Sentences with phrase «creating paintings as objects»

I expose many of the conceptual and material processes in creating paintings as objects.

Not exact matches

Best known for her colossal sculptural projects, for over five decades Phyllida Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint to create striking sculptures and bold and expansive installations that confront the relationship between objects and the space that surrounds them.

His work spans a range of media including photography, painting, sculpture, installation and use of the ready - made to create assemblages from everyday found objects such as books, ceramics, TV sets and other house - hold goods and paraphernalia, which Liu Wei transforms into sculptural objects and installations of eloquent complexity.

While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of the painting as an object in space.

Margie Livingston's work participates directly in this narrative, creating hybrid objects that shift back and forth between sculpture and painting as well as abstraction and representation.

When Linda Benglis began pouring polyurethane on her studio floor, creating a sculptural object, paint itself began to function as a readymade.

The initial familiarity of these scenes allows for our personal investment in them, but the literal trace of the object, created by the puncture of the needle and gauge of the thread, continues to pull us back to the surface and to the painting itself as the object of extraordinary investment and inquiry.

While its iterated cuts conjure a dynamism that has an undeniable debt to Italian Futurist painting, the elongated, serial composition and slick objecthood of Concetto spaziale, Attese can also be seen in relation to such Minimalist formats as the boxes and «stacks» created by Donald Judd, whose groundbreaking text «Specific Objects» had been published in 1965.

For centuries, Western art traditions have been centred on creating tangible and physical objects such as paintings, architecture and sculpture.

As a child, creates an elaborately decorated environment in his room, drawing images on the walls, painting red fleurs - de-lis all over the woodwork and furniture, and building a structure of crates filled with jars and boxes of found objects to divide the room that he shares with his only sibling, Janet, born in 1936.

Best known for her colossal sculptural projects, for over four decades Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, plaster, fabric and paint to create striking sculptures and expansive installations that confront the relationship between objects and the space that surrounds them.

Camil specifically channels Frank Stella's Copper Paintings (1960 - 61), a series that presented his first use of tape to create repetitive striped patterns, a mechanical appearance inevitably pointing to the idea of painting as object.

Through paint, pixel, word, and fabric she creates work that functions as a bridge between the hypothetical and the physical, objects operate as artifacts of personal - as - political discovery formulated within a landscape balancing between nihilism and mysticism.

Luis Sahagun creates paintings, sculptures and objects that serve as icons of an invented personal mythology.

Each of these installations is loosely based on a classical landscape painting by the 17th - century artist Nicolas Poussin (1594 — 1665) created as three - dimensional interpretations using sets of pedestals and standing walls in varying dimensions to display objects in meticulous arrangements.

The exhibition includes major paintings with artist - created frames, as well as paintings on cut logs, and an installation of objects which all relate to Nature and trees specifically.

In her past project Light Atlas (2014), a result of a yearlong road trip throughout the United States, the artist explored the social and geographic characteristics of paintings as what she calls «place settings,» or stakeholders — as objects that create meaning from particular representations of claims to space.

Lee creates poetic object - based installations fashioned from everyday materials and household items such as soap, towels, cardboard boxes, and plastic containers, which he transforms through subtle gestures of painting, drawing, and placement.

Sonsini also recognizes similarities between his painting practice and the craft - based tasks his subjects are often hired to complete, as both manually create an object from nothing.

He works from photographs and drawings, creating collage - like compositions, and then experiments with different ways of drawing out the aspects that interest him — whether highlighting the surface detail or distant object, or by painting a version of the image as a blocked - out negative of flat colour.

The artists manipulate these found objects to create collages, sculpture / found object art, paintings, and fabric arts, which convey who they are as individuals.

«After the collages, I began to paint the eyes approaching the paintings on board as decorative objects symbolically representing the eye motif while creating an optical situation where the interior image and periphery of the painting (margins outside of the eye and thus painting) serve as a flipping perspective between view finder mask to visible interior image.

Many had the desire to break down the distinction between painting and sculpture, to create paintings that were physical objects as well as abstractions.

Anthea Hamilton is a UK - based artist who creates multi-media installations that resemble theatrical stages or film sets and incorporate arrangements of prop - like objects, references to modernist paintings, and appropriated images of pop culture icons such as blow - ups of John Travolta in John Travolta, Bust - like, 2012.

Rather than simply stretching a few old rags (or floor tarps, as many painters have done), however, Wayne painstakingly creates objects that reference the paint - soaked cloths.

Painting on sheets of plastic, on the floor, and on clear plastic tubes, to create installations where one is engaged in a continually changing relationship to the image / painting / object, as she put it one experiences «movement and durationPainting on sheets of plastic, on the floor, and on clear plastic tubes, to create installations where one is engaged in a continually changing relationship to the image / painting / object, as she put it one experiences «movement and durationpainting / object, as she put it one experiences «movement and duration».

