Ron Mueck

The five meter high 'Boy' (2002) by Ron Mueck
 Ronald "Ron" Mueck (/mjuːɛk/ or /muːɪk/; born 1958, Melbourne) is an Australian hyperrealist sculptor working in the United Kingdom.

 Mueck's sculptures faithfully reproduce the minute detail of the human body, but play with scale to produce disconcertingly jarring visual images. His five metre high sculpture Boy 1999 was a feature in the Millennium Dome and later exhibited in the Venice Biennale. Today it sits as the centerpiece in the foyer off the Danish Contemporary Art Museum ARoS in Aarhus.

 “Although I spend a lot of time on the surface, it’s the life inside I want to capture.”
- Ron Mueck, 1998

Hyperrealist sculptor Ron Mueck was born in 1958 in Melbourne, Australia. The son of German-born toymakers, Mueck grew up making creatures, puppets and costumes in his spare time, experimenting with materials and techniques. With no formal art training beyond high school, he began his career making models for television and film.

I really like Ron's work because he takes "regular" people and either "super-sizes" them or miniaturize them. Either way his detail "spot-on". I have never seen his work in person but one day I hope to. 

High Q

Paul Klee

"Transcendentalism was the common interest of the painters who formed the Expressionist group known as Der Blaue Reiter (The Blue Rider) in 1910. It was also a deep-set part of Bauhaus thought and practice, for nothing could be further from the truth than the idea that the Bauhaus represented some kind of logic opposed to the world-transforming aspirations of Expressionism. When Kandinsky taught at the Bauhaus, so did a Swiss artist named Paul Klee (1879 - 1940). And though Klee was not a Theosophist he was, like Kandinsky, devoted to an ideal of painting that stemmed from German idealist metaphysics.

The monument of Klee's obsession with this metaphysics was a singular book, The Thinking Eye, written during his teaching years at the Bauhaus - one of the most detailed manuals on the "science" of design ever written, conceived in terms of an all embracing theory of visual "equivalents" for spiritual states which, in its knotty elaboration, rivalled Kandinsky's. Klee tended to see the world as a model, a kind of orrery run up by the cosmic clockmaker - a Swiss God - to demonstrate spiritual truth. This helps account for the toylike character of his fantasies; if the world had no final reality, it could be represented with the freest, most schematic wit, and this Klee set out to do. Hence his reputation as a petit-maître.

I choose this painting/Artist because I love the way he combines colors and shapes. This painting reminds me of an aerial view of a suburban  neigh borhood. One I would love to live in