Sentences with phrase «dimensional pictorial space»

This workshop is about translating 2 - dimensional pictorial space into 3 - dimensional form.

His spatial reality became part of my being, part of my painterly understanding of the infinite possibilities of two dimensional pictorial space.

Combining three - dimensional elements within a two - dimensional pictorial space to create visually and conceptually loaded images, Muniz creates work that fosters a shift in visual perception as well as cultural preconceptions.

In between fluid abstraction and sculptural figuration, these works become three - dimensional pictorial spaces with a potential for image making.

Not exact matches

Many of the artists represented in the collection have explored drawn formats extensively, questioning its status and conceiving new forms of the dessin: e.g. Trisha Donnelly, who fuses drawing and video; Urs Fischer, who creates drawings in three - dimensional space; or artists like Raymond Pettibon, Larry Johnson and Mike Kelley, who work with the pictorial idiom of comics.

This understanding of sculptural language and a preoccupation with forms in space, translated into two - dimensional images, underpins her pictorial practice.

The conversation surrounding the dual exhibition — an intriguing pairing of practices that is particularly resonant and dimensional — touched upon themes of iconography and filmic sources, the performative potential of the photograph, and the dynamics of experiencing pictorial space.

Like Judd's Minimalist objects, Rauschenberg's Combines would undertake the passage from pictorial to real (three - dimensional) space, but they would do so only while foregrounding the mediated and commodified state of the «real» in postwarsociety.

Alongside this three - dimensional structure, highly delicate pencil lines suggest two - dimensional cartographic views, which are then themselves again complemented in the pictorial space by photography and painting.

Known for her innovative methods that extend pictorial devices used to expand perspective into three - dimensional space, Al - Hadid opens new terrain for contemporary sculpture while simultaneously recovering influential visual histories.

Without a visual anchor, viewers can only drift within the spaces in which grid and cross intermingle, uncomfortably caught between two - and three - dimensional spaces where boundaries between pictorial depth and surface flatness begin to get fuzzy.

The exhibition Diana Al - Hadid highlights the artist's innovative extension into three - dimensional space of pictorial devices conventionally used to convey perspective in two dimensions.

Even with his intended catholic aopproach, painting and the two - dimensional flattened spatial constructs of pictorial space overwhelmingly predominate.

Known for her innovative methods that extend pictorial devices used to expand perspective into three - dimensional space, Al - Hadid opens up new terrain for contemporary sculpture while simultaneously recovering influential visual histories.

Timothy Harding's work explores the fluid relationship between the pictorial space and the three dimensional realm, between drawing, painting and sculpture.

Timothy Harding's work explores the fluid relationship between the pictorial space and the three dimensional realm,

The exhibition Diana Al - Hadid highlights the artist's use of pictorial devices conventionally used to convey perspective in two dimensions, innovatively extended into three - dimensional space.

These observations became translated through the construction of three - dimensional spatial paintings as pictorial compositions that reconfigure the space and its architecture, using specific physical things.

Grosse taps into the potential for two - dimensional, pictorial space to scramble, expand, or otherwise intervene in the spatial relationships of the viewing of art.»

Her 3 - dimensional work questions the limits of pictorial space, intervening physically with the room.

Using unconventional materials such as Formica and Celotex (a fibrous paper - composite often used for ceiling tiles), he has made paintings that incorporate three - dimensional space and sculptures that embrace pictorial illusion.

In Vance's canvases, the background no longer surrounds the object, but breaks through it — by opening and closing these spaces in the pictorial plane the artist is able to create the illusion of a three - dimensional space.

A founding member of the Brazilian Neo-Concrete movement, Clark proposed a radical approach to thinking about painting by treating its pictorial surface as if it were a three - dimensional architectural space.

«This exhibition was curated as an invitation to experience the poetics and artistic perception of both three dimensional and pictorial space.»

Presenting approximately 30 large - size paintings and 86 works on paper, the exhibition in the Schirn will focus on this late work for the first time, introducing an artist who, with his dynamically two - dimensional forms and clear colors transcending the pictorial space, makes an impression that is not historical at all but surprisingly up - to - date.

The exhibition will feature an environment of paintings and sculptures in dialogue with each other, exploring dimensional and pictorial space.

Although he would eventually be considered one of the preeminent Abstract Expressionists, having relocated to New York in 1932, Hofmann's primary interest was in pictorial phenomena: the illusion of three - dimensional space, composition, and the optical effects of color.

I'm interested in making paintings that speak a sculptural language within a compressed two - dimensional abstracted pictorial space, in other words, I see my work as micro-sculpture that hinge on the brink of the pictorial.

«I'm interested in making paintings that speak a sculptural language within a compressed two - dimensional abstracted pictorial space,» says Scott.

Along with Pablo Picasso and Georges Braque, Léger crafted unique ways of expressing three - dimensional objects in pictorial space.

Confirming the particularly visual contingency of her paintings and prints, the non-perspectival experience of the sea front panorama referenced above was echoed and confirmed in Bridget Riley's own words: «Pictorial space has to be about something on a two - dimensional surface, in which pictorial space happens by pictorial thinking... perspective is by no means the only waPictorial space has to be about something on a two - dimensional surface, in which pictorial space happens by pictorial thinking... perspective is by no means the only wapictorial space happens by pictorial thinking... perspective is by no means the only wapictorial thinking... perspective is by no means the only way.»

The lack of pictorial space in favor of three - dimensional space represents a shift in the work from a focus on an interpretable interior space shared with a viewer to a flat ideological plane of action.