This ruse became the perfect rabbit hole
into the illusionistic pictorial space of my tulle veil painting.
Her newest works emphasize the ceiling as pictorial space, drawing inspiration from Renaissance and Baroque murals that made ceilings
into illusionistic, mythological zones.
Using the language of abstract painting and the modernist grid, the pieces reflect
into an illusionistic space without fully relinquishing their sense of physicality.
Remember when it was illegal to put a frame around a painting because it turned physical material
into an illusionistic picture?
Its crappy stuff that's difficult to mold
into illusionistic space - no flow, just sticks to the canvas.
Not exact matches
In terms of material, working in the theater also taught me to use cheap, every day materials and transform them
into any number of
illusionistic scenarios.
«Dimensions Variable» also features the artist's hand - constructed frames, suggesting a threshold for the subjects of the paintings to come forward,
into «real life», as they visually oscillate between the foreground and background of the
illusionistic painting.
In Imprint (2006), within which two women seem to meld
into one, malleable form, Yuskavage interprets the flat,
illusionistic space of bas - relief sculpture through the use of close color and punctuations of extreme contrast at the points of human contact.
With the help of 3D glasses provided by the gallery, one can also see the surface magically piercing
into the print creating an
illusionistic view of a crater.
As perception and a layered reading of different spaces are simultaneously engaged, the artist's loose, free - flowing technique guides the viewer
into the depths of
illusionistic space.
She teases the viewer with the promise of
illusionistic painterly space and then she catapults her canvas
into the void, forcing it to exist in real time, building little fortresses, and firing cannons in its general direction.
Indeed, as I slice my white perspective lines
into the painstakingly crafted,
illusionistic surface of the painting, I hear the question that is asked of me so often: «why do you have to ruin the landscape, it's so beautiful.»
Here a dynamic structure is achieved through the juxtaposition of a large monochromatic star motif painted directly on the wall against a backdrop of loose, free flowing technique on papersheets rearranged by the artist to engage the viewer
into the depths of
illusionistic space.
Other times they are more
illusionistic, dissolving
into sun - drenched reflections (Blaze, 2010 — 12).
In «Chromatic Geometries,» her seventh solo exhibition at Arden Gallery, Mattera has decisively moved away from the layered, atmospheric approach of earlier «Silk Road» and «Vicolo» series to explore, with her customary virtuosity, the possibilities of figure - ground relationships and the
illusionistic space conjured by dividing the square
into two horizontal rectangles.
The artist transforms the museum lobby
into an all - consuming invasion of eggs; thousands of
illusionistic, hand - made sculptures of sunny - side - up, fried eggs are suspended on the walls, dripping to the corner and floor, and even found in unexpected places like the museum's front desk and staircase.
Moving back and forth between abstraction and figuration, he has depicted geometrical forms including dots, lines, triangles, square and ellipses, and rhythms of fresh and vivid colors on the pictorial plane, and has created unique,
illusionistic worlds of painting wherein each motif influences and merges
into each other while preserving a descriptive quality.
(It is worth noting that in 1967, around the same time that Plimack Mangold started doing the floor paintings, Al Held began working on his
illusionistic black - and - white paintings, which have often been credited with, as Robert Storr recently put it in his catalogue essay, «muscl [ing] painting back
into three dimensions without betraying its character as painting or his own long - standing commitment to the primacy of gesture.»
In creating the drawings, Voigt first maps the movements of her entire body, and then translates her full - body experience
into a symbolic language of
illusionistic organic shapes that float on a flat background.
All the devices in Stella's new paintings are geared to make picture space feel as if it bites
into real space, without using
illusionistic depth.
In Rush's photo, there is a crisp tension between the flatness of the horizon line and the gate, both of which are parallel to the picture plane, and the
illusionistic perspective of the pier itself, which leads our eye deep
into the composition.This pictorial incongruence is to some extent reminiscent of the irrational juxtapositions in paintings by the popular Surrealist artist Rene Magritte (1898 - 1967).
By deconstructing the figure
into fragments on two two - dimensional plans, Amy pleasant makes abstract portraits that become
illusionistic when seen from different angles.
As he has noted, his use of «push - pull dynamics and the occasional use of
illusionistic perspective against raw expressionistic brushwork gives the impression of looking deep
into the canvas only to be thrust back to the surface.»
These works often demonstrated her keen interest in how paintings function in a given room and used
illusionistic techniques to extend the plane of a wall or floor directly
into the space of her pictures.
The work features an
illusionistic torn portal, which also brings to mind another art - historical predecessor: Ilya Kabakov and his «The Man Who Flew
into Space from His Apartment,» 1988, an installation centered around an empty makeshift sling, from which the protagonist had just catapulted
into the cosmos leaving behind a prosaic Soviet apartment.