The resulting visual construct and condition is then re-introduced and manifested by way of
various painting languages and techniques as its own object / condition, or painting.
Various painting languages are mixed together, including the heaviness of historical elements and lightness of dynamic characters blended in abstractive images.
Not exact matches
A tree in the temple grounds is encircled by brightly
painted niches holding golden Buddha images in
various different positions, and the grounds also contain a Pali
language school which teaches the
language in which the ancient Buddhist scriptures are written.
Together they will discuss how visual
language is often translated across
various media and how meaning becomes encoded within Almeida's vibrant - hued works which make perceptive use of plywood, hinges, LED light, and other non-traditional
painting materials.
Following his formal studies Pfaff worked in
various media but
painting soon became his most recurrent
language.
Exhibiting internationally since the early 1990s, Suzanne McClelland's practice includes both large - scale
paintings and works on paper, often extracting fragments of speech or text from
various political and cultural sources and exploring the symbolic and material possibilities that reside within
language.
Her deceptively romantic - naive visual
language dissolves distinctions between abstract and figurative art, and her
paintings exhibit a whimsical engagement with sources as
various as Color Field
painting, Pattern & Decoration, children's book illustration and textile design.
Her practice includes both large - scale
paintings and works on paper, often extracting fragments of speech or text from
various political and cultural sources and exploring the symbolic and material possibilities that reside within
language.
When she isn't orchestrating content for her
various audiences, Jaime is a talented, self - taught artist who loves to explore shape and colour, using layering as a guide, to create the most beautiful abstract
paintings — inspired by her study of Japanese
language, electronic music, sci - fi and architecture.
This unique visual
language and Hwang's
various reference materials allow him to create three - dimensional space within his
paintings.
The play between
various lines, the use of expressive marks and the drip of the
paint in comparison to the repetitive rhythm or creation of a flat and decorative surface, all covey a different understanding of the world and the different, in a sense, sound of the visual
language.
For years, at
various points in the studio I've fantasized about vandalizing my own
paintings with
language, but it felt like an irrational, potentially self - destructive thing to do.
Exhibiting internationally since the early 1990s, Suzanne McClelland's practice includes both large - scale
paintings and works on paper, often extracting fragments of speech or text from
various political and cultural sources, exploring the symbolic and material possibilities that reside within
language.
This context encouraged Oursler to break the traditional strictures applied to
various media and experiment with cross-pollination between
painting, sculpture, video, installation, performance,
language, music, and sound.
Various sources, such as shop front windows, are used to create an inner vocabulary of visual
language, comprising of; forms, lines and gestures, that can then be recalled automatically during the
painting process.
Her
paintings have been foregrounded by these
various disciplines: by
painting, with shows such as «Slow Art: Painting in New York Now,» at P.S. 1 Contemporary Art Center; by feminism, with exhibitions such as «Sexual Politics: Judy Chicago's «Dinner Party» in Feminist Art History,» at the Armand Hammer Museum; and by language, with shows such as «Poetry Plastique,» at Marianne Boesky Gallery in N
painting, with shows such as «Slow Art:
Painting in New York Now,» at P.S. 1 Contemporary Art Center; by feminism, with exhibitions such as «Sexual Politics: Judy Chicago's «Dinner Party» in Feminist Art History,» at the Armand Hammer Museum; and by language, with shows such as «Poetry Plastique,» at Marianne Boesky Gallery in N
Painting in New York Now,» at P.S. 1 Contemporary Art Center; by feminism, with exhibitions such as «Sexual Politics: Judy Chicago's «Dinner Party» in Feminist Art History,» at the Armand Hammer Museum; and by
language, with shows such as «Poetry Plastique,» at Marianne Boesky Gallery in New York.
Recognized for his intelligent and engaging use of
paintings aesthetic legacy, Aldrich incorporates his own
language into this history through a conceptual correspondence with previous
paintings, of his own and of others, and connects them in
various series through time.