Sentences with phrase «between flat planes»

The resulting paintings are distinguished by shifts between flat planes of colour and an illusory depth.

Span, from 2002, is a good example: the dialogue between the flat plane and three - dimensional components is subtle and consistent.

By exploring the relationship between the flat plane of a canvas and the basics elements of artwork and sculpture — color, shape and composition — Frank Stella created his Black Paintings.

Not exact matches

The research, which was supported by the National Science Foundation and reported October 11th in the journal Proceedings of the Royal Society A, involved building a computer model to simulate the interaction between the two facets of a folded sheet, including how easily and how far the folds would bend and how much the flat planes would deform during movement.

Past the 50 AU point, the study authors explained, the orbital plane should be relatively flat — but it isn't, and between 50 and 80 AU, it actually bends away from the expected plane.

Even Ferrari's hometown is a cross between an automotive Vatican and a flat - plane - crank version of Vegas, with gift shops, shrines, and museums celebrating the prancing horse.

Reading between - the - lines, the new AMG V - 8 could have a flat - plane crank, which makes for optimal exhaust - pulse phasing for turbochargers, but results in a flat exhaust note that sounds similar to a four - cylinder.

The Asterion, like all Lamborghini cars, has clearly defined lines, separating flat planes from the side of the car and distinguishing between panels.

American Airlines has great premium class cabins with lie - flat seats between New York and LA and San Francisco in their new A321T planes.

Highway overpasses, empty offices, cityscapes, and even public figures» faces are reduced into planes of flat color, which the artist carefully paints in taped - off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon - like animation, and mass - produced perfection.

The flat plane of the field, with its painted boundaries can be seen as a metaphor for the canvas — and in this way the painting becomes self - reflexive and the act of painting itself the true subject of the work, thus demonstrating a clear tension between the image and its reference point.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

These hollows are almost identical in width and height, but the configuration of the indents themselves alternates between hollows with a flat plane at the bottom and a curve at the top, and hollows with a curve at the bottom and a flat plane on top, giving an undulating, wave - like appearance to the channel of vertical concaves engraved in the wood.

Oscillating between two separate works, Thomas's painted homage to Sojourner Truth's 1851 speech of Black female empowerment, «Ain't I a Woman,» and a religious altarpiece, Diptych presents the sexy, Black female body sculpted out of flat planes of primary colors in two dimensions on the left (a gesture reminiscent of the painterly techniques of her idols Jacob Lawrence and Romare Bearden), and in a televised two dimensions on the right.

Also represented here is work by Rafael Soriano (1920 — 2015), whose style is generally characterised by a dynamic interplay between planes of colour and flat, angular, geometric forms.

Brazilian artist, Hélio Oiticica, was occupied by the attempt to liberate colour from a flat, two - dimensional plane and the removal of the space between the art object and viewer.

From there, his almost flat, almost abstract works, with their contrasting planes of colour and reminiscences of doorways and cheerful bunting, provided Brazilian artists with a bridge between the bright, figurative paintings of Brazilian modernists such as Emiliano di Cavalcanti and Tarsila do Amaral and the geometric abstraction of the 1950s Neo-Concrete movement and Grupo Ruptura.

One can also trace a lineage between the jet - age Googie architecture of the freeway and Smith's unstretching of his canvas, disrupting the flat plane of the painting into sculpture signage.

All three artists, in quite different ways, wrestle with spatial issues inherent in painting — indeed that is the strength of their paintings ---- there's tension between opening up deep pictorial space and reasserting the flat picture plane, in conversation with painting's materialism and objectness.

«I think that many people in that group were interested in this kind of magical moment, when you experience the illusion of space but something immecliately snaps you back to the flat plane, and there's kind of a freefall in between those two experiences,» she told Eichholtz during her talk.

It also refers to the kinds of flat surfaces and literal screens used within the exhibition — in this way, these screens can be seen as planes in which latent and manifest content are contiguous and the distinction between collective and personal content is blurred.

And I think there is a tremendous distinction between this kind of internalized abstraction and what Greenberg called color field painting, which is nothing but color design on a flat plane.

Early in 1940 we managed to find a small house and for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate enough to have constant contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.

The subjects allow the artist to explore the relationship between deep space and the flat plane of the picture's surface.

Many of these clay forms feature flat planes marked with transferred drawings, situating them in an interstitial territory between sculpture and sketch.

I'm always trying to activate the space between the object that's really about this flat surface on the wall and the space between it and the viewer, so that the viewer is engaged perceptually through the movement of the strokes, the opticality, and in following my body's movement across the picture plane like a kind of mimesis.

EH: I like finding a balance between the flat geometric planes and the illusion of landscape.

The spatial relationships that exist between these abstracted forms are exploited by the artist through her idiosyncratic use of bold planes of flat colour.

Encapsulating his distinctive «push and pull» technique of implying space while asserting the primacy of the flat canvas, Auxerre demonstrates the robust way in which Hofmann's paintings dramatize the dynamic oscillation between volumes and voids on the one hand and two - dimensional color planes on the other.