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

The show features an impressive collection of original paintings, prints, sculptures, and diverse objects — all created by the world - famous street artists known as Banksy.

His sculptures — geometric wall objects, façade - like reliefs, objects and sculptures created from abstract stereometric bodies which take the form of cubes, angles, columns, pedestals, podiums, movable walls and shelving — are made of cheap no - frills materials such as particle board, cardboard, linen, molton, Styrofoam, synthetic resin, emulsion paint, fluorescent tubes and other everyday building materials.

My deepest interest was to strip everything down, creating a flat object — painting as an object.

Sometimes Wood also experiments with the idea of collage, superimposing objects over others or simply playing with the distortion of images by creating the illusion of separate or fragmented painted canvas surfaces brought together in one, such as in Still Life Collage, 2015.

In a statement about her work for a recent exhibtion at Cooper Cole Gallery in Toronto, Luloff wrote: «By painting my close friends and the objects in my studio I have a special moment of intimacy with them... The act of drawing these items, as well as patterns inspired by time spent in India, is a meditation on passing time, on pacifying, and creating a demarcation of my daily experience in the studio.

My artwork over the past few years has combined materials such as acrylic paint, pastes, sand, tissue paper, and found objects, to create a unique synthesis of texture, form, and colour.»

Mintz writes that Piotrowski's works «approach the possibility of narrative, though the artist deftly pulls back just in time» Conefry, Mintz notes, investigates «painting as object, something constructed and assembled,» while in Cohen's paintings «organic shapes lean against geometrics to create a push - pull of color and form.»

Throughout the 20th - century, as part of the modernist revolt against the use of traditional materials in fine art and the consequent desire to demonstrate that «art» can be made out of anything, artists have been creating sculpture, assemblage, combined paintings / sculptures and installations from an ever - widening range of unusual objects and materials.

Paintings created by Collective can be found at prestigious fairs like Stroke Art Fair in Munich, where the objects are exhibited alongside high - profile artists such as Banksy.

In answer to questions about an artwork's appearance they created newfangled forms, such as Donald Judd's early wall objects in 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguistically.

The Japanese artist Chinatsu Ban creates imaginative narratives using a recurring cast of figures, primarily little girls and elephants, and objects, such as apples and ice cream, in her drawings and large - scale acrylic paintings, which initially suggest the whimsy of children's book illustrations.

What Kenneth Noland did was to drop one of Gottlieb's «orbs» down to centre on one of his «splashes», to create a centralised image, whilst retaining the surrounding areas of unpainted cotton - duck canvas, which has the effect of emphasising the literalness of the painting as object, within which an optical phenomenon is set.

His «objets peints» which he created since the early 1980s are always Janus - faced - their double identity refers both to the painted image of an object as well as to its real identity.

The artists do not aim to create an original; rather they follow in the tradition of Marcel Duchamp, who famously designated ordinary mass - produced objects as «Readymade» works of art, and Jasper Johns, who, in the late 1950s, chose to paint images «the mind already knows,» such as targets and the American flag.

For Martínez Celaya, the capacity of painting to create meaning depends on the instability between the references in painting and its materiality, between what it brings forth as idea, dream, or invocation, and its factual condition as object and reservoir of work.

Wekua uses an architectural redefinition of the space to create his own viewing plane for the paintings while simultaneously reflecting the centrally - positioned sculpture as an object in space.

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.

Best known for her colossal sculptural projects, for more than five decades Barlow has employed a distinct vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint to create bold and expansive installations that confront the relationship between objects and the space that surrounds them, in an approach that is grounded in an anti-monumental tradition.

Placing objects like obelisk, mill, and even an old basis in fitting environments inspired by Cuba, he mixes nature and architecture as well as media — oil, watercolor, pencil — to create atmospheric paintings depicting a place between reality and fiction.

At that time, Celant gathered together artists sharing a desire to abandon traditional painting as an art form, who wished to create objects / sculptures and to question artistic practices through actions and performances.

In this exhibition, we can expect to see a highly eclectic body of work as Athol lets his imagination take the reins using Victorian mirrors, vintage chairs and plates, collages of vintage stamps and letters, wherever he can see the potential to create an art work, and combining the discarded objects with media such as gloss paint, enamel and duct tape to depict nostalgic images in his distinctive pop - art aesthetic.

Tracing the archaeology of the paintings in the sculptural formations that accrue on their edges creates a dynamic contrast between the illusionistic interior spaces opened up within the compositions and the frank materiality of the gesso boards as objects hanging on the wall.

By photographing paint and luxurious ephemera at close range, then using the resulting image as his subject, Ben Charles Weiner creates works that pose a confusion of object, subject and medium.