Sentences with phrase «created shaped canvas»

For several years, Gibson has created shaped canvas paintings incorporating rawhide as support material.

At the same time, knowing that African American artists had for years been largely expected to make works of social realism, and the ambition to make abstract works every bit as important as Helen Frankenthaler or Morris marked a equally revolutionary statement of artistic freedom, the abstractions of Bowling, Gilliam, Thomas and Ed Clark — who created shaped canvases, sweeping paint across them with push - brooms — are no less arresting.

Mary Lynch in Studio 339 creates shaped canvas wall sculptures in a variety of sizes and colors.

In 1967, Reed began creating shaped canvases, gradually adding more sides in each new series and producing a series of shaped canvases.

Not exact matches

I had seen several ways of using buttons to create a frames canvas for Christmas, so I played around and made this heart shaped creation.

The big open collar balances out the boxy shape and along with the buttons, breaks up the canvas that is my bust and torso and creates a slimming vertical line.

As noted by curator George Kinghorn, in his introduction to Freeman's current exhibition Three Chords, the «forms that inhabit these canvases (several of which are elegantly shaped) create dynamic interactions — the hard - edged thickened lines quiver, rotate, stretch and sag.»

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.

Here she has glued standard penmanship paper onto stretched canvas to create an abstract shape, and then drawn and painted over this collaged ground.

In these paintings, gestural lines sinuate around, sometimes emerging into vague shapes, other times into obscure forms, creating a rich schema of marks, symbols and colors - self - contained and relating to each other within the boundaries of the canvas.

Her eccentrically shaped canvases employ a light touch and modest approach to create deceptively simple compositions that seem to will themselves into being through cumulative color washes, brush strokes and a sidelong color palette.

An iconic Minimalist, Robert Mangold is a past master at using colors and forms in unexpected ways, fusing differently shaped canvases and drawn shapes to create new, formalist structures.

The layering of imagery creates a push - pull effect, where the shapes on the canvas seem to exist on different planes.

She is primarily recognized for her shaped canvases, first created in Havana in the 1950s and further developed while living in Havana, New York City, and Madrid.

Sánchez created her first shaped canvas in the early 1950s, and subsequently developed her signature style of stretching canvas over wooden armatures while living in Havana, New York (1962 - 1966; 1968 - 1970) and Madrid (1966 - 1968).

During the 1960s and 1970s, Smith extended the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence.

The «Open» series was born when Motherwell noticed the enticing «congress of shapes» created by a smaller rectangular painting leaning up against a larger canvas in his studio.

He then poured paint on the back of the work and shifted the canvas to create different shapes.

We see this in Took the bed out, Flew Kites and Saw the seeds grow (2015), where the skin is tightly affixed and flattened to the canvas, causing little - to - no distortion to the more distinct shapes that Otero has created.

Taking a delicate step forward, «Future Proof» breaks away from the confines of right angles creating canvases that have a broader dialogue with the shape of the canvas and the paint on its surface.

Charles Hinman born 1932 in Syracuse, New York is an Abstract Minimalist painter, notable for creating three - dimensional shaped canvas paintings in the mid-1960s.

Below you can see 3 of the shown artworks — inspired by graphic and geometric shapes and created with acrylic and spray paint on primed duck canvas.

These shapes push the canvas out from the wall and create the volume in his paintings.

The sinuous lines combined with round cutout shapes create harmonious movements and unexpected surprises within the flat surfaces of the canvas.

Jack creates these shapes by using caustic chemicals (paint stripper and bleach) that removes the paint from the surface of the canvas raising issues of defacement and destruction.?

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

A more recent series consisted of abstract compositions made of many unpainted canvases, stretched over irregularly shaped frames; these monochromatic works employ negative space and geometry to create abstract compositions.

The bottom of each canvas is coloured by dark blue ink that has been absorbed upwards to create organic, corallike shapes, above which wispy tendrils of blue reach yet higher.

Butler isolates shapes, colors, and objects, arranging them on empty canvas supports, creating ambiguous and ironic images that evoke a make - something - from - nothing aesthetic.

Smith has pushed her dots into amorphous shapes as layer upon layer builds and extends across the canvas» terrain, creating a dynamic composition that engages the eye to move and explore.

