Sentences with phrase «dimensional space of the canvas»

Sculptural elements are pushed beyond the 2 dimensional space of the canvas and adorn the space.

Not exact matches

In her introduction Samet notes: «Although Gilliam is best known for his «Drape» paintings — unstretched canvases stained in vibrant pigments and extended into three - dimensional space — the surfaces of the paintings he has made over a fifty - plus - year career are actually quite diverse.

Mangling the stretcher and piercing the flat edifice of the canvas to unleash it into three - dimensional space, her works become transformed into something closer to sculptures.

Painters were not even required to engage with three - dimensional space, such was the primal truth of the canvas.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

Stephan uses the humble elements of painting — the stretched canvas, the brushstroke, color, the illusion of three - dimensional space — in straightforward ways, no painting tricks.

Applebroog propels her paintings and drawings into the realm of installation by arranging and stacking canvases in space, exploding the frame - by - frame logic of comic book and film narrative into three - dimensional environments.

The canvases of Francesco Clemente take on three dimensional space with a new body of work at Mary Boone Gallery.

By slashing the center of his canvases, Fontana allowed three — dimensional space...

Nonetheless, the lure of the landscape in Rothko's work is strong, and its relevance implies the impression of three - dimensional space, for which the most useful rhetorical equivalent is understood to lie beyond the confines of the canvas.

Further bending and crushing their often mangled shapes, he assembled them into abstract sculptures that offered three - dimensional versions of the dense, colorful enfolded spaces of Willem de Kooning's Abstract Expressionist canvases.

The artist retained the irregular forms of his «shaped canvases» of the late 1960s, but replaced the minimalism of his earlier paintings with three - dimensional reliefs that project forwards from the picture plane into the surrounding space.

Aware of her work and its relationship to space and the spectator, Heilmann transformed her paintings into three - dimensional objects by using extra thick stretchers and painting the sides of the canvases.

Expanding the dimensionality of each element, Nunes utilizes both two and three - dimensional lines to redefine the canvas space.

In close proximity to his canvas works, Amm's wall and sculptural pieces project his deftly constructed compositions from the surface of the canvas into the multi dimensional space of architecture.

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.

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.

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.

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.

Highly influenced by the Dansaekhwa painters of South Korea, Kim Chanil is known for his monochromatic works that distinctively transcend the two - dimensional space of a flat plane canvas.

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.»

Mokha Laget In Her First Solo Exhibition with David Richard Gallery Presents New Shaped and Colorful Stained Canvases That Create Illusions of Three - Dimensional Structures Floating In Space

His process often begins with layering a thick impasto or relief outline on the canvas before applying paint, creating a three - dimensional depth with an atmosphere of light that implies architectural space.

He explored shaped canvases, reductive color palettes and multi-component canvases to create the illusion of three - dimensional space in a two - dimensional picture plane.

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».

Through the duration of the performance, the three - dimensional canvas is filled with the marks of the artist's movements through 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.

In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two - dimensional space; monumental scale; and the varying shape of the canvas itself.

The Italian painter Lucio Fontana also made a name for himself in the 60s with his «slashed» canvases, allowing the spectator to see through the picture plane to the three - dimensional space beyond, which itself becomes part of the work.

Encapsulating his distinctive «push and pull» technique of implying space while asserting the primacy of the flat canvas, Auxerre demonstrates the robust way in which Hofmann's paintings dramatize the dynamic oscillation between volumes and voids on the one hand and two - dimensional color planes on the other.

In other words, the space is generated within the acknowledged limits of the two - dimensional canvas surface.

In a radical innovation, Schapiro worked with computer programmers at UCSD to rotate her open shapes in three dimensional space, projecting the digitally produced images to be transferred onto her canvases in order to create works of technical precision.

Accordingly, Grosse seeks to pictorially open up and dive into the space and surface of the images, contesting the two - dimensional quality of paint on canvas.

(Note: While the press photo of Snyder's Beanfield below will likely remind the viewer of Monet before evoking Guston, a detail snapped by a visitor to the gallery reveals a different painting: one with vigorous, loose paint handling, and «bean sprouts» that seem absurdly to grow out of the canvas into three - dimensional space.)

De la Cruz breaks convention, quite literally, by mangling the stretcher and piercing the flat edifice of the canvas to unleash it into three - dimensional space.

In literal terms the painting was made as a simulation of Matta - Clark cutting through layers of a building, more formally the canvas surface is not only a two - dimensional picture plane but expands into space and becomes a physical thing.