Sentences with phrase «explore the material surfaces»

No longer sidelined as painting's invisible support, weaving is both source material and subject matter.1 In eleven new editions, however, Grabner puts aside the painting - weaving dialectic to explore the material surfaces and patterns of prints and textiles.

Not exact matches

His research is focused on fabricating and exploring the properties of nanostructured materials, surfaces, and interfaces to improve energy transport and conversion.

Scanning electron microscopy, performed by Chau Tran, explored the surfaces of the materials.

The second area of research will explore a class of materials called topological insulators — materials that conduct only at their surface.

Nagoya, Japan (Scicasts)-- When a fingertip explores the surface of a material, mechanoreceptors called Meissner's corpuscles (MCs) near the surface of the skin mainly respond to low - frequency vibration stimuli...

Dr. Curren's specialization in laboratory experimentation (used to supplement spacecraft data) has led her to explore the environmental processes that dictate the evolution of materials on the surfaces of solar system bodies.

Soft - landing of mass selected ions on surfaces allows us to explore fundamental aspects of ion - surface interactions relevant to a broad range of scientific disciplines including biology, materials science, mass spectrometry, imaging and spectroscopy.

Every surface had a sheen, sporting inviting color palettes and rich arrays of materials to help students build and explore.

While exploring the Water module, students made slides of water on different materials to observe surface tension.

Many of the materials and crafted items in the game result in an expansion of your abilities to survive and explore the world (both underground and the surface) more fully.

Despite differences in materials and discipline, both de Kooning's paintings and Chamberlain's sculptures explore the possible treatments of form and color, solid and transparent volume, and surface and depth as continually evolving and merging elements.

Marden and others almost fetishize painterly materials, as they explore the illusion of depth that a subtle, almost neutral surface will convey.

Jessie Brennan, Benjamin Bridges, and Terry Greene explore surfaces through drawing, sculpture and painting, layering over found materials and images.

Anne Vieux's paintings and sculptures explore the optics of the computer screen and the implications of light on abstraction, through digital reproductions of material surfaces.

Tsunegi's work explores the relation between 2D and 3D, along with her concerns in materials — surface, colors and the tactility.

Risa's work explores the relation between 2D and 3D, along with her concerns in materials - surface, colors and the tactility.

Min's new paintings continue her commitment to exploring the material possibilities of paint, surface, and color.

She works with both traditional and non-traditional materials in a contemplative painting and drawing practice that explores the surface, objecthood, color, language, spatial relationships, and the spirit of materiality.

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

Curated by Keliy Anderson - Staley, The Surface of Things brings together a diverse group of contemporary artists who use photo - sensitive materials to explore environmental, aesthetic and cultural questions.

Rejecting, perhaps, the serial obsolescence of commodity, the artists» subtle gestures explore the limits of material, support, surface, and structure, finding continuation in our most traditional art practices.

Using a wide range of materials to render dynamic impressions of mass and surface, she explored metaphorical and biomorphic shapes, deeply concerned with the physicality of form and its effect on the viewer.

Over the years, Judd experimented with a broad spectrum of materials to explore the myriad effects of varying transparency, opacity, surface, and color.

In her paintings, Jodi uses common materials in the layers of encaustic (molten beeswax) paint to create beautiful, rich surfaces that explore the opacity and translucency of each painting.

By combining references to art history with modern surfaces and materials, she explores fine art aesthetics within the design of daily life, especially the way it has been appropriated by consumer culture.

They explore material processes and ideas concerning surface and depth, they enter in a dialogue with other mediums such as painting, sculpture and film, and actively engage with the exhibition space itself.

The paintings explore the depth between darkness and the light, the conscious and subconscious, surface and material.

This exhibition explores the natural genesis of material and form through light, translucency, surface texture and structure.

He created textural richness with grattages, collages, engravings and varnish, physically building up surfaces in an effort to explore the transformative qualities of the materials used.

The artist's use of varied art materials such as chalkboard, explores the surfaces of his paintings with textural and formal considerations, along with the involvement of light and shadow.

And it looks at the ways in which materials obstruct, disrupt or interfere with social norms, surfacing as impure formations and messy, unstable substances.It re-examines the notion of «dematerialization»; addresses materialist critiques of artistic production; surveys relationships between matter and bodies, from the hierarchies of gender to the abject andphobic; explores the vitality of substances, and the concepts of intermateriality and transmateriality emerging in the hybrid zones of digital experimentation.

These explore the boundaries between abstraction and figuration and combine an interest in the iconography of the everyday and of the romantic with a concern for the material surface of paint and the passing of time.

The resulting large - scale paintings explore color, composition, and mark making through the representation of surfaces at once reflective and transparent, material and immaterial, mundane and magical.

Combining references to art history with modern surfaces and materials, the artist explores fine art aesthetics within the design of daily life, specifically the ways it has been appropriated by consumer culture.

Like artists such as Willem de Kooning or Frank Auerbach, Martin uses heavy impasto to explore and expose the material qualities of the paint itself: approaching the edge, the chaos on the surface of these muted artworks becomes visible.

Presenting these two bodies of work together for the first time, the exhibition explores the artist's investigation into texture and material in a practice that engages how the body mediates surfaces and the tensions they contain.

Exploring metaphorical and biomorphic shapes, Benglis's work uses a wide range of materials to render dynamic impressions of mass and surface, in which soft becomes hard, hard becomes soft, and gestures are frozen.

This curation of creators takes a light - hearted look at what happens when artists break away from the starkness of white ground to explore surface with unexpected materials and unconventional methods.

Took initiative to independently explore novel means of conducting surface chemistry that resulted in a 50 % reduction in cycle time and 33 % reduction in material costs.