A carry - over from Ursuta's Whites exhibition shown at the Kunsthalle Basel in 2015, the figures appear to be an extension of the same visual language used in Alps,
giving bodily form to the horrors embedded within the surrounding walls.
Not exact matches
There are places where he resorts to the imagery of myth and speaks of Christ as if he were living an unseen life with God in a heavenly realm above, from which he would descend to appear on the earth at the imminent end - time.38 At other times Paul could speak of the church as the body of Christ, of which the Christian believers
formed «the limbs and organs».39 He exhorted the Galatians to «put on Christ as a garment», 40 he said to the Romans, «Let Christ Jesus himself be the armor that you wear», 41 and he told the Galatians how he was in travail until they «took the shape of Christ».42 In various ways Paul spoke of the risen Christ as an indwelling presence in the believer, the most moving passage being his own testimony, I have been crucified with Christ; the life I now live is not my life, but the life which Christ lives in me; and my present
bodily life is lived by faith in the Son of God who loved me and
gave himself up for me.»
«If the moral meaning
given to our bodies starts and ends with God, then perhaps we need to call a timeout on these trespasses against
bodily dignity, and we need to consider carefully whether we rationalize a
form of entertainment that devalues human bodies.»
This same sculpture is made through a process of appliqué — stitching together a skin - tight fabric over
forms and
giving them a very human /
bodily presence.
Each anticipates a particular gesture that is the result of holding a phone or digital device,
giving shape to the negative space around a
bodily form.
The artist came to believe that what was essential in art —
given the diversity of themes or motifs — were two universal requirements: that every work of art has an individual order or coherence, a quality of unity and necessity in its structure regardless of the kind of
forms used; and, second, that the
forms and colors chosen have a decided expressive physiognomy, that they speak to us as a feeling - charged whole, through the intrinsic power of colors and lines, rather than through the imaging of facial expressions, gestures and
bodily movements, although these are not necessarily excluded — for they are also
forms.
In resolving this ambiguity, the Court reviewed the relevant case law and narrowly construed the subject exclusion, finding that the Motorized Vehicle Exclusion is intended to apply when the insured's negligence
giving rise to liability is founded in an act or omission in which the insured exercises «some
form of control over» a motorized vehicle and that conduct causes «
bodily injury» or «property damage».