Sentences with phrase «creating illusory»

The blue paintings, predominantly ultramarine, were «tinted» with secondary hues, red or silver, for example, creating an illusory experience of color «aura.»

Hank Willis Thomas, Chris Johnson and several other artists produced a video montage from interviews with 150 African American men across the social spectrum, creating illusory dialogues that illuminate their shared concerns.

They created an illusory prosperity, which only they really benefited from anyway, and then expressed bewilderment when it all crashed down around them.

The game's ticking clock can create an illusory sense of urgency, but in truth, I've got all the time in the world.

Shutting down schools and reopening new ones is likely to create an illusory bump in some statistics — in this case the 6.8 % improvement in graduation rate.

Constructed from highly reflective stainless steel, the giant curved mirror surfaces will create illusory distortions of the surroundings and will be visible across large distances.

He creates illusory images and disconcerting effects that challenge the viewer's perception.

The third solo exhibition, Lineal Pathways, in 2014 explored Stanczak's return in the 1990s and 2000s to his more reductive approach of using just lines and a simple palette of only 2 or 3 colors to create illusory topographical surfaces that looked as though silk cloth had been draped over an array of structures on a flat surface.

Not exact matches

God is an illusory intermediary created for the definition of things we didn't understand but now we have the ability to see that Atheists are decent people.

With the illusory truth effect, repetition creates a sense of validity; in essence, repeating is believing.

Had the man in this fictional example not bound himself to honoring a self - created, illusory, mental category, he would have spared himself considerable pain!

Ken Wong, lead designer and illusory art wizard of Monument Valley (2014), is creating a brand new world: not fantastic architecture this time, but three desks in Melbourne, Australia.

In Ji's series Civilized Landscape, he explores illusory landscapes created by mankind: using maps and books, he sculpts mountains and skyscrapers in carefully placed installations before photographing the compositions.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s that included illusory and optical constructs exploring space and creating a tension between the two - dimensional and three - dimensional worlds.

By making something fake or synthetic feel even less convincing, I aim to create a more «authentic» rendering of the illusory nature we experience.

For Bildmuseet he creates a new work - an illusory three - dimensional landscape constructed as a collage of photographs cut apart.

The «Homage» paintings, begun nearly three decades later, create a sense of overlapping colour and an illusory depth and the luminosity of Albers's glass - works.

Glitches, bleeds and mis - registrations rupture the illusory field of the moiré, creating visual noise and also highlight the basic tools at work: taped - off line patterns and paint on canvas.

The illusory effects were, and still are, created by taking advantage of meticulously executed combinations of the vibrational pairings of colors, fluorescent paint, use of line variations, geometric shapes and repeating patterns.

With hand - built cameras and vintage photographic paper, McCaw creates unique pieces documenting the sun's movement through illusory land and seascapes.

Through recent installations that include filmed performances, where projections of the «ghosted» human body wash over sculptural elements, the artist attempts to create an alienating / disorienting illusory effect that reflects an increasing loss of the corporeal gesture in the every day, the infinite attempt at calibrating the body to technology, as well as the entrapment of the human psyche within it; manipulating and playing with memory, space and time.

Citing a desire to revisit fifteenth - century Italian painting in which figures are situated within highly detailed architectural spaces, Larsen began to create narrative scenes that upset any sense of the illusory perspectives of traditional representation.

Boll's works included in the exhibition have been selected for their particular explorations of space, both inside and outside the frame, and the interplays they create between illusory and physical planar depth.

Often portraying illusory situations at twilight, Müller - Franken heightens the drama of his compositions by creating transitional moments that merely allude to what has or what will transpire.

Created at the height of postmodern theory, Kasten's Architectural Sites submits iconic buildings to distorting angles and colored lights, thus transforming already vertiginous structures into truly illusory spaces.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

This series of paintings is fresh and exciting with novel compositions and illusory effects that create a tension between the two - dimensional picture plane and three - dimensional space.

Parlour's work possesses multiple paradoxes; the transparent colour in concert with the white ground beneath, creates the illusion that the paintings are in fact screens, and the work is otherworldly, imbued with the artist's illusory and tactile process.

Colour and space were to take precedence in Hoyland's work; he rejected the modernist insistence on the flat reality of the picture plane and used colour to create a sense of virtual illusory space.

Beforehand we were only familiar with Escher's optical illusory works, yet the first few rooms show him experimenting with Cubism; an abstract work is inspired by dolphins he saw swimming alongside a boat, and the patterns they created on the water's surface.

As the press release states, the work seeks to «invite the beholder to enter into a corporeal relationship with [the paintings], to push off from them, to plunge into them, and so to explore the often enigmatic - seeming illusory space that painterly means have created.»

Hughes's futuristic landscapes recall the illusory outdoor environments of Charles Burchfield, where evocative, semiabstract forms express a mystical sensitivity to weather and light, yet her vibrant palettes create a joyful atmosphere reminiscent of Matisse's Fauvist landscapes.

Statements such as these, Pindyck implies, create a «perception of knowledge and precision, but that perception is illusory and misleading».

First, as I mentioned briefly, while everyone at this workshop and many others were working on ways to reduce, manage and understand uncertainty, there is also a large and (at least until recently) very well - funded group working, to create and disseminate uncertainty, ignorance and confusion, with sufficient success that much of the political right in Australia and nearly all in the US have been (with their own complicity) deluded into thinking the problem is illusory.

This in turn creates a larger social cost of carbon, but it is likely illusory.

IAM - based analyses of climate policy create a perception of knowledge and precision, but that perception is illusory and misleading.

«The protection it offers against grossly disproportionate punishment is illusory: in practice it would create a situation where the exercise of the prosecutor's discretion is effectively immune from meaningful review.