Sentences with phrase «kind of paint works»

A painter is an individual who is responsible for doing any kind of painting work which includes painting of walls, office premises, buildings, apartments, houses, schools, bridges etc..

Not exact matches

HRT: I think the children's work was much more raw, what they depicted often very kind of... again the images of soldiers and dead bodies and destroyed houses... and it was children painting these images... The adults» were less emotionally charged.

Grab any kind of paint and little crafter hands to start working on these fingerprint crafts for kids.

These problems and concerns raised by the police personnel on duty paints exactly the gloomy picture of the kind of problems teachers, and health workers who are posted to work at these deprived villages face on a daily basis.

As we've been working on painting and updating our home, one of the things that our oldest daughter keeps reminding us is that things around here are just kind of «old fashioned.»

The top of Beau Ford's rescued «Work Hard Be Kind» School desk, is painted in fun and vibrant Chevron Pattern using a range of colours from the Chalk Paint ® palette.

The top of Painter in Residence Beau's rescued «Work Hard Be Kind» School desk, is painted in fun and vibrant Chevron Pattern using a range of colours from the Chalk Paint ® palette.

You guys know the deal... I didn't have to do any kind of prep work or priming, so I just painted to my hearts content.

I tried your cc receipe with two kinds of pain.t First i tried it with a small bottle of simple paint for in and outside and it worked, i then tried it with usual wall paint (dispersion with a little bit creme color in it) and i also succeded.

I live simply, I'm laid back and enjoy a variety of things... camping, fishing, painting, pottery, tattoos, music (I like all kinds but alternative rock is my first choice) baseball, hanging with friends, working with kids, nature, traveling, etc....

i am friendly, understanding, God fearing and easy going person, a good christian, i speak my mind and open minded, I like fishing, camping, cooking, dinning, painting, playing with pets and kids, I am an independent woman, very hard working and kind, I am a woman of one man

Still, there's something about this couple on screen that kind of works, partly because Hawkins and Hawke are remarkable together, and partly because director Aisling Walsh and screenwriter Sherry White let them make much of small things: The looks on their faces, say, when she starts popping bright, cheerfully painted cards in with his bills, and a New York visitor offers to pay more for her card than for his fish.

Bought this truck in the past year and she takes me anywhere, I use it as a daily driver and a racer, I have done many performance modifications to it, such as fuel injection ratio tuner, K&N cold air intake, champion spark plugs, tuned the camshaft a little, etc. and I did some cosmetic work on it as well such as painted rims, mesh grille, dipped my truck pearlescent, put neon lights in the cab hooked up to a toggle switch, put rain guards on the doors, new nerf bar, etc. it is all the kind of mean look you want it to be at night and a family vehicle during the day.

never been in any kind of accident, no paint work at all, original paint as new, CLEAN TX TITLE BY MY NAME IN HAND, clear CLEAN CAR FAX, never had any problem before.Car has no issues at all, car looks, drives as new, this great family dream, 8 Air bags, AC front and rear BLOWS ICE, daytime running light, folding seats, cruse control, key less entry, power windows front and rear, power locks, ABSa

At the Show, they get exposure to these kinds of options, like customization and specialty paint work that often can be accomplished with a collision repairer's existing tools.

Available with a bright blue paint work, kind of like that of the SEMA concept, the Sport comes with revised front and rear fascia, chrome - tipped dual exhaust, and 19 - inch alloy wheels with 245 / 45R19 tires.

In contrast to black and white E-ink screens (Vizplex, E-ink Pearl and E-ink Carta), which are widely used in ereaders, in microcapsules of new displays there're not two kinds of microgranules but three - black, white and painted in any other colour (if you want to know about constructionof black and white screens in details, you can see the material «Principle of working of E-ink display»).

He spoke about some of Kusama's work that he owned, including an Infinity Net painting of the kind currently on view in an exhibition at the Judd Foundation in New York through December 2.

As a member, you'll be able to connect with other artists who work in similar media, including all kinds of painting (even digital), sculpture, photography, mixed media, and more.

He has been kind enough to share with Painters» Table his thoughts on painting and images of his work in advance of a retrospective exhibition, Celebrating Abstraction, which will be on view June 7 - 14, 2012 at the Appledore Festival.

Already by the mid-1960s, painting had lost its authority as the dominant artistic medium and instead galleries had begun to show much more heterogeneous experimental and sometimes politically and socially provocative work in new media (film, video, and photography), as well as confrontational live art and other kinds of participatory and performance - based approaches.

