Liminal Bloom presents itself as a “post-angelic daydream”—a soft, mystical visual AI world with a dreamy, symbolic tone. The profile is private, so I can only work from the public metadata, but even that suggests a carefully curated atmosphere rather than a straightforward portfolio.

The phrase “heart full of faith, mind full of dreams” points to a romantic, spiritual sensibility. The name and tagline together suggest imagery shaped by liminality, tenderness, softness, and a slightly ethereal mood.

Summer Wagner is a Los Angeles-based photographer and director whose work captures what she calls “mundane magic”—ordinary moments charged with dream logic, memory, and emotional tension. Her practice began in 2020 and quickly developed into a deeply personal visual language shaped by self-portraiture, staged scenes, and a strong interest in consciousness.

Her images often feel like small theatrical scenes: soft, surreal, and psychologically intimate. She draws from Tarkovsky and Gregory Crewdson, which helps explain the mix of spiritual atmosphere, cinematic staging, and a slightly uncanny sense that something hidden is just off-frame. The work also leans into ecological and technological themes, using contemporary symbols to build a kind of modern folklore.

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Daniel Sánchez works under the name daniel.artx and is based in Mexico City; his practice focuses on Photoshop photomanipulation, concept imagery, light, and atmosphere. His bio also suggests a highly process-heavy workflow, with full layered projects as part of how he builds scenes.

What stands out in his work is a strong sense of cinematic mood: the images feel built around weather, glow, spatial depth, and quiet emotional tension. He moves between dreamlike landscapes and more experimental visual constructions, which makes the work feel closer to visual world-building than simple image editing. The emphasis on layered files points to a meticulous approach, where composition and light are carefully assembled rather than accidental.

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Stan Ivan is a Russian digital artist, painter, and sculptor whose work explores dark surrealism, gothic imagery, horror, and creature-like fantasies.

He seems drawn to aliens, nebula-like beings, creepy stories, village folklore, and hybrid creatures, often giving them a dramatic, cinematic presence. The work carries a strong sense of unease but also playfulness, which keeps it from feeling purely grim. That balance makes his images feel like strange posters for stories that don’t exist yet.

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Jim Musil is a modern landscape painter who works in acrylic on hardboard panels and builds scenes around the natural world, especially skies, water, marshes, and horizons. His paintings feel personal and alive rather than photorealistic: he wants viewers to see the brushwork, the movement, and the hand behind the image.

Musil’s work is guided by color, mood, and movement, with bright palettes and loose strokes that keep the paintings energetic and open. He often paints real places, but he intentionally leaves room for interpretation so the result feels remembered rather than merely recorded. Human presence appears only as a subtle trace, which makes the landscapes feel quietly inhabited.

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Carmen Matarrese is a creative director based in Ostuni, Italy, and the public material around her shows a visually sensitive practice centered on photography, mood, and stylish image curation. Her feed appears to favor twilight tones, black-and-white frames, intimate fashion moments, and quietly cinematic scenes.

The snippets suggest she has a strong eye for light, texture, and atmosphere, with images that often feel more like fragments of a personal film than isolated posts. There is also a fashion-aware element in the work, but it reads as elegant and subdued rather than loud or trend-driven. Her visual world seems to sit between editorial portraiture, travel mood, and personal storytelling.

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Benoît Pomel is a French printmaker, engraver, and draughtsman whose practice centers on linocut, drypoint, and Tetra Pak printing. He appears to work in limited editions and keeps a strong studio-led practice focused on the physical craft of printmaking.

His imagery often leans toward seaside scenes, flowers, and intimate workshop studies, with the printed surface itself treated as part of the image’s character. Recent posts show him inventorying engraved plates and sharing studio progress, which gives the work a very material, process-centered feel. The tone is modest, tactile, and rooted in traditional techniques rather than digital polish.

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Pomel’s public profile explicitly mentions linogravure and gravure sur TetraPak, and his gallery bio confirms a background in fine arts. The workshop photos suggest a maker who is deeply invested in the mechanics of image transfer, ink load, plate making, and editioning. That makes the work feel both handcrafted and disciplined.

For a long time, the grounds of St Pancras Old Church in London hosted one of the city’s most poignant landmarks, known as the “Hardy Tree”.

