Sentences with phrase «into pictorial abstraction»

The first works in the series were debuted in Douglas's 2016 Hasselblad Award solo exhibition at the Hasselblad Center in Gothenburg, Sweden, and the compositions that will be on view in this exhibition represent a more expansive and nuanced investigation into pictorial abstraction as well as the complex relationship between technology and image making.

Not exact matches

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

Describing abstraction as a «revolution of twentieth century art», Hoyland began making early enquiries into how rational thought and visual perception could be used as the sole basis for pictorial composition.

She has continually shifted the terms of her practice, incorporating figuration, abstraction, digital techniques and gestural mark - making into compositions that confound expectations of pictorial space.

Following the developments of Cubist and Futurist painting — in which the natural world was translated into a stark pictorial language of shapes, lines, and angles — Russia was one of the primary breeding grounds of pure abstraction, with Wassily Kandinsky doing much to popularize geometric art before gravitating to the gestural camp in later years.

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Much like her paintings in the past two iterations of NDA, the artist's new series of geometric abstraction becomes even more architectural as she continues her study of visually defining «place», giving the viewer a sense of being able to walk into and inhabit the pictorial «space».

Westfall's recent paintings have integrated diagonal energies into his well known deconstructions of the grid that have long walked a woozy line between abstraction and pictorial reference.

For this «545 Days» exhibition, Robert Proch has continued with his research into the fragmentation of space, taking a pictorial approach that is all his own, halfway between abstraction and figuration, to the point of shattering all our cognitive reference points and igniting our imagination.

Moving from figurative depiction, both artists are diving into a sphere of abstraction and dynamics, opening up their pictorial dialogue by exploring the abstract landscapes which emerge through the amalgamation of their creational spirits.

The artist allows the supposedly pictorial subject matter to fade into painterly artifice, blurring the dichotomous line that segregates abstraction from figuration.

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.

By reducing the obligatory details, especially the background, in favor of speed of execution on a large - scale format (which he gleaned from Abstract Expressionist painting), and by maintaining simplicity of form (distilled by the artist for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular pictorial language.

One group of works on view are her «Landschaft» [Landscapes] for which she often worked out - of - doors, distilling natural elements into gesture and essential marks, paring them down to near abstraction while retaining a pictorial organization.

The images challenge the notion of how to make a line or create a new posture for flattened space or abstract composition, swivelling from geometry to gesture, propelling representation and language into abstraction, exploring pictorial edges and boundaries as well as the constitutive or disruptive role of blank space,.

Included are nine medium - sized paintings — in oil on canvas or linen, from the last five years — that attest to Ayhens's command of her pictorial means: elastic or distorted space, a distinctive palette, and a willingness to allow realism to dissolve into pure abstraction.

The process begins as an abstraction and slowly the painting evolves into a composite of different pictorial elements.

If Stella's call for a new sense of space tends too quickly towards a literal - minded interpretation, the problem with Peter Halley's Neo-Geo abstraction was that it moved painting into a philosophical, theoretical, and technological / conceptual space which was literal or literalizing in its very own way (e.g., as geometric abstractions came to serve as the pictorial ««models» of intellectual concepts»).