Sentences with phrase «into paint stripping»

I would have loved to have the whole thing be the original wood, but I was a little worried with all the fine details that we would run into paint stripping issues and an uneven finish.

Not exact matches

With each strip of chicken, dip into the egg mixture, paint on dijon mustard, dip into cashew mix and lay on parchment lined cookie sheet.

While I cut their chosen fabric into strips for their scarves, they painted their craft sticks.

Terracotta clay is sculpted into hill shapes featuring hand - painted striped tribal motifs in a myriad of metallic hues.

Tag - lined as «An Uncomplicated Indulgence,» the line has grown into a collection of colorful bands of stackables that live somewhere between strips of candy confections and a child's paint box palette, albeit, in more sophisticated colors.

Alma Martin once told my mother a story that Matisse had Madame Cézanne in mind when he painted his own wife... and she was beginning to think that if it was good enough for Matisse to strip Madame Cézanne into his wife's painting then maybe, just maybe, she would pose nude for Alma in order to help him flesh out his memory of his lost wife.

SEO, a former master class student of Georg Baselitz (of whom original works are on display at art» otel berlin mitte), has created bespoke large - scale paintings mainly consisting of coloured rice paper torn into strips, which she then used to create dramatic picturesque collages.

Much of Helen O'Leary's work materially recycles her own earlier paintings panels, which she cut into scraps and strips and pieces together — she calls it knitting — to form something new and often sculptural.

Triple Action / Tear Production / Hydrophobic Effect (2017) by Ala Dehghan is an extraordinarily poignant piece — its eyes literal slits torn out of the black mesh fabric, its spray painted pupils dripping and gazing unblinking into eternity, and the strips of mylar running down like crocodile tears reflect the onlooker, distorted and mutated.

A sphere made of colored strips of fabric torn from a plethora of unraveled paintings, The Painting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrPainting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrpainting's many deaths and resurrections.

The exhibition starts dramatically in the lobby with Jim Lambie's striped floor, all sharp lines and acute angles, continues into the sixth - floor lobby where a Donald Judd painted aluminum sculpture dominates, and opens into the special exhibitions gallery, where you are greeted by a horizontal painting, installed up high, by Marcel Duchamp.

The three vertical panels, in addition to referencing the traditional triptych format, appear to be horizontally subdivided into three regions: a relatively quiet area along the top, bordered by a long squeeze of red paint that crosses the surface from left to right; a densely layered strip across the center, where the majority of the collaged elements are concentrated; and a band of brightly colored stripes that fills the bottom.

Corrupted patterns and broken swirls will translate into inner tubes for Gareth James, a floral curtain for Simon Starling, a lattice of paint strips for Cheyney Thompson, and canvas as wallpaper for Annette Kelm.

Lately, the jet setting art writer has been pounding life into the staid blue chip art scene, from stripping his Madison Avenue space down to cement and drywall to planning an exhibit of Betty Tompkins» seldom - shown porn paintings at Art Basel Miami.

Minoru Ohira gauges textured swirls into painted, five - ply Japanese paper with a razor blade; Lorenzo Hurtado Segovia weaves together thin strips of painted paper to create colorful, almost pixelated «rugs» that blur the distinction between fabric art and basketry.

He molds the scooped - out pieces of pigment into multicolored bricks or assembles striped chunks of paint trimmed from the edges into crystal - like formations.

In his best known works, he paints on fabric then cuts the fabric into strips, often of uneven length, which he sews together to create large wall hangings in jumpy Matissean patterns and colors.

For this latest project, Richter took an image of his work «Abstract Painting» (CR: 7244) and divided it vertically into strips: first 2, then 4, 8, 16, 32, 64, 128, 256, 512, 1,024, 2,048, up to 4,096 strips.

Between the Vegas - strip-esque striped wallpaper and amorphous paintings, the corridor between the entrance and the coat check was transformed into a vibrating optical rabbit hole.

