Sentences with phrase «into their painted form»

Change into painting form and sneak on through.

I frequently discovered that if I had become stuck at a particular point in the game the solution to my difficulty would probably be found by transitioning into my painting form, sliding around sideways and moving onwards with my quest.

In so doing, the philosophical continuity of the artist's disparate visual strategies will be framed, strategies the artist has repeated and contradicted, as his investigation into the painted form has changed direction or reversed course over the past five decades.

After years of working on sculptures using a similar set of geometric shapes, this new body of paintings on linen takes those same simple bold shapes into painted forms.

Not exact matches

If you throw a gallon of paint into the air, does it form the shape of a house?

First and second grade paintings will lead you into third grade creation themes, where you will learn how to layer colors to achieve darkness, and how to bring color into form.

Bem's psi research reminds me of the geometric paintings of Piet Mondrian — simple - looking canvases whose elegantly balanced compositions actually reflect decades of investigation into color and form.

Don't forget, these guys were responsible for the «cultural explosion»» — a revolution in thinking that led to such startling new forms of expression as cave paintings, specialized tools, and bones carved into the first flutes.

The framework that holds the dish in place has been painted so many times that the white paint has formed into stalactites that drip down from every strut.

After stirring it together it formed into a large clump and not a paint consistency at all.

But then again, there probably isn't any ending to the film that really wouldn't be farfetched in some form or fashion, the cinematic equivalent of being painted into a corner, so it would have been a miracle not to disappoint.

For writing, students rendered paintings into poem and story form, trying different points of view.

The painting provides a vivid insight into ancient Egyptians as people and forms a good starting point for enquiries into the lives and status of women.

8 — To paste painting onto Cardboard Ceareal box and to paint the back of the box 9 To construct with glue gun and to cut into shapes to form a hanging mobile.

Dipping into it in squid form allows you to hide from enemies, to move faster, to scale painted walls and to top up your ink reserves - and so victory comes about not just by spraying everywhere, but by spraying wisely, opening up new channels for yourself and your team - mates.

Outside of that are smaller titles like INKS, which turns pinball into a form of painting, and KAMI (2013), a puzzle game made out of origami squares.

Ethereal and luminous, Kevin Kopacka's oil paintings capture a fantasy world in which shadowy forms melt into color.

The Sculptural Method is where we treat our painting or drawing as a clump of clay and gradually form it into what we want it to look like.

Painting seems to be as much a form of divination as a way to dig up painful memories, bringing into focus the difficult tremors and disturbing experiences we all deal with.»

She paints this cool stuff that takes Amerciana and works it into new ideas and forms.

Bringing together exceptional examples of painting and sculpture from the Arts Council Collection, and augmented with major loans from important UK collections, Kaleidoscope examines the art of the swinging»60s through a fresh and surprising lens, one «bringing into direct view the relationship between colour and form, rationality and irrationality, order and waywardness».

The Fauves were influenced by painters such as Cezanne, Gauguin, and van Gogh, who also simplified their paintings into either planes or flat forms, or used energetic and expressive bright colors.

greg is especially inspired by the idea of having multiple windows open on a computer at once: through his process, he cuts out pieces and uses the computer to draw new forms, then assembles them into paintings that act like sculpture.

Even earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations of their bunched shapes; it would take only a little bit of further manipulation to turn those forms into the kind of stylized figures found in the paintings that Jan Müller was making around this time, or Bob Thompson just a little later.

It was as if the forms were found objects that when pulled into the painting brought some of the feel of where they had been in the world with them.

Various post-modernist claims assert painting's downfall; for some, painting was considered an exalted form of letter - writing, which avoided broader economic, gender, and class issues that could potentially project art into wider social contexts.

For 2015 BOS I've invited two dear painter friends, Scott Robinson and Meredith Hoffheins, to show new paintings with me in a presentation we've titled, Land Ausländer (which roughly translates to «foreign country» or «land alien»), because the three of us each incorporate abstract forms into a physical or imagined environment in our work.

