Sentences with phrase «abstracted figures form»

The greatly abstracted figures form a quirky cast of characters befitting the surrounding theaters.

Not exact matches

Over the years the human figures in his prints have filled more and more of the space, leaving less and less for the plant forms, abstract patterns and calligraphy that appeared in early works.

Although drawing on this Tradition, as well as on the Hindu advaita - vedanta and the Buddhist pratityasamutpada (the interrelatedness of all beings), he eventually comes up with an abstract form of «Trinity» as a figure — a unity in triple diversity, but detached from the economic manifestation of God as Father, Son and Holy Spirit.

As visitors engage directly with their surroundings and walk among the immersive excavation, they are met with sculpted openings in which jagged edges morph from abstract forms into the silhouette of a human figure,» a museum statement said.

McClelland's two paintings of turbulent abstract forms, interrupted with figures and words, embody a specific case in our collective consciousness, exploring ongoing discussions of gender equality and wage earnings in a sharply - witted and skillfully painted fashion.

The human figures are this time assembled out of abstracted forms in order to avoid an interpretation that would rely too much on pyschology.

Shōhaku transformed more conventional representations of the dragon found in the traditional Japanese mythological figures of the Cloud and Dragon paintings into fantastical images where the mythological being verged between hideous monster and an abstract anamorphic form.

Marcel Wanders» total environment will include several bodies of work: large abstract figural mirrors, such as Dysmorphophobia 1, 2 and 3, with carved details and cutouts, create an illusion of a character or ghostly figure; Self 2 is a steel cabinet and kinetic piece, balancing a sculptural ovoid form that abstracts a human head and physically rocks on the top surface; Tempter, an over-sized adult rocking unicorn is cast in bronze with metal chain stirrups; Shiqule Nuhai, two ceramic vases, monumental in height, reference Marcel Wanders» Delft Blue collection with a darker sensibility, using black glaze.

Committee member Richard Calvocoressi, former director of the Henry Moore Foundation, said: «This is one of Giacometti's most simplified female figures — flat, almost abstract, its pure white forms pared down to bare essentials.

Using a palette of the same four colors, Cranston reworks an abstract painting by one of the key figures in Modernism, Swiss / French artist, architect and designer Charles - Édouard Jeanneret, better known as Le Corbusier (1887 - 1965) in six variations, identical in form and composition but in different color combinations.

According to RCEWA member Richard Calvocoressi: «This is one of Giacometti's most simplified female figures — flat, almost abstract, its pure white forms pared down to bare essentials.

While in her previous series, including Mom's Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape.

Figures, landscapes and abstract forms dwell in each piece, inviting the viewer into the realm contained in each work.

[1] The paintings he created during this time begin to abstract form and figure, moving away from representation and towards expression.

His early drawings in the 1940s and early 1950s depict abstract forms and fantastical figures evocative of the work of Paul Klee.

The exhibition features key works including Data Zone (2003), a group of long tables embedded with illuminated Petri dishes in which silent clusters of abstracted figures, which form and reform, evoke laboratory cultures.

The imagery alludes to structures, figures, and recognizable forms, yet remains abstract and unnameable.

Building, breaking, reorienting, painting, adorning and juxtaposing constructed forms, shapes, found materials and objects; I explore the abstracted figure.

The large scale works blend formal concerns such as surface, color and abstracted space, with what the press release states as, ``... investigations into the connections between sexual fetish of the female figure, and forms of nature.»

Shapiro is mostly known for his works in bronze of linked cuboidal shapes, which read as abstract forms that play off of a likeness to the human figure.

Ignoring the traditional distinction between naturalistically depicted and abstracted figures, the sensuous color and bold, sinuous contours of these elusive and lyrical paintings play on the tension between figurative references and abstract forms.

The pieces include interpretations of microscopic forms, expressive manipulations of unusual angles of vision, playful placements of figures whose points of view contrast with that of the artist and more abstract presentations of a visual experience.

Forms embody a politics of subversion and queer identities, evoked through the abstracted and contorted dimensions of the female figure.

