Sentences with phrase «layer of paint while»

Liat Yossifor — I have worked before with one layer of paint while it is still wet and moveable, and the duration of the piece was until the paint starts to dry, which for oil paint is on the fourth day.

I mean as much as it creates greater ambiguity, it also reveals both a sense of history of the layering of the paint while, at the same time, anchoring the whole image so that it doesn't float in the picture plane.

Not exact matches

paint on a layer of the paint onto your letters, and while they're still wet, sprinkle on the cinnamon!

Last of all I used a clear soft wax to seal the layers of paint, pressing Amy Howard's Dust of Ages into the crevices while the wax was still somewhat tacky.

«We did all stretch and stipple because we didn't have any more money for prosthetics,» Denaver said, referring to the common process of stretching the skin and holding it while applying liquid latex, powder, and paint — in multiple layers to Janney's entire face, hands, and neck — to create wrinkles.

The interiors of Villa Oceania use stone walls, wood floors and paneling and wicker furniture for warm natural texture, while white and cream paint and upholstery add a layer of modern freshness.

In the last few years, I found a way to embrace contradiction through illogical layers of transparent color, letting color energies construct the painting while all kinds of shapes and incidents just overlap and build up color.»

While I haven't seen the show or experienced her paintings first hand, in photographs the work displays a range of sophisticated color palettes and color relations, layerings of transparent color, that match the work of some of the best colorists including mitchell, frankenthaler, matisse and deibenkorn.

His paintings rise from the depths of well - considered planning and intellectual consideration; Portilla reaches unique coloration through careful layering while letting the process of painting and exploration reign free.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

Multiple layers of geometric and gestural marks are silkscreened and hand painted over these flattened images creating a rhythm within the painting while obfuscating the original subject matter.

Her paintings and drawings are often austere and ominous parallel versions of these characters, while in other works, such as The Erased Batman, Pensato literally peels back layers of paint to reveal a bare white expanse underneath.

While Stella's «Black Paintings» like The Marriage of Reason and Squalor eliminated depth, the layering of paint also grew darker in the 1970s and 1980s with Brice Marden and Sean Scully.

In painting and print, she layers architectural plans, maps and other schemata to invoke the histories of cities and civilizations, while heightening our awareness of how we make sense of the world.

Nancy Daubenspeck and Neema Lal both utilize a subtractive technique, Daubenspeck taking away and retouching layers of casein paint while Lal sandblasts her glass sculpture.

While my work tends toward the reductive anyway — I refer to my esthetic as «lush minimalism» — each painting in this series is a small color field achieved by layers of translucent paint applied at right angles.

Hung as a series of official portraits, each painting features an abstraction whose shades and shapes convey the essence of a personality, while weight, hues, and the overlapping layers of painterly substance have a soul of their own.

The variety with which paint is brushed, scraped, layered, piled up and dug into fills these works with markedly distinct passages of paint - handling, in the old - fashioned sense, even while they seem to push paint to new physical limits.

The layering of shapes contributes to the paintings» visual depth, often shifting their place while cementing their gravity and weight.

While some people, including Pollock's wife, Lee Krasner, claimed that Pollock painted Mural in one night, in a letter from 1944 Pollock simply said that he painted the work during the summer of 1943 (a fact which is supported by recent technical analysis of the work which shows that certain paints would have taken days to dry before Pollock applied more layers).

Mark Bradford is known for abstract paintings and collage - based works that recapture mid-century American art's capacity to conjure the sublime and evoke deep feeling, while incorporating layers of social and personal commentary.

While the rivulets of watery paint and the luminous glow of the surface suggest that he is using techniques associated with stain painting, his reworking of the surface, with multiple layers of paint and varying textures, goes against what we think of as stain painting.

Alex Israel's Sky Backdrop (2016) depicts Los Angeles's wide skies in scenographic terms, while Mary Weatherford, showing her first large - scale painting since joining Gagosian, captures the shifting atmosphere of the Pacific coast, evoking the sky and sea in painted layers and glowing, neon light.

The hosiery layers are artifacts of a private performative act in which the artist wraps herself in hosiery material to enact a series of precise body positions, recorded while sleeping, into pools of acrylic paint on a canvas.

Physically moving around a black - on - black painting of a cubic grid will reveal layers of optical illusions, while simply blinking when standing in front of a canvas covered in a complex navy - and - white pattern tricks the eye into seeing an oscillating, three - dimensional piece of art.

Menacing, bare, red and blue branches thickly painted with energetic brushwork traverse the panels while a crouching female figure is nearly obliterated under layers of overpainting.

