di carbonio –atavica materia CHIMICA primigenia dell’Universo -che custodisce in se una parte ci cotone esposta AL MOMENTO E NEL LUOGO DELL’ESPLOSIONE catturandone e custodendone ODORE .
emotional MOLOTOV Fabrizio Santona author for ARTIDEMOCRATICHE sIStema project / EXPLOSIVE art / eggs and alphabet LIMITED EDITION Year 2018 to date Materials glass, carbon, earth plastics and cotton The emotional MOLTOV. In a contemporary now so detached from the content and attentive to an often doped market, the molotov tells and embodies in itself, on the front and in the exterior author and series in binary code with a cotton in memory of scents and smells captured in his journey. In its interior, a portion of carbon - atavistic primitive CHEMICAL matter of the Universe - which preserves in itself a part of cotton exposed AT THE MOMENT AND IN THE PLACE OF THE EXPLOSION, capturing and preserving its ODOR.