Leonardo da Vinci's notebooks are the living record of a universal mind. They encompass all the interests and experiments of this self-taught polymath, from mathematics to flying machines. Now the British Library in London has fully digitised its Leonardo manuscript, enabling everyone to freely explore this precious document on a computer screen – at home, in a cafe, wherever. This is in addition to the introductory translated highlights already on offer in its Turning the Pages selection.

this is a ‘collection’ of coloured broccoli That I saw shopping in brick lane. I really love t(e use of colour in this piece and the energy they give off 

i love her sculptures they are very emotive as they focus on space that cannot be used. She gives a presence to what is not there. Her work is very unnerving to look at. It feels empty yesterday overwhelmingly intense at th same time. Her work is lonely. 

Doris Salcedo makes sculptures and installations that function as political and mental archaeology, using domestic materials charged with significance and suffused with meanings accumulated over years of use in everyday life. Salcedo often takes specific historical events as her point of departure, conveying burdens and conflicts with precise and economical means

I’ve always been. Draw to Rothkos paintings, i find them emotionally beautiful, to me they are like staring into a feeling.

tthe painting that i was most inspired by was black on grey, this is due to the act i was looking into the use of black and Rothko users the shade in the most powerful way.When asked about the 'grey and black' paintings, he said, quite simply, that they were about death. They are desolate, empty images, but they also afford a richly ambiguous visual experience. 

The artist has cited a diverse range of sources and influences including aberrant psychologies (particularly schizophrenia and paranoia), urban gangs and graffiti, hip-hop culture, craft, punk, masculinity, violence, public art, prisons, globalization, American domination and decline, waste and consumption. In opposition to the minimalist artistic tradition and influenced by the ubiquity of urban graffiti, the artist's works often appear scratched, defaced, camouflaged, dirty, or splattered. Proclaimed as one of the most interesting artists to emerge this century by New York Times art critic Roberta Smith, Ruby's work examines the psychological space where individual expression confronts social constraint.

Justin Mortimer (b.1970) is a British artist whose paintings consistently invite us to question the relationship between subject matter and content, beauty and horror, and between figuration and abstraction. While the imagery is almost exclusively pitiless, the texturing of the paint, the play between light and shade and the passages that lead from photo-realist definition to near-abstract formlessness are so sensitively handled as to make the work at least partially redemptive as well as to indicate a key philosophical dimension: the oblique relationship between evidence and interpretation.

Mortimer’s new paintings reflect upon a world in a state of disorder. Mortimer is an avid observer of the social and political upheaval that is the staple of the international news agenda and here are echoes of recent events in Ukraine, Venezuela, Syria and Afghanistan. Yet Mortimer wrings from this tortured narrative of violence and oppression images of both hope and despair and well as a strange and troubling beauty.

this work particularly influenced my place project. At the. Moment i am really into art that uses graffiti and has aspects of deliberate vandalism. I love the ruff street look it creates i think it closes the gap between the gallery and the viewer it is a, to me it feels like a more intimate art. It’s done almost spare of the moment i find this beautiful. 

In this piece particularly where so much time and planning has goon in to the large cast only for her to almost messily spray paint over the to it takes away the intimidating feel this peice may otherwise have. 

Berger is an artist who primarily exhibits works of fashion. Although her pivot from fashion to art contains a certain insouciance towards distinctions between the two, Berger uses both to question differing modes of production, distribution and value-attribution, all of which are threads she carries throughout her artworks. Her works lend themselves to transposition not least because her garments are the result of a stripping down of things to their elemental units

Auto-destructive art is a term invented by the artist Gustav Metzger in the early 1960s to describe radical artworks made by himself and others, in which destruction was part of the process of creating the work.

Auto-destructive art was inherently political; also carrying anti-capitalist and anti-consumerist messages. It addressed society’s unhealthy fascination with destruction, as well as the negative impact of machinery on our existence.

“I came to this country from Germany when 12 years old. My parents disappeared in 1943 and I would have shared their fate. But the situation is now far more barbarous than Buchenwald ... for there can be absolute obliteration at any moment. I have no other choice than to assert my right to live, and we have chosen, in this committee, a method of fighting which is the exact opposite of war – the principle of total non-violence.”

Heedless of the commercial art market, as a public art for everybody and not a privileged few, auto-destructive art stands witness to society’s capacity to engineer its own downfall through development of the weaponry of mass destruction, the action of the capitalist system and damage to natural ecologies.

My works are always an ongoing and never-ending process of effects as aggression, impulsivity and characterized by manic state. The enjoying of losing control over the paintings, to take care of the mistakes and find the beauty in it. I try to have at least two or three canvases stretched and prepared from the day before so when I come to the studio in the morning I can just begin directly. I think a LOT and paint fast, in that way my process is always liquid. Often I just walk around in the studio, listen to music and drink coffee and when I’m in the mood I paint. I usually have a principle to finish the stretched canvases at the end of the day, if I’m not finished I usually start over.

