Sentences with phrase «dimensional as any canvas»

Not exact matches

Speaking to John Coplans in 1971, Judd recalled how this unique form came about: «One of the first three - dimensional ones started off as a piece of canvas from failed painting that I tried to turn up, but I couldn't make the canvas turn up evenly.

Although his work was initially two - dimensional, mostly paintings in oil and acrylic, he began incorporating sculpture, first separately and then as elaborately constructed frames over which he would stretch canvas.

That exhibition thematized the relationship between Liu's paintings and his three - dimensional sculptural forms via explicit formal echoes: Black - and - white geometric paintings were adroitly paired with rectilinear pseudotopiary sculptures in which bands of foliage were interspersed with horizontal neon lights, while the oscillating static playing on stacked TV sets chimed with the abstract canvases as well.

Sakaizawa's iterative process makes similar use of the canvas, as layers of paint, applied in dozens of identical gestures, build out beyond a two - dimensional surface.

I am always aware of the canvas or paper as the flat 2 dimensional object that it is.

Initially, the airplanes were not only painted but existed also as three - dimensional models that were mounted on the canvas and thereby, just as their two - dimensional pendants, involved them in the field of the painted «plane».

It is almost as if Mawer had the vibrant planes of Palermo's structures, or layered architectural shapes of Butler's canvases, or the three - dimensional constructivist landscapes by Dudek in his mind's eye as he wrote.

Since then, Tuttle has presented prominent and influential series in the history of contemporary art such as the cloth pieces, which he installed dyed and cut canvas on the wall, and were both pictorial and three - dimensional, and the wire pieces, which consisted of wire and its shadow and pencil lines, and small - scale collage pieces among others.

Lim's «canvas activity» as he calls it, addresses both two - dimensional and sculptural space, utilizing a semi-transparent screen stretched on a shaped support that results in interspatial mark making.

Mitchell worked for the most part on large - scale canvases and multiple panels, striving to evince a natural rhythm that emanated from the expansiveness of gesture and from uninhibited use of color; Chamberlain's emphasis on discovered or improvised correlations between material and color rather than a prescribed idea of composition have often prompted descriptions of his work as three - dimensional Abstract Expressionist paintings.

[12] This type of painting is known as a three - dimensional shaped canvas.

As he continued to develop his style, Stella also showed a marked willingness to expand his approach, branching out into his signature shaped canvases as well as his later three - dimensional relief sculptures and architectural designs among other unique projectAs he continued to develop his style, Stella also showed a marked willingness to expand his approach, branching out into his signature shaped canvases as well as his later three - dimensional relief sculptures and architectural designs among other unique projectas well as his later three - dimensional relief sculptures and architectural designs among other unique projectas his later three - dimensional relief sculptures and architectural designs among other unique projects.

Their built - up layers of paint and collage elements make them the most time - consuming works Bradley produces, as does the sculptural, three - dimensional way in which they are painted: on the floor, tacked to the wall, and on the back of the canvas, picking up studio detritus along the way.

Marcel Duchamp is usually credited as inventing the readymade, but the essential idea of taking something preexisting and elevating it into art did exist before he created his first one (a bicycle wheel atop a kitchen stool) in 1913: in Pablo Picasso's Still Life With Chair Caning from 1912, for example, the artist collaged a piece of woven chair backing onto a two - dimensional canvas, and before that Degas clothed his Little Dancer of Fourteen Years (1881) in a real tutu.

Materials such as canvas, desks, dining tables, and frames are treated as sculptural, three - dimensional surfaces utilizing two - dimensional techniques.

Such a formal and deliberate intervention is a reminder that a painting is a sculptural object itself and equally that a three - dimensional structure is composed of two - dimensional aspects that function as blank canvases.

Often combining two or more abstract forms into one piece to create a three - dimensional composite wall relief, the surface of the canvas is painted using industrial materials such as oil - based enamel and spray paint.

From his earliest days as an artist he has made two - dimensional works in ink, acrylic, gouache, oil, pigment and earth on both paper and canvas.

These artworks are defined by Bonalumi as estroflessioni (extroflections) and are considered as truly object - paintings, due to the three - dimensional relief of the surface, achieved through the stretch of elastic canvases in particular looms.

Donald Moffett, a New York - based artist, creates sumptuous three - dimensional abstract paintings, as well as painted canvases onto which he projects video loops.

Incorporating the aesthetic vocabulary of widely opened eyes, polka - dots, nets, and organic shapes that have defined Kusama's seven - decades - long career, the sculptures appear as though Kusama's images have been released from the canvases they are surrounded by and have organized themselves into three - dimensional forms.

Intensely layered abstractions feature breadth as well as depth, with paint manipulated into three - dimensional forms right on the surface of the canvas.

He has made paintings on traditional, rectangular canvases, paintings on differently shaped canvases, murals, prints, three - dimensional relief paintings and paintings that many people would describe as sculptures.

Taking as his starting point the measurements of the standardised niche, the artist installs the canvases (which are per se two - dimensional) with such extreme precision that the painting extends into the room.