`' Roy Lichtenstein's triple screen film installation is a mesmerising hybrid of film, painting, billboard, comic strip and kinetic spectacle... Lichtenstein's only venture into filmmaking premiered at the Los Angeles County Museum of Art in 1971 as part of the ground - breaking Art and Technology program.»

Meticulously painting words and phrases, Sears then saws his pristine works into strips and chunks which he then uses as a palate, creating geometric assemblages.

The visually compelling Strips (2011 — 2015), for example, were made by taking a digital slice of an earlier abstract painting and dividing it into 4,096 color segments that could be rearranged and stretched horizontally.

I have just completed a site - specific piece for a group show, I'm playing around with painted balsa wood strips that I'm gluing into shapes and, most significantly, I'm preparing for a collaborative project coming up this -LSB-...]

As he prepared the show, however, Marshall decided that «multiple fronts were needed to set forth a black aesthetic» and the exhibition then expanded into the museum's two main second floor galleries with paintings, sculpture, photographs, videos, installations, drawings and excerpts from the artist's cartoon series RYTHM MASTR, which originally began as a newspaper comic strip at the 1999 Carnegie International exhibition.

As Doig prepares for these hurdles in New York, he has settled into a somewhat monastic regime of morning ice hockey at Chelsea Piers (his strip is hanging to dry in the studio basement), painting and reading.

In addition to canvas collages, Loving also began piecing together torn strips of paper and cardboard into massive compositions that he would paint in a variety of colors and mount to metal supports so that they jut out from the wall, causing shadows that in effect became part of the overall composition.

Interspersed with these canvases are paintings made of strips of paper layered into appealing patterns that break up the intensity of Chambers» installation.

Stingel's carpets actually function more as interventions into surrounding architecture, in a manner related to the methods of the French artist Daniel Buren, who has installed his striped paint ngs and banners on walls, ceilings, windows, storefronts, and outdoor benches, partly to call attention to their environments, both physical and political.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC).

An intense ultramarine ground is sliced by a waving strip of white that dissects the plane into unequal halves, a counterpoint to the sharp verticals of Barnett Newman's «Zip» paintings of the same period.

The «Current Interrupted» series consists of paintings that have been separated into strips and reconstructed in a way to create new relationships by being put into a new context.

Stripping vintage lengths of 16 - and 35 - mm film of their emulsion and dissolving the murky material into clear acrylic paint which he then airbrushes onto canvas, Zilm collapses entire films — close - ups, slow pans, fast tracking shots, high angles, medium angles, reverses, zooms, aerial shots, encoded soundtracks — into mysterious black - and - white paintings that appear to be film stills in their own right.

At a time when the so - called New Image Painters — Baselitz, Schnabel and co — were reviving interest in neo-expressionist painting, the existential cruelty of Titian's painting, in which a satyr is skinned alive, seemed like a message from the past, telling us that the truly great artist can not so much transcend the infirmities of old age — failing eyesight and diminished muscular control — as turn them into an aspect of genius, in works that strip back to the essence of things, and which can communicate to any age.

Her 2013 exhibition at Morgan Lehman featured a few traditional paintings, a projected animation, sculpture made of altered chairs, and an installation fabricated from thin aluminum strips, seemingly teased into a giant knot suspended midway down two walls and connecting in midair.

Alan Shields deconstructs the very concept of a painting on canvas in Devil, Devil Love, as does Kim MacConnel in Jingle, where unprimed fabric is painted, cut into strips and sewn together.

Failing that, he tears unsuccessful paintings into strips, which he uses to compose what he calls his «slash paintings», some of which are then painted silver and transformed into «chrome monochromes», rising phoenix - like from the debris of frustration.