This sprawling ash tree was tightly encircled by a stacked ring of overlapping Victorian gravestones, serving as a powerful visual symbol of life intertwining with death. According to urban legend, a young Thomas Hardy—then an architect in the 1860s—carefully arranged these displaced headstones to save them from destruction during a massive railway expansion.

h/t: vintag.es

Modern historians have revealed that this poetic tale about the famous English author is actually only half-true. The historic gravestones were simply piled up during later site clearances, and an ash seed coincidentally sprouted right through the mound of stones in the mid-20th century. Nevertheless, the iconic name stuck so firmly that Time Out magazine officially recognized it as one of the “Great Trees of London” in 2008.

In 2014, biologists discovered that the legendary tree was infected with a destructive parasitic fungus. Weakened by the disease and winter storms, the old trunk finally snapped and collapsed to the ground on December 27, 2022, though the gravestones were fortunately unharmed. To preserve the site’s unique history, authorities planted a new ash tree in the spring of 2024, ensuring the legacy of the Hardy Tree continues.

Julia Razumova is a digital artist known for highly polished portrait illustration with a glossy, emotive, and often cinematic finish. She has been posting work publicly since 2014, and her practice is closely tied to Procreate brush creation, which has become a big part of her visual identity and audience reach.

Her images are built around smooth rendering, dramatic lighting, soft skin textures, and controlled shine, which gives the portraits a very recognizable “finished” look. The work often feels intimate and atmospheric, with figures turned away, in profile, or placed in moody color fields that emphasize mood over detail. This is the style many people associate with the broader “shiny” digital portrait look.

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A major part of her presence is the way she shares and sells custom Procreate brush sets. That makes her practice both artistic and tool-making: she is not only producing finished images, but also shaping the methods other artists use. The live account mentioned in her bio suggests an ongoing split between polished showcase work and more process-oriented posting.

Peeta (previously) is a muralist, oil painter, and sculptor based in South Holland, known for large-scale anamorphic murals and spatial optical illusions. His practice fuses street art, painting, and sculpture into works that change dramatically with the viewer’s position.

Peeta’s signature is a bold use of 3D geometry, curved forms, and environmental blending, making murals feel as if they rise out of or dissolve into the architecture around them. He often describes interest in how shapes and composition blend with the environment, which is central to the illusionistic impact of the work. Recent residency notes from Barcelona also suggest a reflective studio practice alongside the public mural work.

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His public profile indicates a substantial international presence, with projects in Italy, Switzerland, Barcelona, and Lisbon. The work also extends beyond walls into prints and exhibition contexts, showing that the visual language is flexible across formats. Overall, the practice is energetic, technically precise, and deeply tied to perception.

Marc C. Green is a painter and digital illustrator who makes haunted landscapes, folklore scenes, and creature-filled mythic imagery. His work feels rooted in nature, old stories, and eerie atmosphere, with a clear rejection of AI-generated imagery in favor of hand-made illustration.

The strongest thread in his work is a fascination with Scottish myth, moors, kelpies, spirit veils, and strange woodland presences. The images often feel like modern folklore illustrations: dramatic, textural, and slightly unsettling, but still emotionally warm. He seems drawn to the point where beauty and unease meet, especially in creatures, shadows, and weathered terrain.

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His style combines traditional illustration sensibility with dark narrative atmosphere. The compositions suggest careful attention to storytelling through posture, silhouette, and environment, rather than relying on spectacle alone. That gives the work a storybook intensity, like an old tale reimagined with contemporary precision.

Leo Senas is a 3D artist and designer from Curitiba, Brazil whose work leans into space imagery, low-poly forms, digital experiments, and cinematic sci-fi atmospheres. His pieces often feel like small transmissions from another world: polished, playful, and slightly surreal.

What stands out most is his fascination with astronauts, cosmic rupture, floating structures, and futuristic objects. The images mix Blender-driven 3D aesthetics with graphic design energy, so the work feels clean but never cold. Recent posts suggest he likes building mood through space, silence, and controlled digital texture.

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Ross Murray is a New Zealand illustrator and comics creator whose work moves between natural landscapes, city scenes, storyboards, picture books, and editorial imagery. His visual world is built from clean lines, restrained color palettes, and a strong sense of composition, often giving familiar places a slightly surreal or nostalgic charge.

What makes his work feel distinctive is the way he translates real-world reference into images that are both simple and quietly strange. He draws heavily from vintage travel posters, comics, and New Zealand landscapes, which gives his illustrations a sense of place without losing graphic clarity. The recurring tone is bright yet tranquil, with themes of travel, nature, nostalgia, and the emotional texture of everyday life.

