Sentences with phrase «as a viewer immersed»

And as a viewer immersed in his storytelling, one can not help but question whether the specifics come from the artist's mind or straight from the history books.

Not exact matches

Parts Unknown lives up to its name as Bourdain takes viewers to places like the remote mountains of Columbia, the back alleys of Tokyo and the shores of the Mississippi Delta to sample local cuisine, and immerse himself in the real culture of some of the world's most unique cities.

Formed between dark and light, cold and heat, North and South, Good Luck immerses its viewer in the precarious natural and social environments of two distinct labor groups so as to better understand the bonds that men share.

All Access, Season 1: The third installment of ALL ACCESS Daily immerses viewers with two elite prizefighters, Keith Thurman and Danny Garcia, as they meet with the media and continue to train for the biggest fight of their respective careers.

Robert Eggers brought years of experience as a production designer to his directorial debut The Witch, building a 17th - century homestead in the middle of nowhere in order to more fully immerse viewers in the world of the film.

Director Christopher Di Nunzio (who is also credited as the writer) instead relies on mostly sound and music cues along with some basic visual tricks to immerse the viewer.

It certainly helps that Spielberg wastes no time immersing Cruise and the viewer into the world of 2054 Washington D.C. and a new preventative brand of law enforcement there known as Pre-Crime.

The feature immerses the viewer, as well as Anne, in the beauty and mystery of India, and its culture.

As the film progressed we, as viewers become totally immersed in her characteAs the film progressed we, as viewers become totally immersed in her characteas viewers become totally immersed in her character.

Nabwana IGG's aesthetic is proudly low - grade, immersing the viewer the slums of Kampala, Uganda as seen through blurry digital video and overflowing with quick cuts and rapid - fire action scenes interspersed with the most archetypal, blatant narratives.

You even experience Sleep No More as a character: viewers are asked to don bone - white masks at the start of the show, divorcing their «self» from the shadows or ghosts that they must become to fully immerse themselves in Punchdrunk's world, and make decisions that only an in - game character would.

The movements of people and light are captured brilliantly, and it's a testament to Farr's skill how easy it is as a viewer to get totally immersed in the city scenes that whirr past the car window that forms our viewpoint for much of the film.

As if in a reportage, it invites the viewers to immerse themselves in the bustling activities of Onomatopoeia (the term for a word sounding like the sound it describes), the capital of this world, where objectivity is believed to indicate imbecility.

Jon Rafman immerses viewers in environments where gaming landscapes and physical reality fuse as dark, hypnotizing hybrids; Yves Scherer probes celebrity culture and popular media in works that toe the line between critique, satire, and celebration; and Simon Denny examines surveillance and digital subcultures by plumbing the depths of images, information, and communication stored on the internet.

In Alex Katz: Maine / New York, the viewer will be immersed in the haze of a city afternoon, the flickering green light of a rural path, the glare of a fashionable event, the dusk as it descends on a pond in the Maine woods.

cat., Museo Nacional Centro de Arte Reina Sofía, Madrid, p. 30) This is evident in Untitled, 1961, which demonstrates a strong relationship with Pape's earlier Tecelares, through a rigorous exploration of space and the economy of line, as well as a foreshadowing of her later Ttéias, in which Pape filled entire rooms with glimmering golden columns made of delicate threads through which participants traversed, begging viewers to immerse themselves wholly in an unadulterated experience of light and physical sensation.

Gigantism Terrarium Jungle Biodome Color Fish Tank Jurassic Papayas Windex Parrots Bananas Fruit Watermelon Toothbrush Gummies Concrete Ecosphere Biodome Katherine Bernhardt, 2017 The multi-layered show invites viewers to experience Bernhardt's installation as a terrarium - from the exterior, or immerse oneself in her prodigious concrete jungle - from the interior.

Using folklore as the source of my artistic inspiration I mean to return the viewer temporarily to a state of childhood, dwelling in the senses, immersed in the images of stories, experiencing the primacy of the physical.

