Not exact matches
Compositional elements: space, light, form, and in particular
color, are essentials in his works, «combining with the perception
of the viewer to create an individual and particular experience.»
The beaded paint that braided veins
of color reminded me
of the pulsing welds David Smith used as
compositional elements, fusing the steel plates
of his sculpture.
Rolls
of film or 16 mm projectors often become
compositional elements in kinetic sculptures that project sequences
of colored light, focusing attention on the idea
of movement and rhythm.
One could also link her art to the opposing convention
of colorito, a term usually applied to 16th - century Venetian painting in which
color is employed in a dominant manner, for sensual expressive purposes and as an important
compositional element.
The people working with these
compositional elements were trained as
Color Field and hard - edge painters, many
of them taught by European modernists who emigrated to the United States, including Josef Albers, a Bauhaus professor who taught at Black Mountain College in North Carolina.
His architectonic approach utilizes a deliberately restrained scale and a limited
color pallet to enhance the viewer's awareness
of the interplay between
compositional elements as well as the sense
of space suggested by the reflection vs. absorption
of light by his canvas's pigments.
The intrusion
of raw
elements from the real (
colored protective film for car glass, rubber bullets, palm leaves, inks cartridge printers or foil) joined this «perceptual approach to reality» dear to the New Realists, as well as the positioning
of natural
elements and «poor products»
compositional elements in Arte Povera.
The void is an important
compositional element, emphasized by the diffusion
of highly - keyed
color and accented by a harder - edged application
of black.
Cultivating his own sort
of synesthesia, Bavington assigns musical notes to tones
of color and
compositional elements, so that his paintings seem to pulsate and reverberate with rhythmic bands
of synthetic polymer paint.
The materiality
of the
colored medium (which Jackson Pollock had so recently exalted in his all - over drip paintings) became negated, literally fusing with the fibrous surface
of the bare canvas support, which, in turn, became its own engaging
compositional element.
The «Overlays» also represented a fertile moment
of formal experimentation as Semmel began exploring
coloring and transparencies,
compositional elements that she would continue to refine into her present day work.
[vi] As noted by art historian Robert Hobbs, Hofmann's «painting sessions were particularly rewarding for Thomas who was alerted to the emotive potentialities
of color, the need to work contrapuntally in terms
of positive as well as negative spaces, and the significance
of taking the overall dimensions
of a given canvas into consideration as key
compositional elements.»
The pictures all contain a number
of repeating
elements: a horizontal band along the top
of the canvas punctuated by a
colored circle (like Forrest Bess's horizons, or celestial bodies); tidal flats beneath the cliff that become an oversized U-shape; an island just off the coast, a
compositional anchor; the ocean tide coming in underneath him; and radiating waves
of color, reminiscent
of Charles Burchfield's mystical swamps.