Sentences with phrase «between spatial perception»

The sprawling work, from 2013, established a relationship between spatial perception and physical engagement and was charged with powerful symbolic meanings.

Not exact matches

The first involves a spatial mismatch between the two pure modes of perception, presentational immediacy (PI) and causal efficacy (CE), in symbolic reference (SR).»

I shall refer to this as perception at a distance, meaning not the psychic otherness of anything perceived in the matrix of externally related events in relation to the act of perceiving, but the spatial distance between any attended event and the percipient, which itself is part of the matrix (CN 3; II 132f).

Both renowned artists turned to the projected image in the seventies, highlighting the shifting awareness of spatial perception in the interaction between illusionistic filmed space and a physical location.

Stephen Bram's site - specific, mural - scale wall painting continues the artist's ongoing exploration of the relationship between abstract painting and the representation of architecture and spatial perception.

The artworks presented in this exhibition incite multi-disciplinary discussions and interrogations with diverse readings, involving further forms of awareness and themes — from the significance of experience as a shaper of memory, captured by Veronika Pausova, Cynthia Gutiérrez, Barb Smith and Megan Pahmier, to the relationship between bodily movement and spatial perception, as seen in Mario Navarro, Francisco Ugarte, Adrián S. Bará and Javier M. Rodríguez's work.

Johnston is interested in the ways in which spatial depth is experienced and marked out, and mindful of the fact that this depends as much upon our perception of the voids between objects as our perception of objects themselves.

«Combining a handmade aesthetic with a range of materials, the works in «Facture» manipulate spatial perception and challenge the distinctions between sculpture, painting, photography, and video.

The exhibition will bring together recent work in which the Icelandic - Danish artist explores the human perception of temporality and movement through the spatial interaction between the viewer and the artworks.

Enamored with Sesshu's manipulation of the negative space between objects, McLaughlin further distilled the spatial plane, reducing crisp, ordered forms so that the viewer's perception is augmented.

The qualities and intentions attributed to Denny's paintings, of an interactive dialogue between the observer's perception of quotidian architectural space within which they meet the painting and the spatial illusions created by the paintings themselves — are actually qualities Denny had imbibed from Barnett Newman, in his paintings and his professed intentions (amongst other qualities)-- and so, to denigrate Newman's (and Rothko's) as subjective, «private» visions is completely unwarranted, but it chimes with Bunker's wish to portray «publicly engaged» art as somehow an advance on «high modernist» subjectivity.

This may mean an impaired sense of touch, spatial perception issues, vision problems, or an inability to differentiate between objects based on size, shape, or color.