Sentences with phrase «coloured painted shapes»

By the early 1960s Smith has developed his distinctive «Correspondence» series, which typically consist of two vibrantly - coloured painted shapes defined by a precise but often irregular contour.

Not exact matches

Tricks include painting a wall that people are required to head towards a specific and different colour or subtly changing the shapes of information signs to denote a different part of the airport.

Leaf printing is easy, we simply stuck a piece of card the same shape as the leaf to the back of the leaf, pressed in into some lovely Autumn coloured paint (we love ready mix paint from The Consortium) and pressed into our paper.

We talk to Justine Nettleton from Art You Wear — a fine artist who creates jewellery inspired by the marks and colours of her paintings and shapes in nature.

It's a simple craft, but it packs in lots of opportunities for learning: painting, colour - mixing, shape recognition, cutting, and gluing, to name a few.

I decanted 6 coloured paints into the plastic cake container and cut out 3 butterfly shapes by folding the paper in half drawing half a butterfly and then cutting it out.

Back at home, he converts his mental maps into large paintings which use solid, brightly coloured shapes and high - impact graphics.

Eight GT shaped molds are finished in each paint choice and various different coloured bands can be placed over them to simulate the GT's iconic double stripes.

The cars all have their own body shapes and can be painted with a choice of neon colours, nothing spectacular but you can at least have your favourite colour on display.

In this pastel painting class, popular tutor Cath Inglis looks at the simple shapes that make up an iris flower and how to make it jump off the page using complementary colours.

American artist Mary Heilmann's (b. 1940) career spans five decades, from her early geometric paintings made in the 1970s to her recent shaped canvases in day - glo colours.

The abstract shapes, which are reminiscent of suns, moons and overlapping landscapes, are painted in bright, primary colours.

Likening her to twentieth - century predecessors, such as Henri Rousseau and Florine Stettheimer, who found renewal «in the bright colours and crude shapes of an art that seems artless,» Jones sees in Wylie's work «a way forward for painting in this century.»

He defines systems in his work as «a way of communicating an intelligible idea in terms of shapes colours and forms, or an organisation principle that I predetermine and allow to run to see what the outcomes will be...» In his painting here, Triangles within a Dodecagon, he takes the regular twelve sided shape as its starting place and bases an equilateral triangle between two of the vertices, or along one of the sides.

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

To grant pure abstraction its utmost wish is to say that it is a painting in the same way a table is a table — there is nothing to it apart from that formation of shapes and colours on canvas or board.

Drawing on the DIY aesthetic of punk, dub and early hip hop music and the tradition of street fly - posting to promote gigs and events, Simmons» rainbow saturated coloured paintings reveal traces of the long forgotten individual and collective creative voices that have informed and shaped contemporary culture.

Aluminium on flesh colour painted canvas (mushroom shaped grinder), table and electrical candles

These small luminous paintings are full of unusual colours and unexpected shapes that simultaneously reveal and conceal a face.

Humanitarian and ecological concerns have shaped his artistic practice for more than 20 years, whether narrating the lives of fishermen, collaborating with a hospital surgeon, capturing the light and colour of the River Thames, or travelling to a remote part of Scotland to paint a writer's house.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

Instead, colour plays an important role in these new paintings, creating sensual and lively pictures that suggest organic and anthropomorphic shapes.

Referencing organic shapes, his oil and acrylic paintings on canvas and paper expertly utilize the single gesture to represent an entire form, delicately balancing soft effusions of colour against the frenetic energy of the mark.

I hope it is not too grand to say that when looking at this painting I find that I am thinking first about what a strange thing this is but then about what a strange thing I am, that I can find many different ways of seeing such a «simple» arrangement of colour / shapes.

Often working in series, her painting continued to move between recognisable and imagined forms, revealing her sensitivity to colour and shape extracted from the environments in which she found herself.

In this way, the colours become interdependent and determine the structure of the painting rather than physical shape or pattern.

Simpson grew up alone with his mother, and when his uncle took him to his first football match at the age of seven, what caught Simpson's attention was not the game but the colours and shapes: «From that point on I drew and painted... That was how I began to work with painting, and it didn't stop.