Selected areas of the canvas impress upon the panel, which is then suspended above the canvas as a modern and three - dimensional take on printing techniques.

In these canvases, the artist used gray to establish uniformity between flat surfaces and dimensional objects, whether real or implied, using everyday items such as a stretched canvas, a drawer, a ball, a newspaper, and a coat hanger.

Sam Gilliam's «After Micro W» 2» marks his departure from the standard, stretched canvas as he rids himself of the traditional confines of painting on a two - dimensional surface.

To a lesser extent, the term «controversy» also relates to Ofili's notoriety as an artist known, or remembered, for regularly (and some might say «irreverently») fixing dried orbs of elephant dung to canvases, as well as positioning them as spherical stands upon which works are placed to transform them from two - dimensional artworks into more complex three - dimensional mixed - media sculptures (adding to its potentially troublesome qualities, The Holy Virgin Mary utilized both techniques).

Playing with chromatic tonality and the dissection of visual planes, Dimitri creates works that seem to move and undulate within the canvas as if attempting to escape their two dimensional confines.

In the 1950s and 60s, works such as Bed (1955) and Canyon (1959) broke free of the spatial limitations of the two - dimensional canvas, while the use of everyday readymade materials in the paintings inspired the work of many artists to follow.

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.

The same concept characterized Fiona Banner's word experiments (such as Car Chases: French Connection and Bullitt, 1998) for which the artist translated classic film scenes into her own words and, in the vein of works by Art & Language, showed a two - dimensional text work on canvas.

During the seventies Bonalumi explored the three dimensional space, breaking the evenness of the canvas such as: «blu abitabile» for Lo Spazio dell» Immagine show, and «dal giallo al bianco e dal bianco al giallo» for the Pittura ambiente show.

As she warped, twisted, and knotted her constructed three - dimensional canvases, she gave the elastic shapes of classic Surrealism a space in their own image.

Yet as he grew older, Stella shifted to baroque, unrestrained paintings on technically sophisticated three - dimensional canvases — works that received a pasting from the critics when they first appeared, but are now ripe for reassessment.

While attempting to create a classical three - dimensional illusion on canvas, she also integrates real objects into the two dimensional surface, such as combinations of cement, clay, wood, plaster, bolts and screws.

His career seemed to move inexorably toward creating an extra dimension, as his paintings took on the sculptural quality of shaped canvases and pushed into the gallery space, becoming more and more three - dimensional.

She focuses on the two - and three - dimensional nature of painting, employing not only paper and canvas as painting support but also tiles and folded canvases in order to create work that shuttles between the two.

A lifelong resident of the Lehigh Valley, Deborah Slahta explores the vessel as a three - dimensional canvas, producing finely crafted raku and stoneware pottery.

Meanwhile, Enrico Castellani is represented in works that utilise the canvas as a three - dimensional object and radically redefine the notion of painting.

Using a modified acrylic paint and process of application as well as a two dimensional support frequently consisting of shaped canvases, he instead creates an experience of the earth and specific location of a landscape.

Installation art emerged in Brazil in the early 1960s as artists extended abstract painting beyond the canvas and into three - dimensional experiences.

Oshiro described his most recent works, a series of bent canvases that extend into three - dimensional space, as a «still life of a broken painting.»

The bold sculptures and inventive canvases of this pivotal figure of Post-War Italian Art helped to shape the course of Abstract Art, alongside artists such as Piero Manzoni and Enrico Castellani who sought to blur the boundaries between the two and three dimensional.

Organized as part of the Shiseido Art Egg Prize for artists in their 20s and 30s, Shunsuke Imai «s exhibition of colorful, hard - edged abstractions at the Shiseido Art Gallery achieved a spatial resonance that is exceedingly rare among young Japanese painters, distorting the atmosphere of the gallery itself through dizzying combinations of eye - popping yellows, pinks, blues, whites and blacks arranged in billowing, flag - like stripe patterns that grudgingly squeezed into the two - dimensional plane of the canvas.

If we can consider the detonation of the atomic bomb as having unleashed the potential in painting for the frenzied energy of a Pollock, then the exploration of outer space paralleled Fontana's piercing the canvas to explore what he called «fourth - dimensional space».

However, she then pushes it further by incorporating the extremes of color juxtapositions explored by Op Artists, such as Julian Stanczak and Richard Anuszkiewicz, to create vibrational qualities to excite the eye and add a retinal quality, while also utilizing the interplay of color value shifts and shaped canvases from Downing and Reed of the Washington Color School to create the illusion of volume and three - dimensional space.

Her installations often consist of multiple canvases as well as three dimensional objects.

Her recent works replace previous three - dimensional constructed canvases, which she evidently has taken about as far as she could, with simpler, airy construction in low relief; ad - hoc jigsaw puzzles freewheeling shapes that lean, nuzzle and jostle each other to make unlikely harmonies of pungent, ravishing color and abstract pattern.

His work progresses from hard - edge, shaped painted canvases to systems - based wall pieces and three dimensional work, echoes of which I believe can be seen in the work of artists such as Andrew Bick.