Sentences with phrase «color moves the viewer»

The Washington Color School artists used geometric arrangements in all - over compositions to explore how color moves the viewer rhythmically across a canvas.

Not exact matches

The vibrant colors, rousing music, and moving story will leave viewers alternately delighted and emotional.

Viewers came to understand that a better experience was available if they moved to color, and so, eventually, they (almost, I guess) all did.

I would like to think of my sculptures and installations as something that moves the viewer, the colors of my work are the colors in my brain, in my dreams, in my imagination.

When viewing the work, the eye of the viewer can follow a color across the picture plane, he can see how the color moves and vibrates as it changes gradually in value, temperature, intensity or hue.

Shields challenges the viewer to move around his work as one does a sculpture, and color always stimulates my tendency to guess the theoretical underpinnings of the use of a spectrum.

Seeking to extend the imagery of his websites, Rozendaal began making lenticular paintings that appear static when seen from a fixed point, yet become animated revealing new colors and dimensions when a viewer moves.

Colors mutate, fade and intensify, seeming to hover just above the surface of the room like a prism, materializing the unseen shifts of light and air as the viewer moves through space.

The viewer was invited to move the screens on their hinges to explore the optics of the fiber, color, and graphic designs.

Multiple colors move through each painting, taking the viewer along many and varied paths to visions -LSB-...]

Multiple colors move through each painting, taking the viewer along many and varied paths to visions both expected and unexpected.

The artists whose work principally addresses painterly issues — Emily Berger, Hovey Brock, and Karen Nielsen - Fried — all rely to a greater or lesser degree on the illusion of space to move the viewer's experience of color in their work beyond the simply decorative.

Moving from one drawing to the next the viewer will also discover thickets of angled sticks; lightly rendered floating lozenges; surprisingly colored vortexes; compilations of line passing as broad brushed symbols; hermetic compositions repeating within the same drawing; forgotten hieroglyphs becoming form; atmospheres menacing and combative and others lighter than the last wisp of sun - dissipated fog.

The works will range from wraithlike sculptural works like Ground Control (2008), a black helium balloon that moves around slowly and freely in one of the gallery spaces, to video works like Dream Machine (2006), in which the three primary colors alternate frame by frame at 24 frames per second, producing a jarring, disorienting effect on the viewer.

However, when the viewer moves, the images become animated, revealing new colors and dimensions — the imagery fluctuates as a result of the viewer's movement.

Sounds of bullets and vague colors dominate the screen reminiscent of war footage but as the camera moves away from the wall it's already facing you realize you are in the interior of an experiment: a chamber in a busy place where the viewers are not let in and are controlling while watching an attack of color from the outside.

For example, Total Recall (2017) features a patterned velour atop Dault's composition of blue and yellow forms; as the viewer moves around it, like a lenticular print, the fabric changes color and appears to rise from the surface.

True to form, light plays a significant role in these sculptural installations — like colored crystal balls that form a rainbow and an immersive mirrored environment — where viewers must move and change perspective in order to fully experience the art.

These lenticular paintings appear static when seen from a fixed viewing point, yet when the viewer moves, the images become animated, revealing new colors and dimensions.

This color is itself cut with beeswax, at a low enough level not to conjure up associations with well known purveyors of the encaustic technique, like Jasper Johns and Brice Marden; it instead increases the sensation of the paint as dense and saturated, and gives it a subtle, changing play of light over the surface as the viewer moves around the work.

The abstract art that he called «perceptual painting» — sharply delineated lines and sections of color that seemed to change or move based on the light and the viewer's movements — made a major cultural impact when Stanczak's first show, Optical Paintings, opened in New York in 1964.

Grosse's works are highly performative; as viewers move through them, tracing the artist's gestures, their own actions are in turn framed by the color - saturated backdrop.

His sculptures enter the space of the viewer allowing one to move freely around its brightly colored and geometric edges.

Over a short span of three collages, the viewer moves from an abstract arrangement of brightly colored squares by Alfred Leslie, to an egg shaped collage of pastel colored fabric cubes by Anne Ryan, to a Joseph Cornell collage composed of pre-existing imagery and geometric drawing, all without batting an eye.

Swain's work moves the viewer to not just see color, but also to think and experience it.

To hide unappealing elements of architectural interiors or hide ugly architectural elements you can move them further from a viewer by painting theme the same color with walls and window curtains.