Opening: «Mike Kelley: Shaped Paintings» at Skarstedt Never previously exhibited as a group, Mike Kelley's shaped canvases of the 1990s marked the bad - boy artist's return to painting after a productive 15 - year period creating performance, multimedia and installatioShaped Paintings» at Skarstedt Never previously exhibited as a group, Mike Kelley's shaped canvases of the 1990s marked the bad - boy artist's return to painting after a productive 15 - year period creating performance, multimedia and installatioshaped canvases of the 1990s marked the bad - boy artist's return to painting after a productive 15 - year period creating performance, multimedia and installation art.

In the early 1980s, he produced his first «Metal Works,» in which he shaped canvases and cut metal to create abstract three - dimensional images.

Inside these baroque forms are uniformly sized blocks, each square its own pure color, sometimes only subtly distinguished from neighboring colors... Gordon's shapes are carefully molded in heavy impasto paint with a palette knife, a bas - relief in color that pops off the canvas... [Diamond] uses nature - based drawings to create forms that at first glance resemble figures but after closer study escape into the realm of the imagination.

In celebration of the artist's ground - breaking contribution to the history of art — his shaped canvas — the exhibition brings together works created from singular forms, in singular colors, spanning over forty years.

Mangold became known for his use of shaped canvases, often creating works of art that weren't merely square, but that incorporated the shape of the piece in order to enhance the painting.

To create his works, the artist places his canvases on the floor and allows pigment to pool and run, forming abstract shapes.

For instance, in his 1983 - 1984 exhibition at the Paula Cooper Gallery in New York, titled Frame Paintings, the artist used canvases without centers — creating, as the name of the collection implies — paintings that were shaped like frames.

Many of the canvases were slanted and bolted together to create diamond shapes that were combined with rounder shapes that Mangold himself has described as looking like heads, or egg shapes.

From the entirely gestural, slashing brushwork of the 1950s, Mitchell in these works introduced a more finely wrought formal manner, creating self - contained, vortex - like shapes centered away from the canvases» edges and working in more complex color schemes than ever before.

Such as as his series, Ellipses and Frames, where he focused on creating works that featured round shapes on canvases that were shaped like frames.

When he is satisfied with a particular drawing, he transfers it onto canvas by tracing the forms and masking out certain sections with tape to create lines and shapes.

He is known for his colorful and messy canvases, often blending splatters of oil paint with slashes of marker to create figures and shapes rarely situated in any tangible scenery.

Maintaining a persistent focus on the dynamic relationships between shape, form and color, Kelly was one of the first artists to create irregularly shaped canvases.

His paintings similarly strive to produce rich sensory experiences, but through the use of just the colour red: molten red wax streams down the canvas, dripping and congealing to create shapes evocative of human orifices.

While Remi's art has always been about creating dimension within the depths of a canvas or a wall, his new works have taken that idea in an exciting new direction, by transforming a three dimensional object such as a skull through the application of paint and by extracting complex shapes from the flat canvas into sculptural forms.

For his exhibition Cloud has created a selection of multi-layered paintings on his signature shaped canvases, newspaper collages made up of clippings from various New York dailies and large - scale paper quilts composed of photographic fragments.

Just as Fontana helped found Spazialismo with his punctured canvases, for decades Simeti has broken through key tenants of minimalism to explore the play of light on shapes created on monochromatic and tactile canvas surfaces.

Applied on canvas, acrylic and aluminium, a multitude of objects, shapes and characters, from history, politics and high and low culture circulate in decentralised, non-hierarchical space, creating a sort of mental cartography.

During the 1950s and 1960s she was exploring with different textures, forms and various media, bringing some suggestive design, as well as attractive, mysterious shapes, and stripped canvases which became her distinctive mark later in the career, creating her unique visual identity.

According to Sarah Whitfield, curator of a 2000 survey of Fontana's work at the Hayward Gallery, London, «Contained within the uniformly egg - shaped canvases, these scarred and demolished surfaces appear extraordinarily calm... By containing the turmoil of cosmic terror within an image of fertility Fontana creates a space where the most distant polarities finally meet and close together.»