Not exact matches
The
abstract compositions that comprise Douglas's DCT
series are in essence synthetic pictures that look at
photography as an optical image in the broadest sense.
His interest in how images are constructed in painting and its relatives,
photography and the media, continued in subsequent
series: the «stripe» paintings, the «half - tone and stripe» paintings; and most recently, the «
abstract» paintings, which rely on the play of light over ridges of paint.
This exhibition looks at two facets of Pindell's practice that have remained consistent through five decades of artmaking:
abstract paintings and constructions on canvas, paper, and board; and a body of work Pindell calls «video drawings», an ongoing
series of photographic prints that arise from her unique hybridization of
photography, video, and drawing.
In their
abstract painterly quality the latest
series explore the intimate and evolving relationship between painting and
photography.
Similarly, «Smoke» combines quack psychological text with
abstract photography and pages appropriated from encyclopedia, this time the World Book
series.
This exhibition focuses on two areas of work: her
abstracts — paintings and constructions on canvas, paper and board; and an ongoing
series of photographic prints that combine
photography, video and drawing that she calls «video drawings.»
Inspired by his fascination with the materiality of the photographic surface and the occurrence of
abstract forms in daily life, at the dawn of the millennium he began a full exploration into the
abstract potential of
photography, with a number of non-representational
series that lyrically transcend the divide between painting and
photography.
«Alluvius» — The Drawing Centre in New York's solo exhibition of the artist — features two
series of
abstract charcoal drawings, inspired by Raissnia's archival
photography and found imagery.