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Murray works across advertising, publishing, editorial, packaging, picture books, and posters, and has created work for clients including Lonely Planet, Rolling Stone, Greenpeace, NASA, Apple, and Disney. He also makes comics and personal projects, which suggests a practice that balances commercial briefs with a more reflective, authorial voice. Across all of it, there’s a careful attention to color harmony, shape, and narrative timing.

Andriy Shurpin is a Kyiv-based still life photographer whose work feels quiet, tactile, and carefully composed. He often collaborates with Valeria Sagura, and his images move between commercial still life and more conceptual, slightly raw visual experiments.

What stands out most is his interest in objects as characters: flowers, cosmetics, perfume, sculptural forms, and natural textures are arranged so that they feel both deliberate and alive. He has also described exploring “ugly composition” in still life, which suggests he likes imperfect shapes, dryness, and natural friction instead of polished perfection. That gives his work a tension between elegance and instability.

More: Andriy Shurpin, Valeria Sagura

His work is rooted in studio discipline, but it doesn’t feel sterile; it has a handmade, sensory quality that makes the objects feel close and physical. The collaborative credits show a practice that moves fluidly between personal exploration and client work, especially in beauty, fragrance, and product photography.

Anna Condo is an Armenian-born, France-raised artist whose practice is deeply rooted in botanical photography and digital art, characterized by an almost clinical, structural approach to nature. Her work transcends traditional floral photography, treating the flower or leaf as a site where biology dissolves into pure form, light, and geometry.

Condo’s imagery is marked by control, precision, and simplicity. Series like “NEW NATURE” and “Color Code” showcase her ability to strip away the environmental context of her subjects, presenting them as isolated, architectural presences. Her process often involves isolating natural elements—such as the sculptural flora of Marfa, Texas, or the curled form of a dried leaf—to emphasize their intrinsic aesthetic value over their organic origin.

Her work is recognized both in traditional fine art settings and the digital realm. She releases limited edition physical prints (such as collaborations with Long Projects) and engages with digital art platforms like SuperRare, bridging tangible photography and contemporary digital curation.

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Ryan Johnson is a Brooklyn-based illustrator represented by Levy Creative, whose practice spans editorial illustration, music posters, sports imagery, and architectural cityscapes. He works across watercolor, pastels, and pencil, layering traditional media to create textures that feel alive and unexpected.

Johnson’s portfolio shows remarkable range: he has produced tour posters for Khruangbin celebrating cities like Melbourne, Charleston, and Antwerp; created editorial sets for Nike explaining volleyball positions and basketball energy; and developed a lino-style print collection of iconic UK buildings and monuments. His work has been recognized by American Illustration, and he recently illustrated a book titled “City Words”.

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Emily Wick is a visual artist and photographer based in Oakland, California, known for turning fleeting light phenomena and playful urban moments into poetic images.

Her work often focuses on bubbles, reflection, sparkle, night scenes, and transient effects of light, especially when flash and darkness collide. The imagery feels intimate and experimental, as if she is documenting tiny visual events before they disappear. A clear thread through the feed is a fascination with ephemeral beauty and everyday magic.

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Zhao Li is a Chinese artist and illustrator. Public bio snippets point to a background in fine art studies in Xi’an and Torino, which fits a practice grounded in both academic training and international exposure.

The work appears to center on dreamy, decorative, emotionally saturated imagery rather than minimalism. A related article describes Zhao Xiaoli’s practice as combining blue paint, flowers, salvaged objects, and performance-like making, producing portraits with an ethereal, visual-pleasure-first quality. That positions the work between painting, object transformation, and performance, with a strong emphasis on direct emotional appeal.

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Matias Alonso Revelli is an Argentinian photographer and visual storyteller based in Bahía Blanca who works with prints and has a large audience built around poetic, atmospheric imagery. His public feed highlights nature, travel, light, and reflective personal moments, often framed with a cinematic, emotional tone.

His images often focus on sparkling water, full moons, summer light, black-and-white travel scenes, and intimate landscape details. The recurring mood is contemplative and romantic, with a strong emphasis on place, weather, and memory rather than posed portraiture. A well-known post about his father pushing him toward photography suggests a practice rooted in family, persistence, and personal narrative.

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Juan Carlos Beltrán is a Mexico-based visual artist whose work reimagines modernist architecture, brutalism, glass-block structures, shadow, and overgrown landscape through a highly stylized digital lens. His public bio also points to prints, projects, and commissions, with a studio identity connected to firma norte.