Although the physical subjects that John Divola photographs range from buildings to landscapes to objects in the studio, his concerns are conceptual: they challenge the boundaries between fiction and reality, as well as the limitations of art to describe life. John Divola is from Southern California, and his imagery often reflects that locale by including urban Los Angeles or the nearby ocean, mountains, and desert.

beautiful. I absolutely love his work and. How he questions what’s real in photography. His focus on the elements on destruction in creation.

In exquisitely made works, Do Ho Suh explores contemporary arrangements of space and the unstable boundaries of its categorisation along lines of individuality and collectivity, physicality and immateriality, mobility and fixity. Influenced by his peripatetic existence.an enduring theme of the artist's practice is the connection between the individual and the group across global cultures. The multiplicity of individuality is tested through meditative processes of repetition: whether interlinked along a lattice of fishing nets, amassed into monumental tornado-like forms, absent from ranks of empty uniforms, or present in every yearbook photo taken at the artist's high school over 60 years, the artist uses the reproduced human figure to explore sensitively, and with spectacular formal effect, the ways in which personal space inherently extends into the collective sphere.

His architectural installations evoke the personal memories and inner experiential world of the viewer, it contrast with reality. 

Forensic Architecture’s methods respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing – and propose new modes of open-source, citizen-led evidence gathering and analysis that has already contributed to developments in the fields of human rights, journalism, and visual cultures. Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, environmental justice and human rights groups, activists, and media organisations.

relates space with time.

Almond is interested in the notions of geographical limits and the means of getting there – in particular, culturally specific points of arrival and departure. Since 1998, Almond has been making a series of landscape photographs known as the Fullmoons. Taken during a full moon with an exposure time of 15 minutes or more, these images of remote geographical locations appear ghostly, bathed in an unexpectedly brilliant light where night seems to have been turned into day

Clocks, is a reminder of the passing of time. Time is measured by humans so we have an understanding. Of i, it is. Always relative to. Some intense. 

The symbol of the sunflower was ubiquitous during the Cultural Revolution in China in the 1960s and 1970s, and was often used as a visual metaphor for the country’s Communist leader Chairman Mao and, more importantly perhaps, the whole population. In Sunflower Seeds Ai examines the complex exchanges between the one and the many, the individual and the masses, self and society. Far from being industrially produced, the sunflower seeds are intricately and individually handcrafted, prompting a closer look at the ‘Made in China’ phenomenon commonly associated with cheap mass-produced goods. The myriad sunflower seeds – each unique yet apparently the same..

The artists in TRANSFORMER look deeply into the present and see the future. Each artist is a powerful mediator of their community and culture, using storytelling, poetics, and ritual to author new narratives and expand our field of vision. They are world-makers, inviting us to access altered states of consciousness as we step beyond reality into a series of highly authored, staged environments.

i loved the way the work was displayed in thee gallery arch room became a new experience that completely over took any thought process. To me the gallery as a hole had a lager impact than any of the individual works. I loved how it was like walking through a maze and each room hod new surprises. It was also showed how effective combining mixed mida is. The light rooms where so cool and forced the audience to want to interact with them, you would reach out your hand to try and catch the the light even though you know it would pass right through you. Much of the work was interactive and yo where able too touch and leave on.

i also loved how raw the gallery space was. In may of the rooms you could see the concrete skeleton of the building. In many of the rooms I preferred the structure itself to the art work. 

work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience

the artist both references and incorporates organic shapes and materials – spices, sand and shells among them—that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.

This art appeals to all the senses, it is a holistic experience. Ernesto Neto's sculptures (often they are sculptural landscapes rather than individually distinguished artifacts) seductively lead the eyes along their surface. Odors emanate: turmeric, cumin and other exotic spices stimulate the nose. Many of the works can, are even supposed to be touched. Reception of the art is an active process. And Neto goes even further: he lets people penetrate into his works. "Naves" are what he calls the sculptural creations he has made since 1997, composed from membranes of stretched fabric that can be walked through, that can be physically conquered, that are supposed to be used."

Eduardo Basualdo’s installations, sculptures, and drawings reflect a deep understanding of the relationship between bodies and the spaces they inhabit. His early training as an actor and puppeteer formed the basis of this mastery. For Basualdo, the focus on the human experience of built environments serves as a framework to interrogate cultural systems and the ways in which they frame and control our world. Citing a variety of influences from literature, psychoanalytic theory, and film, Basualdo uses materials such

As i was walki g through soho i found a really cool allergy i just loved the work that I could see i the window. The artist had combined acrylic paint with spray to make really cool abstract shapes. They felt like looking at organised chaos. And in some of them you could make out hum onion dip components . I was also really drawn to the colour pallet and how monochromatic it was.