New York based artist Jean-Pierre Roy (previously featured here) paints surreal scenes that deconstruct the known world. His work is often associated with science fiction, depicting alien wastelands inhabited by colossal humanoid beings, their bodies laden with geometric shapes, holographic projections, and mirrored panes. Rather than ascribing to science fiction specifically, however, Roy is more interested in fostering a critical, creative space that allows us to examine the systems of knowledge that construct reality.
Peter Elson was an English science fiction illustrator whose work appeared on the covers of numerous science fiction paperback novels, as well as in the Terran Trade Authority series of illustrated books.
Elson, whose illustrations often placed detailed, brightly liveried spacecraft against vividly colored backgrounds, influenced an entire generation of science fiction illustrators and concept artists.
Los Angeles-based artist David Jien’s epic narrative is about the chronicles of an allegorical future detailing a battle in which human and anthropomorphic beings continue the struggle against a race of balloon-headed creatures and cold-blooded reptilian overlords who seek world domination.
Taking inspiration from the infinite possibilities of science fiction, the isometric perspective and narrative geography of Nintendo and Chinese scroll paintings, the eroticism of Japanese pillow books and the limitless transformations of graffiti, Jien has crafted these intensely detailed scenarios in colored pencil on paper.
Kilian Eng works as an illustrator and concept artist based out of his hometown of Stockholm Sweden. He graduated in 2010 from Konstfack, University of Arts Craft & Design in Stockholm with a bachelor and master in Illustration and storytelling.
The visions created by him inhabit a landscape grown of blinking lights and structures of beautiful mechanics. Eng’s drawings show the artist as architect; as the omniscient voice controlling a self-created world. He works in science-fiction, but not the modern version of it – there are no horrors, no desolate worlds. He doesn’t envision an end time apocalypse, but a future where mankind has evolved to a place where technology and nature intertwine. There is optimism and hope even in the darkest and most alien of his pieces.
Carl Burton creates quick atmospheric GIFs that blend elements of science fiction and surrealism. Glittering illuminated tentacles appear to twist through the dark while neon lasers emerge from deep pools of water. Much of what you see here represents Burton’s personal experiments, but the NYC-based creative also lends his illustrative style to images for long-form publications around the web.
Check out the post-apocalyptic art by Moscow-based artist, photographer, and movie maker, Yuri Shwedoff. Hisdystopian themes, often illustrating science-fiction like fantasies, merge technology and biology. The illustrations are defined by outdoor environments, portraits, and urban and suburban settings that are familiar yet strangely surreal.
Incredible digital artworks from freelance concept artist and illustrator Zeen Chin. Based in Malaysia, Zeen Chin creates amazing fantasy and science fiction themed works for publishing, media and the entertainment industry.
The world lost a legend on Saturday, March 10. Jean Henri Gaston Giraud was a French comics artist, working in the French tradition of bandes dessinées, earning worldwide fame, predominantly under the pseudonym Mœbius. Among his most famous works are the Western comic series Blueberry he co-created with writer Jean-Michel Charlier, one of the first Western anti-heroes to appear in comics. Under the pseudonym Moebius he created a wide range of science fiction and and fantasy comics in a highly imaginative and surreal almost abstract style, the most famous of which are Arzach, the Airtight Garage of Jerry Cornelius, and The Incal.
It’s getting to be the middle of the week. Maybe it’s time sit down with a nice short story by Phillip K. Dick. We suggest “Service Call,” a science fiction tale written by Dick back in 1955 that imagines a not so distant future in which free thinking is regulated by the bio-tech invention, the “swibble.” Want to know what a swibble is? Well, it’s best to hear the swibble repairman contextualize it for you in this excerpt. (Reading the story won’t hurt either).
“He laughed happily. ‘So swibbles differentiated those who didn’t want to be differentiated by swibbles. My, that was quite a war. Because that wasn’t a messy war, with a lot of bombs and jellied gasoline. That was a scientific war – none of that random pulverizing. That was just swibbles going down into cellars and ruins and hiding places and digging out those Contrapersons one by one. Until we had all of them. So now,’ he finished, gathering up his equipment, “we don’t have to worry about wars or anything of that sort. There won’t be any more conflicts, because we don’t have any contrary ideologies. As Wright showed, it doesn’t really matter what ideology we have; it isn’t important whether it’s Communism or Free Enterprise or Socialism or Fascism or Slavery. What’s important is that every one of us agrees completely; that we’re all absolutely loyal. And as long as we have our swibbles – ” He winked knowingly at Courtland. “Well, as a new swibble owner, you’ve found out the advantages. You know the satisfaction in being certain that your ideology is exactly congruent with that of everybody else in the world. That there’s no possibility, no chance whatsoever that you’ll go astray – and that some passing swibble will feed on you.’”