Sentences with phrase «canvas out of paint»

In his recent «Made Ready» series of paintings, he explores the process of making canvas out of paint.

Not exact matches

Over the last few years, Adams has been working on a series of paintings that feature bold chevrons running across the canvas, or diagonal lines radiating out from a triangle anchored to the bottom of the canvas.

We might choose an artist to support monetarily or with encouragement and prayer for a month, connect with local artists and find out what their supply needs are (paint, canvas, etc. is expensive), invite an artist to paint live at an event, commission them to make art for your family or one of your church's ministries.

Choose from over 25 different wooden cut outs or paint a canvas — every child brings home a work of art.

I painted some canvases for my mantel but one of them didn't turn out exactly how I wanted... Oh well.

The gradient created with the colors comes out as a canvas of oil paints.

I like to paint and listen to music as my emotions come out on the canvas according to the type of music I'm listining to.

Joan assessed the crowd, lighting upon the most interesting: young men turning white T - shirts into art, pinching the material tight and rubber - banding each section until they looked like porcupines being dipped into huge steaming vats of colored dyes; the young woman with a bird's nest of purple hair sitting at a potter's wheel, slamming down hunks of clay, her hands moving nearly as fast as the wheel, cups, vases, plates, bowls, trays, appearing like magic; the elderly man in a worn blue linen suit, a jaunty straw boater on his head, a smeared palette tight in his hand, painting a mammoth canvas of people on a beach staring out at an ocean where a sailboat bobbed in the distance, though he himself was standing in a mowed field; the handsome young man at an old - fashioned school desk, a manual typewriter in front of him, a stack of paper to the side.

Tucson - based artist Kyle Kulakowski specializes in video game - inspired black velvet paintings, a medium that uses black velvet in place of canvas, allowing vibrant colors to pop out more against the dark background.

Each assassination is accompanied by a spurt of red paint that jets out from the enemy in streaks and splotches, and the backgrounds look like a canvas come to life.

She further develops the complexity of her compositions by adding oil painted motifs that mimic her original marks, saturating portions of the fabric with pools of solid color, and interrupting the surface of the canvas by cutting out sections to create mysteriously dark breaks in its form.»

As a consequence, I stopped painting on canvas and started to make reliefs out of construction materials.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

They were eccentric shaped canvases made out of doors and still wall based, but breaking out of the rectangle... Everything about Braque was the antithesis of good painting, which was loose - limbed, open and daring.

Animals have become unlikely companions — wild Horses painted deftly with tonal accents or ducks rendered in pastel colors — with an enigmatic sense of drama, we experience the great theatre played out in oil on canvas.

And the belie the enormous amount of distilled thought, and raw life force behind the artist's work: Turns out the black - paintings series was born when Stella blacked out a multicolored canvas in a fit of frustration at how the piece was progressing.

They also push all - over painting hard enough to squeeze out almost all of Pollock's or Frankenthaler's bare canvas, although Gualdoni uses gaps and concentric black circles to suggest a bursting through.

There they saw her massive1952 work, «Mountains and Sea» — tinted with buckets of fast - drying, thinned out acrylic paint that she poured and dribbled and pooled onto unprimed canvas.

Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7

The flower shapes, emblematic of the Matisse cut outs, sink into the canvas to create a stunning abstraction yet they're lifted by the texture of the brushstroke or the impasto of the paint.

The young Brooklyn - based artist presents a new group of paintings made from sheets of plywood that she cuts into organic shapes and covers in canvas, from an ongoing series she's dubbed «cut outs.»

The paintings that particularly seduced Mr. Grotjahn were what Mr. Guyton calls his flame paintings — black canvases with a menacing - looking flame shooting up from the bottom (again, something the artist ripped out of a book and scanned).

To do that, Frankenthaler diluted her paint, thinning it out so it melted into the weave of the canvas and became the canvas.

She uses odd humor, interior logic, and palimpsest - like surfaces — evidence of her working everything out on the canvas, to create paintings of abstract characters in imaginary worlds.

He then used paint pouring as one of several techniques on canvases, such as «Male and Female» and «Composition with Pouring I.» After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his «drip» technique, turning to synthetic resin - based paints called alkyd enamels, which, at that time, was a novel medium.

Each of these stretched - out paintings (which are made on separate abutting canvases or, in the case of Chemin de Peinture, a long roll of paper) recapitulates nearly the whole of 20th century painting from Constructivism to Abstract Expressionism, Neo-Dada, Minimalism and Neo-Expressionism, but because of the extreme horizontal format, artist and viewer are constantly treading into unknown territory.