Thus I channel my personal universe, my experiences and sensations that once transformed into forms, colors and textures emerge on the canvas in a spontaneous and playful manner as if a new and unknown world is being created in every painting.

After leaving Jepson in 1951, Hammersely recalled that he «bumped into hunch painting by accident,» inspired by the shapes that he saw in the figure and in still - life, reducing them to elemental form.

Margin of Error delves into the precarious world of technology we have built — the man - made disasters of shipwrecks, explosions, crashes — through a variety of forms, including graphic designs, industrial artifacts and paintings created by Man Ray, Margaret Bourke - White and others.

Then I work into the oil paintings — large or small depending on the form and idea.

In Passlof's works we experience firsthand the moment - to - moment grappling with paint, but even more so her triumphs in turning it into a rigorous journey of color and form.

Shōhaku transformed more conventional representations of the dragon found in the traditional Japanese mythological figures of the Cloud and Dragon paintings into fantastical images where the mythological being verged between hideous monster and an abstract anamorphic form.

Viewers can also look forward to new names and exciting artist discoveries, including video artist, Becky James; the painted assemblages of Annelie McKenzie; comical ceramicist John DeFazio; New York - based sculptor, Max Heiges» human size steel forms and furniture; and cookie caricature artist Rebecca Levitan, who sculpts cult figures» faces into edible treats.

Specifically, the influence of de Kooning's approach to art making upon Chamberlain's own oeuvre is underscored; Chamberlain articulates the accomplishments of Abstract Expressionism and the emotive power of de Kooning's painting into three - dimensional form.

A recent discovery for audiences, she may appear, like Athena, to have sprung fully formed into the world when she sold her first painting in 2004, at age 89.

In these paintings, gestural lines sinuate around, sometimes emerging into vague shapes, other times into obscure forms, creating a rich schema of marks, symbols and colors - self - contained and relating to each other within the boundaries of the canvas.

His paintings are expressions of colors that breathe life into his bold images, his recent sculptures bear traces of his fingers that have shaped their forms, and his drawings capture the spontaneity of daily thoughts.

Kate Hoffman's Dream Home series, photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns of Islamic sacred geometries cut into TIME Magazine photos of war oscillate between greater ambiguity and flirting with the didactic depending on the density of the cuttings; Sandra de la Loza's photographs of Stoner Spots underscore the politics of leisure through the exploration of pot - safe spaces, with a subtext of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations of photocopying through the prism of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.

The paintings by David Ainley are colour monochromes built up in layers of thick paint, forming a substantial surface into which Ainley scores lines, revealing parts of the underpainting, in a process that is similar to excavation or mining.

Give them the time and attention they demand, and they turn back into paintings: they are what Clement Greenberg (discussing Mondrian in 1948) described as a «scene of forms,» even if those forms are often hard to see.

One of the most influential painters of twentieth - century China, Zhang Daqian is said to have transformed traditional Chinese painting into a contemporary form.

The forms of the paintings themselves recall folding screens installed on their sides and bolted to the wall (and thus robbed of their function), though the impression of the hinged panels projecting into space is another illusion.

I think the images and forms from both prints are going to double back into the paintings that are in process in the studio.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

we see these forms inserted back into the same work, further exploring the sculptural possibilities for painting and collage.

As late as 1989 Celant had accepted a number of artists (Cucchi, Clemente, Kiefer) but still regarded the new painting as nationalistic and apolitical and characterised instead by a personal vision in the guise of «beautiful painting» that would seduce the viewer into believing it was a superior or «real» form of art.

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.

The gallery's website describes Chamberlain's process as «crumpling, crushing, bending, twisting and welding to form individual objects, which may be further painted and sprayed, [and combined] into aggregations, often on a monumental scale.

See, in Denim Dress, how the tranquil American iconography of girl - sprawled - out - in - field jumps the frame when you realise the girl is a boy; and in Junction 2015, how the mythic forms and long shadows of the American west are worked into surreal compositions that speak as poignantly of human longing as has any sculpture or painting.