And while Roy Lichtenstein's Look Mickey (1961), his near - faithful reproduction of a Mickey Mouse and Donald Duck cartoon strip, was basically formalist commentary (produced as Lichtenstein had grown weary of the spiritual grandstanding of Abstract Expressionism), and from our contemporary list of artists, Housley's repeated use of the Snoopy and Woodstock motifs are receptacles for the artist's process - based experiments in the possibilities of paint; many of the artists working with toons seem to be engaging in the opposing struggle to pull the characters out of their own pictorial world and into our own.

Meanwhile, at Marc Foxx Gallery through June 20, Sam Windett layers paint over strips of newspaper to build a sense of actual time into each picture.

Last autumn, when I walked into the Whitney's Frank Stella retrospective, I paid closest attention to the striped paintings of the late 50s, and then the irregular polygons of the 60s, not knowing what to make of everything else.

An accompanying book «Patterns» shows Richter's process using the original «Abstract Painting»: an image of the painting was divided into vertical pieces digitally, in increasing numerical squares from 2 to 8190, and then the narrow strips of color reflected and repeated to create a new work (RPainting»: an image of the painting was divided into vertical pieces digitally, in increasing numerical squares from 2 to 8190, and then the narrow strips of color reflected and repeated to create a new work (Rpainting was divided into vertical pieces digitally, in increasing numerical squares from 2 to 8190, and then the narrow strips of color reflected and repeated to create a new work (Richter).

Fluid strips of bright colour blend into one being; it's a union between male and female and between figuration and abstraction since, being headless, the pair happily occupy the middle ground between portraiture and colour field painting.

Further works on display are from the Cut - ups series, the Colourfield paintings cut into strips and reassembled into a new logical entity, the Potato pictures, oval forms, profiles, triangles and rectangles overlapping freely and irregularly, and works from the series of small - format paintings entitled Anima mundi, alluding to the ancient concept of the world soul.

Some connections are open to debate — we can't be sure that Diebenkorn was thinking of the blue striped shirt of Matisse's Blue Eyes (1934) when he used a similar pattern on a dress, but we're convinced that both artists were keenly attuned to such details, and the virtue of such comparisons is to bring viewers into contact with the paintings at the same intimate level.

He was propelled into the realm of comic strips by a showdown with one of his sons, who passed him the book Donald Duck Lost and Found and challenged: «I bet you can't paint as good as that».

At Horodner Romley, Mr. Whitten's researches into the possibilities of paint have lead him to freeze strips of acrylic and then break them into little bits that resemble ceramic tile and can be formed into paintings that resemble mosaics.

Blending abstraction and figuration, Romanticism and psychedelia, von Wulffen's large - scale paintings wryly revisit and reprocess tactics and tropes of modern painting from German Expressionism onward, while recent series of drawings have tweaked the conventions of the children's book, the comic strip, and the storyboard, turning these formats into vehicles for her own psychologically charged narratives.

In «Into the Groove» (2010), which was painted on a slightly off, rectangular piece of wood, with a small circular indentation punched into it and two strips of corrugated cardboard adhered to its surface, Clippinger echoes the scalloped edge of one cardboard strip by painting a similarly scalloped form in black along the painting's left eInto the Groove» (2010), which was painted on a slightly off, rectangular piece of wood, with a small circular indentation punched into it and two strips of corrugated cardboard adhered to its surface, Clippinger echoes the scalloped edge of one cardboard strip by painting a similarly scalloped form in black along the painting's left einto it and two strips of corrugated cardboard adhered to its surface, Clippinger echoes the scalloped edge of one cardboard strip by painting a similarly scalloped form in black along the painting's left edge.

Over the years I've sliced paintings into strips as part of their solution.

In celebrating the mythical beauty of «The Feminine» in art, Mira Dancy's ink and acrylic paintings idolize and enhance all that is feminine and female, placing them into an almost comic - strip narrative that flows over borders and between frames.

He had smeared a line of cadmium red light on a strip of masking tape that divided a vertical canvas painted cadmium red deep into two halves, creating a bilaterally symmetrical image of solid color.