Not exact matches
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.
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.
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.
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.
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.
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.»