Modern-day children move through a decidedly un-fairytale-like world with unlikely gangs of friendly wild animals to protect them in this series of paintings so realistic, it takes a moment to realize they’re not photographs. Artist Kevin Peterson creates these incredible scenes in oil paint on panel, highlighting the inner strength it can take to survive in places beset with violence and poverty.

Princesses regally make their way through rubble in abandoned industrial districts with crowned polar bears at their heels, point the way for the fierce lions acting as their champions and saunter down sidewalks with raccoons and foxes. The contrast of wild creatures and worn, neglected urban environments is a startlingly effective one most often utilized for post-apocalyptic scenes, but the addition of the little girls suggests a hope of human resilience.

“My work is about the varied journeys we take through life,” says Peterson in his artist statement. “It’s about growing up and living in a world that is broken. These paintings are about trauma, fear and loneliness and the strength that it takes to survive and thrive. They each contain the contrast of the untainted, young and innocent against a backdrop of a worn, ragged, and defiled world. Support versus restraint, bondage versus freedom, and tension versus slack are all themes that I often visit.”

A look through Peterson’s history of work reveals an interesting progression from fairly straightforward (albeit stunningly realistic) portraits of women and little girls in urban environments to these fairytale scenes. Some of these paintings are also going large-scale as public murals. Check out details and stay on top of Peterson’s current work on Instagram.

Do these fleshy works of art manipulating human body parts into unnatural shapes make you uncomfortable? That’s probably just what the artist was going for. It’s difficult for us, as humans, to look upon images of our own flesh with emotional detachment, seeing it as we would the meat of other animals, or even as an organic medium for art and architecture. Don’t worry – most of these are not made of actual humans, but rather silicone, polymer clay and wax. Read on for a tent modeled on human intestines, a pillow made of human skin and the world’s grossest pair of stiletto heels.

Jonathan Payne

Jonathan Payne calls these deeply repulsive sculptures ‘FLESHLETTES,’ and that name says a lot. They’re basically lumps of human viscera, teeth, eyes and hair put together into little miniature packages. You probably never wanted to see a nipple with teeth, but here one is, nonetheless.

Andrea Hasler

A tent made of flesh, a giant lump of what looks like human fat serenely overlooking a cliff, and a series of disgusting handbags are among the organic works of Swiss artist Andrea Hasler, who aims to humanize objects with ‘emotional surfaces.’ The tent was modeled upon human intestines and is made of polystyrene and wax as well as leather and real blood.

Felix Deac

Romanian artist Felix Deac creates amorphous blobs of flesh replete with veins, moles, wrinkles and hair. While some might look like deformed human body parts, most are just abstract shapes reminiscent of nightmarish tumors that have taken on a life of their own.

Patricia Piccinini

Patricia Piccinini’s work is so shockingly realistic, photographs of it are often passed around the internet as clickbait, with people wondering ‘what the heck am I looking at?’ The controversial Australian artist creates sculptures of fantastical creatures with extremely human-like skin and hair.

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Art Made Flesh 35 Sculptures Rendered In Human Skin Hair

Painting a hyper-realistic mural outdoors is challenging enough on its own, and artist Sean Yoro not only pulls off incredible portraits, he does it all while balancing on his surfboard. Known as HULA, the Oahu-born, NYC-based painter meticulously crafts stunning images of women onto waterfront walls. Each of the figures seems to be emerging from the surface, the rest of them unseen in the depths.

“Now entering the street art game. Better grab my surfboard, paints, and get as far away from the street as possible,” the artist jokes on Instagram. In the scant three days since he posted his first seaside mural image, Yoro’s work has exploded across the internet, as much for the quality of his paintings as for the unusual way in which they’re produced.

Yoro scouts locations at abandoned riverside sites where concrete meets the shimmering surface of the water. The rough, weathered surfaces provide a gritty backdrop for the photo-realistic imagery, making his subjects seem all the more otherworldly in comparison.

In some shots, mangled metal dangles down from partially demolished buildings as Yoro works, his paint cans set up on one side of his surfboard as he kneels in the center.

The series is entitled ‘Pu’uawai,” which means ‘heart.’ Of the first image he completed, Yoro says “This piece was inspired by the silence beneath the surface of the water, when all you can hear is your heartbeat as everything else fades away. It’s one of the many places I call home.”

See more on Yoro’s Instagram, @the_hula.

Annemarie Busschers is a contemporary artist from the Netherlands who creates portraits that beautifully captures the raw emotion of her subjects, often photorealistically.

Annemarie Busschers works, most of which can be found on her site here, follow similar themes of “saying goodbye to the self” (in the artist’s own words). Even when she’s setting out to to capture her subject’s emotion, the realism of her depiction gives it a photo realistic aspect. These examples show several self portraits (top right photo, and bottom).

This painting, via PulpFactor, is one of Annemarie Busscher’s earlier works, and an excellent example of the emotional realism that continues through her most recent portraits. The second image comes via Booooooom and gives a good perspective on the size of her canvases.

These Annemarie Busschers paintings are excellent examples of the amount of texture she attains with her artistry. The size of the canvas gives her room to create a landscape out of skin and facial features, creating an image that’s an incredibly clear treatment of her subject.

Found on entremundos and galeriebrandt, these pieces reveal the contrast between Annemarie’s treatments of different subjects. Each subject requires a different approach to capture their personality.

Annemarie Busschers has incredible talent that’s constantly evolving, but always sticks to one essence: that the subject will have their essence captured in whatever way serves them best.

If you were to round a corner in a building you thought empty and come face-to-face with one of these figures, you might experience a moment of heart-thumping fear before realizing that there’s nobody there. Painter David Jon Kassan has not only mastered an incredible 3D effect in his wall paintings, but manages to capture the true essence of his subjects rather than a flat but finely rendered likeness.

Based in Brooklyn, Kassan leapt into full-time painting after being laid off in the aftermath of 9/11. Determined to find a way to do what made him happy, he put himself through art school and emerged with an even bigger thirst to learn and improve. His signature style of realism is multi-layered, with a darkness influenced greatly by his urban environment.

The grit of the wall itself – grit of the city – is subtly incorporated into the image in a way that gives it more than just a bit of extra physical substance. It speaks to the subject’s environment and how they interact with it. Kassan combines the imperfections of the wall surface with a keen eye for nuances in each model’s facial expressions and posture for highly emotionally charged results.

“My work is a way of meditation, a way of slowing down time though the careful observation of overlooked slices of my environment,” Kassan says in his artist statement. “It is the subtlety of emotion in my acquaintances that inhabit the aforementioned environment which intrigues me. My paintings strive for reality, a chance to mimic life in both scale and complexity. The viewer is given an eye level perspective of the subject. A view that is unbiased and in its most raw condition.”

“It is my intent to control the medium of oil paint so that it is not part of the viewer to subject equation. The image stands alone without evidence of the artist. I displace textures from their natural environment by moving them out of the context they exist in. Taking the abstract form from the streets where they get lost and moving them into the gallery space where they can be contemplated as accidental abstractions.”