These playful fantasy realms are upon closer inspection macabre theaters of politics and war: watercolor paint bloodies the canvas, and sinister global machinations play out in abstracted landscapes populated by faceless figures and dominated by oil refineries and labyrinthine pipelines.

Arguably — and often labeled — the greatest painter of his generation, Luc Tuymans signals in every canvas the necessary limits of the medium, even the coda to its drawn - out death: his reliance on fleeting photographic and filmic imagery, his refusal to spend more than one day on a canvas, and perhaps most of all, his indifference to craft bring the Belgian artist into head - on confrontation with painting, and endow his subjects — from the untouchable (the Holocaust) to the pedestrian (flowers, pigeons)-- with an unmistakable air of violence inflicted.

Borne out of Modernist painting as well as «action painting» — a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied — this theme extends to present day, where brushstrokes fade away to innovative mark - making techniques or performance and video.

We sit close to the paint - streaked working sheets that coat the floor of his studio as his assistants bring out each canvas and Iranna tells the story behind it.

A fitted bedsheet loosely draped over a large canvas, it turns out, was actually made out of acrylic paint.

Sakaizawa's iterative process makes similar use of the canvas, as layers of paint, applied in dozens of identical gestures, build out beyond a two - dimensional surface.

The crude texture of her characters» skin, the brash and deliberate outlines that define the exaggerated figures within tableaux, the patches of thinly applicated paint that barely cover the ground, or the dug - out passages of drawing that carve into the surface, are all archeological — as if she was unearthing some hidden pattern that was embedded into the canvas all along.

Maritime paintings by James E. Buttersworth, an inherited canvas by Mary Cassatt — a friend of the Stillman family — and a portrait of George Washington by Gilbert Charles Stuart round out the American Art highlights.

I have bronzes out in the studio right now that I'm painting and I'll pull a colour that I'm particularly excited about and apply it to a bronze and it's not like, then I staple a bronze to a canvas, but I make drawings of the bronzes, too, so it's like self - cannibalism.

So did Yoshida Toshio's burns in a panel, Tanak Atsuko's sand drawing, Montonaga Sadamasa's nails coming out of a pillar, Shiraga Fukiko's bullet holes, Uemae Chiyū's glue and sawdust, Shimamoto Shōzō's hurled bottles of paint, or Murikami Saburō's passing right through the canvas — and the leftover unsettles the closure of a performance just as deconstruction would predict.

this imbalance of didactic talking stood out best in that amazing moment when the two characters actually switch gears to do some something physical: without a word, they take a good 5 - 10 minutes to prime a canvas with that rusty red paint.

Each work is a vast picture made up of smaller paintings, which the artist cut out and glued to the canvas.

After studying painting at Wesleyan, Ligon moved to New York and, as the curator Scott Rothkopf has it, «churned out belated Abstract Expressionist canvases» (a smattering of these pictures can be seen in America).

This drawn - out process is contrasted with the almost instantaneous character of other pieces — a sudden splash of paint across an unprepared canvas — forming a body of work that, as a whole, is as lively as it is considered.

Stacks of Styrofoam shards rise out of the seductive mountains of color, mirroring the white of the gallery walls — the metaphorical canvas of Grosse's tremendous painting.

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

Executed with inkjet and airbrush on canvas, he offers the viewer no time out - it is even difficult to grasp where the surface of these paintings begins and ends.

His drips, stains, and brushstrokes have a greater momentum, as if paint had exploded out of the can and landed on Mylar or canvas.

Commonly working with the canvas laid out on a table in front of her, she painted at such close quarters that it was almost impossible for her to see the whole picture while she worked.

In a market moment obsessed with the often - spurious aesthetic innovations of its youngest artists, Honor Fraser's booth provided a welcome measure of historical perspective, showing paintings by fresh - faced stars (bent canvases by Kaz Oshiro, KAWS's latest abstractions, a big Sarah Cain) alongside some pretty cutting - edge compositions that turned out to be by — shocker — a bunch of supposedly tame midcentury names.

The deep electric - blue background of Composition, for example, is so thick it looks lacquered, yet the rainbow - colored mass in the foreground is so lightly painted you can see flecks of raw canvas, as though the figure were hollowed out of the ground rather than imposed on top of it.

Executed with layers of paint, glitter, resin, pointillist dots and collaged images of genitalia cut from porn magazines, an elephant dung breast protrudes from large - scale canvas which is perched on two elephant dung balls embellished with map pins that spell out «virgin» and «mary.»

Mechler almost empties out the canvas of any objects in order to focus entirely on what he describes as a psychological confrontation with painting.

This extra-extra-large pizza, on the other hand, drips with wall power to spare, with pepperoni made from painted canvas and other toppings, like olives and onions, astonishingly created purely out of built - up paint.