Sentences with phrase «drawing and painting again»

She began exploring drawing and painting again about 10 years ago.

Inspired by the birth of her first granddaughter in 2015, she began drawing and painting again.

For three decades she concentrated primarily on photography and video, but in recent years began exploring drawing and painting again, inspired by vintage images of black representation in Ebony and Jet magazines.

I eventually I began to let go of the negative energy and it became clear that there was indeed a reason why I began drawing and painting again.

Not exact matches

It's about how you see things, your approach to life, and the creativity of your mind — it's who you are, not what you do, and she would always be an artist whether or not she ever painted or drew again.

I hadn't realised how much confidence I had lost but my life - drawing teacher was very encouraging and, little by little, I started to draw more and paint again.

We've been learning about symmetry by drawing butterflies, for this picture we folded the paper in half, opened it up again, put blobs of paint on one side and then folded again.

Again, in the book, it's Peeta who has drawn Rue (using the same artistic skill that had him so amusingly camouflage himself in the first film), which affects the judges deeply so they mark him high, but none of this is alluded to in the film and so it's really not clear how or why the Rue painting is there and why it's significant.

Yet Holly sees enough in him to paint his portrait again and again over the years, while Dom, as an early teen, is drawn to him like steel to a magnet.

Again drawing on the more traditional elements of design practice, sign painting and hand lettering is still a highly coveted skill, especially in the hospitality industry.

She turns up the retinal volume again and again in the grounds of her paintings — vast seas of cerulean blue edged by crisp white lines, or enveloping acts of domestic violence; equally riveting cadmium reds, oranges, and crimsons saturating the picture plane beneath angry gorillas, dancing Chubby Checkers, and kissing lovers; Day - Glo yellows that push up against sharp blacks as «bad guys» in black suits point guns and walk up and down staircases — and employs unusual compositional strategies to draw our attention to these expanses of high - key color.

Only when certain doubts cleared in 1968 and I began feeling more positive about drawings of the tangible world did I begin to paint again.

For example, the bulbous, amoebic form in Ting - a-Ling is echoed in the painting Mouse Cup, 1981 - 82; the five - stemmed plant or hand in the drawing Wave appears again in Leg, 1984; and the guitar in Untitled (# 9) forms the basis of The Force of Circumstance (for Simone de Beauvoir), 1986.

This is not because these media are historically important or intrinsically valuable, but because they are basic: simple technologies that record, often in exceptionally nuanced ways, the gestures and maneuvers of a consciousness in action (making decisions, adapting to circumstances, working through rough spots, and coming to conclusions — only to start all over again in the next painting or drawing).

Drawing on copper and linen, Nicholas Byrne's paintings are composed of superimpositions of febrile surfaces; built up, scraped down and layered over again.

In 2001 Bochner again turned to the thesaurus to develop a series of paintings and drawings derived from everyday speech.

Previous solo exhibitions at the gallery in New York include include Drift (2016), which was first on view at David Zwirner, London, Freedom (2011), Terminus: Drawings (1979 - 1982) and Recent Paintings (2009), Recent Work (2006), Remnants (2003), and Come on, play it again (2001).

The installation contains drawings, paintings, and furniture by Lynch and a sound piece he made with Patti Smith (Falling Backwards Once Again, 2011).

Completed in 1995 after a design again by Renzo Piano, the Cy Twombly Gallery is dedicated to the work of American artist Cy Twombly (1928 — 2011), and houses paintings, sculptures, and drawings he made from 1953 to 2004.

Within the last six years he has exhibited his drawings and paintings time and time again in some of the world's most renowned museums and galleries such as the National Gallery of Denmark, the Gagosian Gallery in New York, Milan's Palazzo Reale and last summer at the National Portrait Gallery in London.

And yet, when your attention is drawn to it, one becomes awestruck, again, by the simple beauty of the cast - in - place concrete that evokes natural forms, the elegant and complete intersections of the varying wall heights and joinery, and the raking light that gives life to the walls and illuminates the paintinAnd yet, when your attention is drawn to it, one becomes awestruck, again, by the simple beauty of the cast - in - place concrete that evokes natural forms, the elegant and complete intersections of the varying wall heights and joinery, and the raking light that gives life to the walls and illuminates the paintinand complete intersections of the varying wall heights and joinery, and the raking light that gives life to the walls and illuminates the paintinand joinery, and the raking light that gives life to the walls and illuminates the paintinand the raking light that gives life to the walls and illuminates the paintinand illuminates the paintings.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

In 2001, after a hiatus of more than three decades, Bochner again turned to the thesaurus to develop a series of paintings and drawings derived from everyday speech.

Phill is an excellent tutor, since working on phill, s course i have found it to be the best drawing course as every aspect of this course is broken down to the simplest terms i have drawing on off for years and have several drawing course books but learned far more off phill in two months this has encouraged me to continue improving my drawing skills and to start watercolour painting again through watching bobs water colour lessons artutor is the best place to learn and improve your art.

Slowly, slowly, as they grew up I found the confidence to draw again, and paint.

This is my style of drawing and painting, Thank you again and I am waiting for more in pastel pencils

She would then go home and draw them again from memory, and finally, using the point where the couple physically connected, Sillman would paint an abstraction of that connection.

Kossoff regularly draws and paints the same subjects again and again: the environs of London, his immediate family, and a trio of loyal studio models.

She paints acrylic on the base, draws with pens, applies gesso to create stain and gradation, and adds motifs with acrylic paint again.

January — April: Calder enrolls again at the Art Students League, taking classes in portrait painting with George Luks, head and figure with Guy Pène du Bois, a drawing class with Boardman Robinson, and an etching class.

In this new series of paintings, loosely titled «If Wishes Were Fishes,» Furnas again tackles epic historic and religious iconography, this time drawing from both the lore of Melville's Moby Dick, as well as Jonah's flight from God that lands him in the belly of the whale.

The path from drawing to painting, and back again, was unobstructed for Goldberg, and at the heart of the process was scale.

Here he comes again, the big bruiser, with his outsize paintings and that rampant, shoving, rucking, swiping brushwork that draws attention to itself (to himself) on a scale unparalleled since the early days of abstract expressionism.

To Exist and To Again Exist addresses the crux of art production and to the nature of the work presented for any media (painting, drawing, mixed media, etc.).

In 2007 I started to look at Berthot's work again, specifically at the grid or web that became more visually available in his later «tree» and «landscape» paintings and drawings.

If we observe Elizabeth Murray «taking cues» in her Sentimental Education, 1982, «from the clunky figures and objects in late Guston,» and if we note Whitney's «deceptively casual paint handling, largely adapted from Guston,» we might also consider Joan Snyder's Beanfield with Music, 1984, as a work that explores and draws on both the»50s Guston, who seems already (again) to be flirting with figure, and the later Guston, with his bizarre and darkly humorous landscape compositions.

I am fighting cancer again, so painting and drawing is therapy for me.

The drawing is delicate, her pictorial strategy being to use precision and accuracy in the service of the indefinite: fields of relationships again, rather than objects of content, yet the painting itself becoming autonomous object.

of hemming and hawing, planning and drawing, scheming and pushing to make it whole again, ** we were finally able to spend a lot of time at our home - away - from - home with the majority of the structural renovations complete, the floors installed and finished, some walls painted, a most incredibly bad - ass custom - built kitchen island installed, and — I can hardly believe it — the justifiable urge to furnish and decorate.