I'm thinking about a color relationship where the paint isn't just naming something, but also transcending itself... Hopefully, what comes across in my work is a kind of heightened devotional object that has a radiant presence.

BB: «The work of the eyes is done» is certainly an interesting quote to hear from an observational painter, as is the notion that images are «imprisoned within...» Applied to your paintings though, these notions speak to the kinds of interior spaces you paint, the rooms of your house at different times of day, for instance, or your color, which can be muted, but also evokes a rich vision of everyday experience.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

Haggarty comments: «I never start a painting and think I'm going to arrive at a subject, or I'm going to find it through process... I want mistakes to happen and I want process to intervene and surprise me and interrupt me but... it almost always has some kind of direct relationship with either a memory, or a situation I have been in... and I wonder how I can remember that and portray that... [The works] are almost always rooted in some kind of personal memory.»

And yet, private as these paintings are, the feelings they expose are as personal as any I have encountered in a work of art — the kind you don't want to spell out because you are not even sure if you can.»

Consider the most visible trend in recent years of Zombie Formalism, a kind of reductive, easily produced abstract painting, sold quickly to collectors queued up on waiting lists and hungry for innocuous, decorative works in a signature style, so much so that the name of the artist himself becomes the brand.

I work with tension between colors and among shapes, engaging with all kinds of painting relations, so my approach to painting has always been full of contradictions.

Louis and Noland saw the picture unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.

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.

«I've been working to make this kind of «artificial realistic» painting,» he says of the latest efforts.

In other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an end.

This painting works kind of like a Reinhardt, with close - valued tones that cause the forms to emerge slowly over time.

In her recent show with the Beijing satellite gallery of New York's Chambers Fine Art, she has concentrated on what she calls landscape paintings, which don't present landscapes so much as a kind of floating abstract world reminiscent of the work of the Chilean modernist, Roberto Matta, in their atmospheric effect.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Feely quotes Olitski as saying, ab out works of this kind, «I was trying to extend Rembrandt's use of flowing paint, his chiaroscuro, and just as much, his impasto into modern painting.»

Fine arts and crafts include such work as paintings, photography, printmaking, ceramics, textiles, jewelry, all kinds of sculpture, glass, film, video, and more.

And doesn't an artist also enter into a kind of debate with the painting itself, so that the work could even be a reply to the artist as if it had a life of its own?

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

Not the way I was making paintings ten years ago, sitting in front of something and responding to it, but working away from the direct contact; whether it be through drawing, through memory, through some kind of interpretative reference to a photograph.

If you're unfamiliar with Kiel Johnson's work, his work, he creates transmorphic drawings, paintings and sculpture that seem to synthesize the ever - expanding media explosion through a kind of personal narrative.

Domenick's work also focuses on mark - making of all kinds, from the line of a pen to the scratches in a linoleum countertop, a material Domenick often uses as a canvas in his object - like paintings.

For this exhibition of recent paintings she opted for a kind of reverse working method.

Recent exhibitions focused on the work of Alan Shields have included Alan Shields: Protracted Simplicity, a survey accompanied by a chronological monograph by Heidi Zuckerman at the Aspen Art Museum; Alan Shields: A Different Kind of Painting at Beeler Gallery at Columbus College of Art & Design; Alan Shields: Common Threads at Parrish Art Museum; and Into the Maze at SITE Santa Fe, among others.

It's nice to have them done, because now I am just working on small leisurely paintings, just kind of winding down and not having an immediate deadline.

Tiffany Bell and Frances Morris — the loving curators who put the London survey of her work together — include 1954's Untitled, with its Adolph Gottlieb — like shapes and a few other paintings of its kind, the better to show what it looked like as Martin moved away from the body and into drawing something more ineffable — nature, or more specifically, the cosmos at the heart of the natural world.

This kind of abstract painting was around, and it was mostly expressionistic work — I don't know if anybody really noticed that.

Discussing this series in the context of his «70s output more generally, Stella says, «The effect of doing [the Diderot paintings] «by the numbers,» so to say, gave me a kind of guide in my work as a whole... The Concentric Squares created a pretty high, pretty tough pictorial standard.

If individually some of the works bear a resemblance to film stills, installed across all three spaces of Victoria Miro Gallery the paintings gain a cumulative momentum that can be thought of as a kind of tracking shot.

The pieces span various different media, from Feeley's undulating abstract painting to Philipsz's famous sound work — the first of its kind to enter the collection.