«TAKE ONE SHAPE» showcases a hybrid of painting and sculpture, a refined visual vocabulary of form and colour.

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

Fletcher is interested in shape, colour and the natural world along with the material qualities of paint, enjoying its texture as he uses it to build form.

Her recent paintings, mainly depicting brightly coloured landscapes distilled into simplistic, pared - down shapes like Untitled (shown above), are painted from memory and recall the artist's childhood in Beirut and her life in California.

His experimental castings proliferated and became a repository for his relief paintings of layer upon layer of organic shapes covered in luminescent, hyperreal colours.

From 1993 onwards Smith also returned to painting onto regular canvas supports, where the sense of internal shape was once again determined through the application of colour.

It is often remarked that, with their flattened perspectives and bold shapes and colours, Gursky's photographs can be read as paintings, and it is easy to pick up this thread at the Hayward Gallery.

Often crumpled in an industrial crusher and spray - painted in bright colours before being welded together into their final shape, his abstract sculptures are now being placed within the gallery and gardens of Inverleith House, the outdoor location drawing out an unexpected organic quality in the artist's heavy metal works.

A drawing such as Study for Black Curvesmay, indeed, have given rise to the painting Black Curves, but in other instances a curve, a panel, a colour palette or a relief will have gone through intense rethinking and reshaping before emerging on a canvas or in a shape of steel.

Unidentifiable forms and shapes in intensely bright colours — the first impressions of Darío Urzay's paintings are visual excess.

Shaping Forms (2007) is a collection of three videos that brings Edmunds» data - centric concerns back into the environs of colour - field painting and Abstract Expressionism.

White space is clearly as important to Holyhead as the application of colour, the tension between the two is an intrinsic aspect of his compositions, with crisp, stencil - like geometric shapes cutting into flat translucent areas of wash, heightening both gestural process and media and making artistic intentions — an investigation into the enduring possibilities of painting — subtly present.

Anthea Hamilton — renowned for her bold and humorous works that often include references from the worlds of art, fashion, design and popular culture - has designed seven costumes in collaboration with Jonathan Anderson, LOEWE's Creative Director, that incorporate the colours and the shapes of different varieties of squash or pumpkin; many of the silhouettes of the costumes, made with materials such as hand - painted leather or painted silk crepon, were inspired in designs from the 1970s.

Bernard Cohen's paintings are recognised for their complex pictorial language, in which densely woven lattices of line, shape, pattern and colour are explored as a way of processing and recording lived experience.

These provide instant, ready - made abstract compositions; their geometric shapes and rainbow palette again aesthetically reference the 60s in the form of Bridget Riley «s colourful Op Art canvases or, more recently, Gerhard Richter's painstakingly uniform «colour swatch» paintings.

For Incident in the Museum 1, Bram transforms the gallery space through a series of dynamic, geometric shapes and planes of colour that are determined according to six perspectival vanishing points (two to each painted wall) which derive from three designated points outside the gallery.

But on it went, altering and transforming through op - art, lyrical abstraction, colour field painting, minimalism and so on, to the point where nobody now would imagine that this once curious obsession with shapes and colours and non-descriptive marks is likely to come to an end.

Though new to Riley's lexicon, these shapes can be traced to the artist's Deny paintings of 1966, which feature gridded circular forms created during a period when Riley began to experiment with colour — and incorporated grey tones into her compositions as a chromatic intermediary between black and white.

Like his American counterparts, Law's canvases strip back painting to monochrome stripes, blocky shapes and colour fields.

In his paintings, there is a notable playfulness in the shapes he fabricates with foam as well as his choice of brightly sprayed colours.

That type of invention is something I'm attracted to in other people's paintings — how reality is interpreted in paint, and how it's turned into shape and colour.»

Keserü was so moved by the experience that she felt the need to paint «a cavalcade of these shapes», creating a series of di - and tri - chromatic compositions in strong colours.

The three monochromatic wall paintings created for the Jean - Michel Wilmotte - designed gallery space are rendered in intense colour and each form is a subtly distorted geometric shape that activates the wall, disorientates the viewer, and almost seems to waver like a pool of water.