Sentences with phrase «abstract images of the objects»

In a series of experiments that withstand rigorous and even hostile scrutiny, Alex and Griffin have shown themselves intelligent enough to comprehend and juggle abstract images of the objects that make up their world — skills once thought to be the exclusive property of humans.

Not exact matches

Moreover, these condensed images contain a surprising élan vital ---- in no small measure because of the the tightly sprung curves of the window grillwork, radiating out from the still life like abstract signs or the inner force of the objects.

While Stella's assumptions regarding Minimalism as well as contemporary abstract sculpture \ are based on the relationship between a moving spectator and a stationary object, cinema posits a moving image in front of a stationary spectator, reversing the terms of the equation,

In an attempt to avoid the trappings of abstract and figurative art, the artists made extensive use of collage and assemblage, appropriating images and incorporating real objects into the work.

From a distance they appear abstract, planes of glitter and graphic shapes; a closer encounter reveals pasted images and objects, inscribed texts, names.

«Also, forcing a pile of similar, well defined objects into a tight space makes them overlap, which creates an image that's abstract.»

Mary Bucci McCoy's intimate abstract acrylic paintings reconcile intention and acceptance, action and stillness, object and image, and conceptual rigor and intuitive process through a poetic material language that negotiates and exploits the opportunities and exigencies of her chosen medium.

We're not sure what exactly to call Lena Henke's printed - on boxes of transparent plastic — in the traditional of Donald Judd's «specific objects,» they hang on the wall but are clearly sculptural, and they use photographic images, but in abstracted forms.

Attracted to vibrant colors in tonal and spatial harmony, his abstract images evoke figures and suggest objects which become traceable motifs across a distinctive body of work.

On display are some hundred pictures of the German artist: portraits, still - lifes, landscapes, abstract images, two glass objects and sixty - four opverpainted photographs.

His practice manifests itself in various forms, including paintings, unique photographs of paintings, found objects infused with abstract images and -LSB-...]

For example, the film «Wounds and Absent Objects», a homage to Kapoor's hero, American abstract expressionist Barnett Newman (1905 - 70), suggests a deep journey from colour to darkness; on the screen, viewers see a single - coloured image, very much like one of Newman's painting, that shifts from brighter to darker shades.

His practice manifests itself in various forms, including paintings, unique photographs of paintings, found objects which he infuses with abstract images, various multiples plus limited edition CD and 12 ˝ poly - carbonate recordings of impromptu performances he has been involved with or heavily orchestrated.

By zooming in closely and skillfully framing reflections cast by a vast array of structures and objects, such as buildings, boats and flags, she creates stunning abstract images.

In the process of visual documentation, the original functional properties of the objects are replaced by their visual properties, so that they gradually devolve (or rise) to the level of basic geometric outlines that the artist has randomly drawn into the image to form parts of unique abstract paintings.

The Help examines the roles of the artist, the muse and the «help,» mixing found objects with abstract forms; Incidents of Travel in Yucatan is a mixed - media installation including a wall of pedestals, autonomous sculptures and video; and the Sunset Series comprises 31 photographs of a single source image, a photograph of a sunset.

Micah Danges» (Pew Fellow, 2015) work hovers between image and object, pushing the limit of what a photograph can be and using optical distortions that create abstract scenes from everyday items and places, in a distinctive merging of materials and process.

The press release states that «Charline von Heyl's paintings are not abstractions of objects or figures; rather, she is interested in creating abstract images that stand for themselves.

Since the late nineties he has been creating a greater number of camera-less, abstract images that develop from his direct work with and on photographic paper, some of which acquire a sculptural, object - like character.

Also significant is that although the original documentary image may sacrifice some of its figurative quality through the artists» manual reproduction of particular parts of the image, it simultaneously gains spatial quality as an abstract object.

Combining painting, sculpture, and found objects alongside her projected images, Prouvost lures the viewer - turned - participant into an abstracted, preverbal state of consciousness from which to rediscover the joy of learning language, words, and meanings.

In his exploration of the abstract image he focuses on images and forms found in daily life objects, in this case packaging materials or shopping bags, which can offer a universe of a pictorial language inherent to Modern Art.

French artist Marie Angeletti uses the repetition and re-presentation of photographic images to capture a range of subjects and abstracted objects.

At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.

When we look at an abstract image, we do not have the benefit of objective imagery to help us recognize objects or narratives.

«Often combining paper and acrylic collage with images of everyday objects, Youngblood juxtaposes the figure with the abstract, raising questions of what is familiar versus what is unknown,» the museum states.

The first full - scale monograph on the work of New York — based artist Ryan Sullivan, this book explores the relationships his abstract paintings propose between image and object.

What we are left with is a series of abstract feelings forcefully made figurative — small precious objects that are catalysts for further images that we will never be able to visualise as they do not exist but in (y) our memory.

During the early 1920s he collaborated with the writer Blaise Cendrars on films and designed sets and costumes for performances by Rolf de Maré's Ballets Suédois; in 1924 he completed his first film, Ballet mécanique, which was neither abstract nor narrative but a series of seemingly unrelated images (a woman's teeth and lips, machines, ordinary objects, and routine human activities).

The celebrated Combines, begun in the mid-1950s, brought real - world images and objects into the realm of abstract painting and countered sanctioned divisions between painting and sculpture.

Approaching Op Art, carefully rendered three - dimensional abstract objects (segments) combine together on a grey ground to make an image that is more than the sum of its parts, appearing to generate light as much as reflect it.