Sentences with phrase «always paint any surface»

Even though it sounds rough, you can always paint any surface and make it look much better.

Not exact matches

I love the way sealing with wax brings out other colors in the paint and gives it that soft look, however I agree I am always nervous about table tops or other high traffic surfaces.

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Always eager to stretch the parameters of what's considered art, Tuttle believes that it's time for artists to find new surfaces on which to paint.

Hantaï always used primed canvas, a fact that reveals itself in the wrinkles that are general across its surface: they remain «underneath» after the paint application takes place.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

Ian and Mary, 1971, by the late American painter Alice Neel, is one of a handful of images in the exhibition painted directly from life, yet in her spare, urgent paintings Neel, who famously stated «I don't do realism» always alerts us to pictorial shifts and disjunctions that trigger psychological readings beyond the painted surface.

The trio of support, surface and paint tend always to be addressed in my works, but to varying degrees and with an ongoing interrogation of the role each element plays.

That separates her from, say, Joan Mitchell, who was always perceived to be making tougher paintings because her surfaces were more impastoed.

Yes, it's always interesting to push a medium into new places, but scraping a semi-polymerized surface is literally ripping the skin off the painting.

We had paintings from his Urbana and Berkeley series, and what I love about Diebenkorn is that his method is always on the surface: you can really see it all right there.

While his works do not always conform to the traditional definitions of painting, their attention to surface, space, color and image provide new and expanded ways of thinking about the process and «idea» of painting.

The flat, flashbulb - lit paintings of Richard Phillips have always seemed more destined for magazine (or album) covers than for the gallery setting — in fact, they often make their way into glossies like Elle, Visionaire, and Vogue China — but beneath the shallow surfaces of his celebrity portrayals lurk a troubled consciousness musing on ideas of ephemerality, objectification, and the high cost of cheap fame.

I've always liked these paintings, with their chromatic richness coming as much from a surface of impasto - like brush strokes as from the refraction of the pigments themselves.

The Los Angeles artists emphasized a unified whole by creating paintings of centered, though not always symmetrical, composition of forms connected on a flat surface.

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

The finished paintings are pristine, but also carry evidence of the artist's hand — a subtle bloom of color along an otherwise flawlessly straight line, a slight whimsy in the corner of a square — always inviting the viewer to slow down and examine their nearly sculptural surfaces.

With multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.»

«I am always struck by how extraordinary the surfaces of Jenny Saville's paintings are,» comments Katharine Arnold, Senior Specialist in the Post-War and Contemporary Art department at Christie's London.

Since the «Skinny Jeans» paintings have multicolored layers underneath, the performance of the paintings is very much about revealing the surface as incidents of light, brushstroke and touch and (sometimes symbols or graphic images) so there is always a double text of «painting the paint» and revealing the image that states it's also an act, a performance of text and subtext.

In other pieces — collected under the title «Pixelator» — the surfaces are instead saturated by a close - knit checkerboard pattern of black and white, always created with spray paint, as if the digital skin of the images had been examined with a microscope and expanded into an optical rendering of its makeup.

While Hume's paintings have always emphasised their luscious surfaces and simplified forms, many are infused with a -LSB-...]

But painting as such has always been about a pictorial layering of the image that is discontinuous with the actual matter of the paint surface.

Asked about scale Halvorson notes that «with this new body of paintings, the different surfaces of various objects that I am painting are pretty much always at an arm's length away; I mean I could reach out and touch them if I wanted to.

From her early horse paintings to her paintings of athletes and dancers, Rothenberg's works have always been subservient to the flatness and objectivity of her gesturally dense surfaces.

«I have always been concerned with painting that simultaneously insists on a flat surface and then denies it.»

However, for Hofmann, the possibilities of painting always encompassed divergent approaches; the geometric and the curvilinear, the thickly impasted and the thinned surface were all concurrently viable throughout his career, although there were periods when one set of problems seemed to take precedence over another, such as in his 1941 - 1943 landscape studies.

The paintings depict engineered spaces that mirror the boundaries of sky and water always directing attention back to the surface.

Eriksson's paintings nearly always contain a hidden surface, a layer equal in significance to the immediately visible ones.

A universe of emotions opens up in the work of these painters, always fluctuating between the darkest energy and the lightest, the most aggressive and the most serene, jumping off the surfaces of their paintings with a frantic sense of immediacy.

I think there can always be something that surfaces visually in an abstract painting, if it's not a grid it will be a landscape, a still life, a garden, a face, especially when reduced to a small image on a screen, which can sometimes encapsulate the main properties in a work which might not be so evident while up against the canvas painting.

silver deposit and acrylic on canvas The surfaces of Jimi Gleason's paintings have always responded to both the light and space of the environment they are in.

His own stylized calligraphy is worked into and on the surface of each painting, and although it is always partially obscured and indecipherable, it is a personal narrative of his experiences and a record of stories he discovers on his various journeys.

Between 1973 and 1974, he moved from sprayed to poured and squeegeed surfaces, working the paint back and forth, up and down, layer upon layer, always in search of the perfect non-color, it seemed.

A talented draughtsman and former student of Arshile Gorky, Burkhardt thought painting must have careful drawing as its basis: He always sketched in pencil, pastels, or ink before building up his heavily layered, fleshy surfaces in oil.

While Hume's paintings have always emphasised their luscious surfaces and simplified forms, many are infused with a melancholic beauty.

Transient in nature, his paintings in paint and gold leaf applied directly onto the surface of a wall or ceiling are almost always removed when the exhibition comes to an end.

The surfaces are predominantly painted black; projected on these dark backgrounds like fleshly X rays are translucent, ghostly - white figures, their heads always cropped by the canvases» top edges.

From 1993, he reverted to more conventional flat surfaces, creating space through interleaving painted forms, but always demonstrating his extraordinarily astute use of colour.

It is not so much that theory plays an increased role, but rather, retrospectively we see that Martin, even when he was working with representational imagery, has always been committed to the experience of painting, 3 with unorthodox techniques, mesmerizing surfaces.

Boundaries persist but they aren't always clear — the paintings offer surfaces in which to contemplate dark and light.

I've always loved surface, texture, painting, thick paint.

I have always worked to capture the qualities of both color and light that have throughout history activated the surface of paintings... I am exploring how oil on canvas can tap into the rich resonance of luminosity or «glow»....

Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the surface sensuously, In a broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first mark.8 The revolution will be painted.

I think this is a very interesting question to which I have no answer, just the following thoughts... Deep space in abstract painting always seems to have (and possibly arise from) figurative associations unless it crudely destroys the surface (Howard Hodgkins» «framed» paintings), or is uncommunicatively atmospheric (and therefore possibly also figurative — sky, deep water, fog).

For Dickinson a word, the basic element of her medium, when concentrated on has such power that it can shine, and for you the basic elements of a painting — the support, the surface, the color, line, the edges — have always been so carefully considered and so evident that your decisions and intentions are essential to the making and viewing of your work.

Always use heat mats, placemats, and coasters to protect your painted and waxed surfaces.

Primer depends on what surface you are painting over and is almost always a good idea.

Work on a clean level surface large enough for the project, and always wear safety glasses and ensure proper ventilation when painting.

It is always amazing how much paint can change a surface and the feeling in the room.