It is important to the artist that in the intentional ambiguity of his abstract forms lurk chance reminders of human figures, animals and landscapes.

Referencing both a human figure and «the spirit of a bird,» as the artist says, this dark, abstracted form depicts a bird in the corvid family, which includes grackles, crows, and ravens, common in large cities around the world.

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

Lipton's structured three - dimensional forms manifested an original language of abstract figures that originated in stream - of - consciousness sketchbooks.

Formally Goodman is painting large areas against small passages, thick against thin, small figures against hulking abstract forms, raw emotion against the sheer material sensuality of the paint.

My long - term goal is to keep pushing the figure deeper into an abstract space — some have referred to this space as purgatory, but I see it as more free form and other - dimensional.

They make one anticipate plenty — slapdash gestures, empty content, comic - strip forms, and figures of uncertain gender, all within abstract painting.

Known for his striking palette and bold exploration of form, Poliakoff was a leading figure in the post-war abstract movement in Europe.

Influenced by Joan Miro, Gorky integrates figure and ground, expressing his sense of fantasy in abstracted forms that exist as a cosmos amid a vast expanse.

William Cannings» work often invokes a sense of wit by using hard steel to create «soft» subjects: soft - edge geometric forms, abstract conglomerates, and sometimes representational figures, that look like they were made of malleable plastic.

Amy Feldman abstracts geometric shapes into semi-recognizable forms to manipulate figure - ground relationships.

Just as the figurative paintings of Giorgio Morandi, whom he admires, are not about merely depicting vessels, so Sean Scully's definitive abstract works have narrative structures when they evoke associations of figure and landscape, of window and mirror, or of religious forms and themes such as altar or resurrection.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

Clay was pulled, pressed, and dragged to build the forms, silhouettes, and motifs of an abstract figure whose interrelationships express the process of its creation.

This selection of works spans the artist's career to date and will highlight his principle contributions to sculpture: engagement with form in space, dialogue between sculpture and architecture, and the creation of abstract analogies for the human figure and landscape.

The series entitled Hanging & Weighting (2010) presents bulbous plaster sculptures that, although abstract, refer to organic forms or suggest a figure.

It is thought that these sensuous figures informed the seemingly abstract forms of his sculptures, imbuing them with an anthropomorphic quality that is not always immediately apparent.

A morose, cartoonish figure grips a rope attached to a sack of abstract, indistinct forms.

Though his paintings often conformed to the 1980s call for a return to the figure and representational art, he often combined the figure with abstract forms and this juxtaposition typically resulted in a mode of painting that was at once accessible and unfamiliar.

The American artist David Salle (born 1952) combined the human figure with abstract forms in many of his works, presenting disturbing meditations on our modern existence.

Seen vertically, Forms 1, might show two abstracted human, animal or machine figures, inhabiting a space in which there are other unspecified objects, the figure on the right is possibly carrying something.

While the former works with figures that seem to move like slowed - down frames in an animation (Duchamp's Nude Descending a Staircase comes to mind), the latter fractures abstract forms that seem to shape - shift before our eyes.

Jack Tworkov (1900 - 1982) was a founding member of the New York School and is regarded as one of the prominent figures, along with Willem de Kooning, Philip Guston, Jackson Pollock, and Franz Kline, whose gestural paintings of the 1950s formed the basis for the abstract expressionist movement in America.

In the late «80s and «90s, Lichtenstein's work reflected an increasing influence of cubism and surrealism, often taking the form of abstract geometrical figures.

Derived from the figure and mythic narratives, Hadzi's sculpture references antiquity and classical artifacts — abstracted anatomical forms, columnar and other architectural elements, helmets, weaponry and body armor function as visual metaphors for ancient cultures.

«Seated Figure» still retains vestiges of primitivism, but displays a growing interest in abstract organic forms.

Like Calder, whose abstract stabiles make playful allusions to the natural and animal realm, Joel Shapiro explores the metamorphic possibilities of geometric figures and forms, referencing the human body, spirit and gesture as he merges figuration with abstraction.