Sentences with phrase «colour relationships»

According to the artist, his works, «begin as a problem of two or more colour relationships to be explored through form».

I've been painting all my life, mainly abstract colour relationships.

I wanted to provide new colour relationships that challenged the verifiable basis of a colour system or language.

Though they share common structure, the range of colour relationships feels almost infinite; from the polleny interior of the yellow and the discreet and «not - so» blush of the pink works, to the laden willfulness of both red paintings.

«So I think that coloured his relationship with me in terms of whether he should grant me an interview or not.

Her concentrated compositions engage the viewer in the contemplation of pure abstraction, in which colour relationships structure a luminosity that emanates, creating complex layers of space.

As well as monochrome paintings in this new format, in the Variant series, Albers used vibrant colour shapes which allowed him to closely examine colour relationships.

Colour as form, the potential for colour relationships to make light, space and temperature, structuring a world, culminating in the vitality and aliveness of a painting, or as Hofmann put it, The Real.

«The colours have become more vibrant,» he explains, with different colour relationships and compositions creating works «much looser, with more movement» than previous object / form derived compositions.

Painting No 48 (1913, Brooklyn Museum of Art) is a key work whose intricate geometric arrangements and colour relationships owes much to Robert Delaunay (1885 - 1941) and Kandinsky.

Blannin has responded to the fresco's particular chromatic properties by using a series of collaged drawings as the basis for paintings, whose oppositional and complimentary colour relationships highlight, balance and unbalance the symmetrical composition through the organisation of form and layers of paint.

Immensely popular, the show highlighted the illusion of movement and the interaction of colour relationships, neither of which found great favour from the critics.

Beard's work explores colour and mark - making, and the ways in which colour relationships can create a sense of depth, form and movement.

In his own work, Albers uses core compositional structure to examine colour relationships and visual perception.

Sophie Kumar - Taylors work explores geometry, distortion and optical illusions whilst experimenting with abstraction and colour relationships with her site - specific installations.

Often the same text appears on different compositions, demonstrating how form and colour relationships can change the way in which titles are interpreted.

The three exhibited are from a group sub-titled Cadence and Discord - terms which apply equally to music and to colour relationships.

In doing so, I always aim to capture a sense of depth and form using abstract elements such as colour, colour relationships, texture, mark - making and composition.

These form her starting point and from them she develops formal progressions, colour relationships and repetitive structures.

Although Stubbs is obsessed by his methodology, he can not accurately be described as a process painter because the associative power of the colour relationships and eroded imagery is both diverse and compelling.

The artist has pointed out that «in the colour relationship of the darkest oval with the ground the colour is far more pronounced that it is between the lightest oval and the ground, where you get a tonal contrast - almost a black and white relationship - happening instead, which knocks the colour down.»

Recent works have featured a formal play of rhythms, false symmetries and colour relationships.

Both artists (during the 1930s and 40s, at least) were leading exponents of geometric abstraction, engaged in a love affair with the grid, testing its formal properties and spiritual potentiality through a series a compositional scenarios and colour relationships.

It is simultaneously one thing and several things — you can never see colour by itself, it is always affected by other colours... Colour relationships in painting depend on the interactive nature of colour; this is its essential nature.

It also explained his aesthetics of spatial tension, colour relationships and overall pictorial structure.

And I don't understand this, or at least, I think it needs some further explanation: «Colours and colour relationships, in so far as they create light, do refer to phenomena of the natural world».