While his paintings involve complex layering and the deliberately distorted treatment of light — suggesting three - dimensional space — the subjects are flat.

The exhibition will show how he used photocopiers to make new distorted compositions, while the Lens Paintings made in the 2000s attempt to emulate holograms in their use of semi-transparent layers of materials.

A thought - provoking and unconventional survey, including work from the past thirty years, Albert Oehlen: Woods near Oehle reflects Oehlen's complex layering of methods, subject matter, and viewpoints, while also celebrating an artist who continues to radically question the limits of painting.

Inspired by the lush landscape of her surroundings, these paintings — composed of layers of dye, applied in washes, and intended to be used in set designs for a friend's band — permit the Brooklyn - based artist to transfer her sculptural dexterity to two dimensions while escaping the pressures of producing work for display in galleries.

An individual piece consists of a single thick layer of oil paint that Yossifor manipulates with a palette knife; the work is produced over a three - day period, while the surface is still wet.

As students we were doing lots of things around our paintings while we were making miniatures: checking our colour palette and tools at the edge of the paper, trying out different kinds of lines while making the borders, even tracing figures then hiding them behind a thick layer of paint.

It's his calculated paint application technique that makes the work so distinctive, minimizing the fine layering while achieving enviable sense of depth and light effect.

While some works are the result of conspicuous addition, his «wash» canvases, by contrast, are produced by layering and removing paint with a heavy - duty pressure washer.

Begun while Rauschenberg was taking classes during the 1951 — 52 academic year at Black Mountain College in North Carolina, Untitled [black painting with portal form] features a deep black rectangle — the portal form — surrounded by a loose grid of exposed newspaper and layers of paint that are almost geologic in their application.

The new layer, applied primarily to the upper left quarter of the painting, was intended to cover small drips of white paint that had accidentally fallen on the work while the artist's studio was being painted.

DeFeo often applied paint to canvas in thick layers, while Lawrence and Davis created flat planes of vivid color.

The concentric framing devices are painted first, then covered up while Commito adds the planer, fractured, layers that eventually form the «body» of the painting.

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

But the layered associations persist: The painting was named for a gay cruising beach north of Boston, while the inspiration for «Zambezi» was a Harlem nightclub that featured male and female impersonators.

His sophisticated layerings of varied materials call to mind the broad expanses of color field painting while creating a tangible experience of texture, movement and spatial depth.

Some sculpted heads, and even a few paintings, wear squares of knitted wire that could be a veil or armor befitting Joan of Arc, while others are often exquisitely blushed with layers of pastel, paint and paraffin.

Layers and layers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point ofLayers and layers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point oflayers of papers and paint built up over time manifest the tactile nature of his working process, while the sanding between layers wears away the visible to the point oflayers wears away the visible to the point of ruin.

With opaque colors and the layering of whites, Rhodes» work complicates ideas of frontal forms in painting while at the same time denying real references.

While Cory Arcangel issues instructions to Photoshop to create his Gradient pieces («Blue, Red, Yellow», mousedown y = 5750 x = 8250 and so on) in the manner of a 1970s conceptual artist, the Los Angeles - based Michael Rey populates his shaped wall works with a flattened layer of carefully hand - modeled, painted plasticine ground: «The choice of this material began as an experiment,» says Rey, «but continues to reflect my personal anxieties about finitude.»

The female form is charted and plotted with austere mathematical precision by Slade Professor William Coldstream and his pupil Euan Uglow; while by contrast it is London in all its grimy glory that is whipped up in thick layers of impasto paint by Frank Auerbach and Leon Kossoff.

In Slow Storm (2017), grey circular strokes spiral, tornado - like, in the canvas's upper right corner, grabbing paint from earlier layers while dripping onto patches of raw canvas.

While the essential likeness of a given sitter almost remained intact, deliberate variations of color and accidental slippages of the silkscreen layers insured that each painting was ultimately unique.

While Rogers continues to de-stabilize and undermine his paintings through his layers upon layers of veils of watery colorful depth asserting themselves against concentrated solid formations, drips, daps, and splashes, he creates an immediacy found in Abstract Expressionism and a fluidity of action with a definitive brushstroke.

His works center around the relationship between form and content: often using several layers of paint, resin, glitter, collage elements, and occasionally, elephant dung, Ofili enlists sexual, cultural, historical, and religious references to create uniquely aesthetic and physical works that expose the darker undercurrents of society, while also celebrating contemporary black culture.