Not exact matches
Extending the post-painterly abstract techniques of pouring and staining, Saccoccio creates skeins of crisscrossing
drip lines, often adding pure dry pigment to the
wet paint, imbuing them with colors not normally seen in daily life.
Manny Farber's monumental color field
paintings created in New York and California during the years 1967 through 1975 were cut, stained, saturated, sliced,
wet, glued,
painted, folded, collaged, pleated, pasted, layered,
dripped, brushed, glazed, bled, marked, colored, tinted, textured, smeared, pierced, trimmed, slit, creased, buffed, wiped, varnished, washed, graphed, drawn, scraped, burnished, rubbed, scoured, soaked, coated, veiled, and wrapped.
Matte lumps of
paint, resembling miniature mountain ranges collide with
drips and splashes of
wet, gloopy
paint.
The strokes were made with a brush loaded with red or black and
painted directly onto a
wet ground; we can see the speed of the mark, the downward pull of gravity, and the
drips where they meet.
The carefully rendered bicycle stands against an array of vertical stripes of color,
painted using a
wet application, the flows and
drips of the pigment clearly visible.
He began by pouring bold, sometimes even fluorescent colors of
paint directly onto unprimed, unstretched canvases, which he would then fold and crumple while still
wet to create luminous washes of color layered with glowing striations,
drips, and pools of pigment.
Created by adding pools,
drips and splatters of color to
wet bands of
paint applied with a roller, these works re-asserted the artist's interest in color.
«This exact moment I'm focused on work for a solo show opening this spring at Pari Nadimi in Toronto featuring new gestural software for making
dripping wet feminist abstract expressionist video
paintings,» he tells The Creators Project, adding that 2016 will also be the year during which his wife and him going to give birth to their first child in VR.
Both artists use muscular,
paint loaded brushstrokes,
wet paint and its
drips, heavy impastos that create relief in crowded compositions bursting with energy.
Connors, 41, often takes rubbings from his studio floor or
drips wet paint from one
painting to another, in the process testing the potential of abstraction.
In her Contortions series, the modeled
paint is pinned to the wall where it bends and contorts, cleverly echoing
drips and gestures of
wet paint.
Experimenting with the
paint,
dripping, pouring, working «
wet into
wet» over laying washes and texture.