Beltrán’s images often combine desert architecture, monolithic surfaces, restrained palettes, and surreal spatial tension. His newer series explicitly uses Midjourney and Magnific AI, showing an interest in how AI can extend architectural memory into speculative visual forms. The work feels between conceptual architecture, fine art image-making, and editorial design.

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Recurring subjects include concrete forms, silence, salt, glass blocks, shadow, greenery, and coastal or desert settings. The mood is often contemplative and minimal, but with enough detail to feel cinematic rather than purely abstract.

Ande Wittenmeier (Ande Witt) is a creature illustrator known for whimsical, hybrid animal characters that feel friendly, slightly surreal, and full of personality. With over 82K followers, she runs a postcard & sticker club, sells prints, and engages her audience with process videos and character-focused content.

Her work blends animal features in imaginative ways—such as barn owl-inspired bird ladies, hairless cat-like creatures, and griffin hybrids—often with soft lines, gentle expressions, and approachable proportions. The aesthetic is playful and accessible, leaning into cute but not cloying, with a clear affection for natural forms reinterpreted through a fantasy lens.

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Ande actively participates in physical art events like the MOCCA FEST, offering prints in multiple sizes and engaging directly with collectors. Her content includes doodles, tutorials, and behind-the-scenes looks at her process, which helps build a sense of connection and learning within her community. Publications have highlighted her work, such as “The Jackal and the Star”, further expanding her visibility beyond social media.

Carson Teal is a multidisciplinary visual artist based in Canada whose practice blends stained glass, collage, mixed media, and animation-adjacent image making. His work is built around light, memory, transformation, and layered hand-built forms, often crossing between craft and contemporary design.

Teal’s pieces feel like colorful reliquaries: translucent surfaces, symbolic forms, and carefully assembled fragments that turn light into part of the composition. Recent collaborations also show him working on lamps and sculptural objects with other artists, which strengthens the sense that his practice sits between fine art, design, and luminous functional objects. The overall mood is mystical, tactile, and quietly ceremonial.

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Jaehyun Kim is a concept artist and visual development artist who works on IP development, narrative worlds, and character-driven design for animation and game-related projects. He has collaborated with major studios including Paramount Animation and Sony while building his own ongoing narrative universe ARAEMARU: NAL.

Kim’s work is centered on movement — “life is movement,” as his Instagram bio states — and explores how ordinary natural elements such as weather, tides, sand, water, plants, and animals interact to form invisible, connected structures. His visual language is described as a representation of movement at different speeds, capturing how traces left on the land by humans and nature are responded to by future generations.

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In his concept work, Kim focuses on world-building, environment sketches, and key art that supports storytelling through strong narrative composition and dynamic staging. From scenes of characters in emotional moments to fantasy settings like medieval villages and warlords’ territories, the work balances character intimacy with grand, cinematic scope. The recurring mood is one of tenderness, memory, and loss, with a strong sense of place and time.

Francesco Lo Castro is a Miami-based artist whose practice centers on layered geometric abstraction, optical depth, and material-rich painting. His works combine wood, spray paint, epoxy resin, acrylic, and gold leaf into compositions that feel both architectural and suspended, with strong references to Italian Futurism and analog computer graphics.

Lo Castro’s visual language is built from stacked planes, crisp geometry, and luminous color fields that create a floating, almost dimensional effect. His series titles and exhibition history point to a long-running interest in systems, symbolism, memory, and structure, rather than figurative storytelling. Public sources also place his work in the Miami art scene and connect it to exhibitions in New York and Miami Art Week.

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A major part of the appeal is the way he uses industrial and fine-art materials together, turning the surface into something that feels between painting and object. That material complexity supports the sense of precision in the final image while keeping the work tactile and physical. The result is a style that is sleek, disciplined, and visually immersive.

Byron Dix is a digital artist known for highly stylized, emotionally charged portraits that mix surreal color, graphic lighting, and polished rendering. His profile positions him as a creator of ambitious, visually striking personal work with a strong online audience.

The work appears to lean into portraiture, inverted or transformed faces, and cinematic color palettes with a glossy finish. One reel description suggests he enjoys pushing through confusion during the making process, which fits an experimental, process-led practice. A related post mentions inspiration from synth-pop album art and grainy, brightly colored covers, pointing to a retro-futurist visual mood.

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His bio snippet presents him as “your favorite digital artist’s favorite digital artist,” which matches the strong self-branding and expressive tone around the work.