Using artificial light sources as a medium, Wheeler creates ambient works that invite the viewers to immerse themselves in them: large fields of hypnotic and inconsistent light that disorientate us and make us aware of our physical limits.

The showing utilizes 130 feet of undulating wooden shelving that houses 300 hand - dyed indigo T - shirts with the pieces becoming increasingly deeper in hue as the viewer is further immersed in the space, emulating the artist's experience along a shoreline.

Like the other stories Portolano has documented in the past, such as a man who grows his own food in Utah and a French cliff diver in France, Portolano is able to create an insightful experience for his viewers by immersing himself completely in the lives of the people he documents.

These are installed with «Breather» (2006) a tense and visually compelling work which uses a novel stereoscopic technique to immerse the viewer as a scene of desperation plays out within the seemingly water - filled confines of one box.

It is a painting exhibition, but also a coexistence of four spaces in which the viewers can immerse themselves just as in an architectural structure.

With simple material tools drawn from everyday life such as paper, neon, texts, flags and music Dekyndt immerses the viewers in atmospheric relationships between art, science and reality.

In a wall text introducing «Backstroke of the West,» his first museum survey, Rakowitz emphasizes the intertwined relationship between «hospitality and hostility,» effectively inviting American viewers to immerse themselves in the recent history of military interventions in Iraq as guests in his proverbial house.

The site - specific work, designed as an architectural network of caves, invites viewers to immerse themselves in the hyperreal environment inspired by and filled with elements from the artist's home / community in South L.A.

Designed as a total environment, The European Desktop addresses the headline's unfounded optimism by immersing viewers in a ravaged landscape of intellectual chaos: a monumental collapsed European postal scale, stamp blotters, a writing quill, an exploding ink bottle, and a shattered desk pad will be strewn across the gallery, appearing as though they have fallen from the sky.

A discord of voices relay incessant thoughts, exclamatory commands and rhythmic chants.This sonorous landscape encourages the viewer to be immersed in an alienating environment, marrying the public with the private and reassesses the impact of language as a source of intimidating, comforting and alienating musical phasing.

Just as Impressionists brought viewers into contact with the reception of light in the eye, Susan Wides immerses them in the more active process of focus.

At HangarBicocca, Suga will activate objects as dynamic parts of a total structure: Viewers will find themselves immersed in an environment of wooden configurations, paraffin - wax structures, floor works composed of both organic and manufactured materials, and ephemeral outdoor interventions.

The act of looking as the subject is meant to suggest that both painting and viewer, who are immersed in the same activity, are perhaps one and the same.

These contours are sensually coloured with pastel chalk powders, make - up, soap and bath - bombs, Black here acting in the capacity of an abstract painter: but, as a three - dimensional work, this work is traversable, the viewer invited into the folds of the canvass to become immersed.

Tillmans makes colour and line appear as one indistinguishable substance; instead of colour being confined by and filling in drawn profile, here colour seems to thicken and extend into its own tendriled shapes, arriving at forms and fields that look organically spawned» — L. RELYEA «What connects all my work is finding the right balance between intention and chance, doing as much as I can and knowing when to let go, allowing fluidity and avoiding anything being forced» — W. TILLMANS Immersing the viewer in a mesmeric expanse of deep blue, Wolfgang Tillmans» Freischwimmer 186 lyrically transcends the boundaries between photography, painting and drawing.

It starts by immersing viewers in a soundscape of gentle vibrations, inviting them to listen, see and feel, as they breathe in de Haan's art - making process.

New and already existing projects as well as a collection of unexpected objects are immersed in unorthodox ways within an environment specially designed by Fabian Marti, that guides the viewer through routes containing different chapters.

Imagine buyers slipping on a VR headset — such as the Oculus Rift, HTC's Vive, or Google's low - cost Cardboard viewers — to then be remotely immersed into a home that they can view in a 360 - degree perspective.