Sentences with phrase «intimacy with the viewer»

Each activity takes place directly in front of her camera creating a powerful intimacy with the viewer.

Through her so - called confessional art, Tracey reveals some of the most intimate life details, showing an impressive ability to connect her work and personal life, sharing the intimacy with the viewer.

PROJECTED CLOSE AGAINST A WALL in a large, dark gallery, the saturated red of Steve McQueen's 16 - mm film Charlotte, 2004, produced an intimacy with the viewer every bit as charged as the contact that occurs between the artist's finger and Charlotte Rampling's eyeball.

Her willingness to confront shocking personal issues, such as her abuse as a child, and the difficult experiences of being a woman, give her work a confessional aspect which only enhances her intimacy with the viewer.

produced an intimacy with the viewer every bit as charged as the contact...

Not exact matches

Karina has created a polished film that is beautiful to watch and engages the viewer with the intimacy established between the filmmaker and her six main subjects.

The printed material, together with its desaturated coloured paper, photographs and typographic selection conveys a sense of nostalgia and intimacy that roils the viewer, making them feel intrusive by delving into other's personal lives.»

They have an intimate relationship with the painting process and we the viewer have a possibility of sharing that intimacy as the work does not shut us out or bounce us back off a hard surface; it lets us in.

The environment creates a hermetic space that envelops the viewer, heightening the intimacy of the experience with these drawings.

By using plastic bags to create Common Ground, Rombaldi Seppey allows the viewer a measure of accessibiliity and intimacy with the work through the familarity of the material.

Neel's later paintings largely eschew such melodrama, but they are always uneasy, inviting the viewer into a direct and often alarming intimacy with their subjects.

Their frontality, the absence of perspectival depth, the sense of intimacy and intensity, pulls the viewer into an intimate bond with his or her act of looking.

With multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.&raWith multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.&rawith her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.»

Later in the decade he turned to still photography, realising large projections of dimly lit faces that dominated gallery spaces and bore down on viewers with an enigmatic and confrontational intimacy.

Moran uses this technique to infuse the work with greater detail than other monotype techniques used in his other artworks.His work strives to «capture a moment of an experience and to draw the viewer into a feeling of intimacy with that moment,» Moran writes in his artist statement.

Each painting transports the viewer to a private place of familiarity and intimacy; these mysterious and secluded worlds are exclusive to each and every one of us yet au courant with humanity as the emotions present are ubiquitously understood and experienced.

Her painting expands on these themes by negotiating the in uence of a number of artists such as Jim Shaw, Alice Neel, Walter Robinson, and Gerda Wegener.This notion of intimacy is further explored by the equal power she invests in symbolic, personal, and pop cultural images, bringing into question the viewer's relationship with emotion and artistic subject matter.

Cracco invites viewers into the intimacy and the danger of light, whether it is the low light of a candle, the flash of colliding atoms, or the blinding light of the sun, Blinded highlights the importance of the surface, the value of improvisation and the simple fact that just as light can not turn a corner, when you get to the edges of these new works the illusion breaks down, leaving viewers with the memory of being blinded by the intimacy and the intricacy of color and paint.

He uses texture in his work to create intimacy with the image, place of documentation and location of the viewer.

Through these works, the viewer is privy to both sides of the goings on of a thirty - something man in New York: sexcapades with his girlfriend, the image of his friend picking a wedgie after a dip in the ocean, a calculator with 8008135 spelled on the screen, are balanced by quiet, introspective views of the city, intimacy shown within the interior of his apartment, and the beauty found in the subtlety of his bathroom sink.

Faces and bodies are presented with sharp close - ups and unexpected crops that confront the viewer with dramatic moments of intimacy.

The silkscreen paintings confound the standard viewer's relationship to the work by changing the correlation between proximity and intimacy with a retreating subject and projected black patterning.

The characters simultaneously confront the viewer with a deep sense of intimacy and create distance between viewer and subject.

His work follows a photojournalistic aesthetic of cropped black - and - white shots with strong contrasts; quotidian images that feature lovers in casual contact introduce an intimacy between the artist and his subjects that is passed on to the viewer.

By investigating the expressive potential of both abstraction and realism, obscure and clear renderings, Gorelick and Partin both grapple with the viewer's ability to grasp the intimacy behind a portrait or access the true consciousness of the moment.

These artists do not only attempt to lift their masks and show some sort of truer self, but rather draw the viewer in with the intimacy of their work.

The viewer's physical empathy with these figures will be palpable, unlike the detachment encountered in today's age of artificial intimacy experienced behind the screen of a computer or smart phone.

Its participatory nature, in which viewers are invited to make use of the fixture individually and privately, allows for an experience of unprecedented intimacy with an artwork.