Sentences with phrase «layers of oil paint in»

He works in series on several canvases at a time, building up layers of oil paint in subtle grids of variegated texture and colour.

The artist first applies thick layers of oil paint in various colors, including burnt sienna, green, blue, and yellow, onto a white painted background, then uses her body to vigorously mix and sculpt the material until the once - vibrant pigments meld into a rich gray tone.

«The Stylist» features a simply drawn woman up front, with layer upon layer of oil paint in the background; it's as if Gendel used the material itself to build up emotional or spiritual complexity....

Not exact matches

That is individual layers of dough painted with oil in between.

Fiery-foods.com reader Richard Frost mentioned another use for the highly concentrated heat, stating that the largest consumers (70 % -80 %) of chile oil in the world were manufacturers of underground and underwater material coatings, being used extensively in the outer layer of underground cables and in boat paint.

She builds layers of meaning by combining ephemera, oil paint and beeswax, rendering modern images in an ancient medium.

Painted in acrylic and oil, patterned, layered, rubbed back, and glazed, the works achieve a weather - worn texture recalling the erosion of matter overtime and the exquisite residues of nostalgia and decay.»

The large vinyl panels are arranged in diamond formations of layered and fragmented photographs daubed with spray paint and melted black oil stick.

The Brooklyn show includes Whitten's Birmingham 1964, in which a newspaper photograph of a confrontation in Birmingham is partially revealed under layers of stocking mesh and black oil paint, like a wound that can't be covered over.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquIn the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquin the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquin the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquin paintings made quickly.»

Malevich said that a painted surface is a real living form, here in sheer vitality Leonhardt activates her paintings with numerous layers of thick oil paint.

Yossifor paints these works in one shot, until one thick layer of oil paint begins to harden.

Her paintings, for which spends months accruing layers of oil paint, feature detailed brushstrokes and careful scraping in the creation of multiple perspectives and planes that investigate the materiality of painting.

The densely layered surface of built - up oil paint in Tuxedo Junction is echoed decades later in the wrinkles of tissues pressed against the glass plate of the photocopier as DeFeo investigates texture in two and three dimensions.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

In his darker Round monotypes, he painstakingly transfers many layers of oil paint onto paper to create infinite space similar to Tang Dynasty bronze mirrors.

In her unique approach to painting, Kate Shepherd applies threadlike lines of oil paint upon highly saturated layers of enamel.

Radiating lines drawn in oil stick across the canvas both infuse the work with a sense of dynamism and energy and incise layers into the thick oil paint.

Row paints in heavily worked layers of lush oil paint, gradually forming a dense network of marks and lines.

Her works in oil are as evocative as those in acrylic / ink / enamel spray paint and the juxtaposition of light washes and heavily layered paint reinforces contrast in many of her works.

Through his investigational approach, Otero combines the traditional act of painting with his innovative creation of «oil skins,» produced by layering oil paint on glass and then peeling it off in «sheets» before transferring it to canvas.

Of central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movementOf central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movementof oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movements.

Building up multiple layers of oil paint as he works, Richter mobilizes paintbrush, squeegee, scraper and palette knife in his signature process, his wealth of experience meeting his careful deployment of chance in highly detailed and extremely complex pictures.

The one oil on canvas work in the show, Abstraktes Bild 875 - 3 (2001), sings a muted song of representation, buried beneath layers of paint which seem chiselled away in order to reveal something urgent but ultimately lost beneath.

Yuka Kashihara uses oil paint applied in a thinly diffuse manner similar to that of Japanese nihonga painting, and by applying it in numerous layers she is able to create a unique depth of color.

Ruth Pastine uses tiny brush strokes with oil paint to build up the layers of the painting in an almost meditative, obsessive way to achieve a glowing luminosity.

Thea Ballard with a short review on Bracha L. Ettinger's latest exhibition at Callicoon Fine Arts, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

In her distinctive approach, Shepherd applies fine lines of white oil paint upon monochromatic layers of glossy enamel.

In CHARLIE works are juxtaposed with paint layered and stretched on linen, lace, canvas and jersey, to assemblages and objects made of glass - and carbon fibers; gesso and clay, oil - and acrylic paint, carbon -, glass -, aramide -, or Dyneema fabric, crocheted, knitted, weaved and layered.

In Purple (1961), Goode positions a milk bottle in front of a domineering monochrome canvas, both of which have been applied with layers of purple oil painIn Purple (1961), Goode positions a milk bottle in front of a domineering monochrome canvas, both of which have been applied with layers of purple oil painin front of a domineering monochrome canvas, both of which have been applied with layers of purple oil paint.

Instead of Dingle's typical palette of blue, sepia and grey, these compositions are rendered in a sugar sweet mélange of pastel yellows, ochres, greens and blues in a fanciful layering of both thin washes and sweeping, buttery strokes of oil paint à la Wayne Thiebaud.

Martinez is known for his large - scale, energetic canvases in which densely built - up layers of oil and enamel paint are punctuated by elements of collage.

The artist drips and meticulously builds layers of thick oil paint in her modestly scaled works, the largest of which measure three feet square and the smallest seven inches square.

This body of work can be grouped into two categories: watercolors with web - like black lines interwoven over masses of color suggesting successive layers of depth, and oil paintings of extremely heavy consistency in which controlled randomness allows for the appearance of an unconscious, interior landscape or what the French surrealist artists called an «inscape.»

This exhibition also draws attention to works in the Museum's collection such as Frank Stella's (b. 1936) Moby Dick prints, currently on view in the adjacent Connecting Chaos exhibition, in which he layers cut paper onto multiple print processes, and Keltie Ferris's (b. 1977) The Wrestler (2009) in the Museum's atrium, which incorporates oil, acrylic, and spray paint into an abstract layering of color and shapes.

Elizabeth Magill has developed a novel technique for her oil paintings, often starting off with a photographic image on the canvas, which she proceeds to work on, applying and scraping away layers of paint, until she achieves the mood in the painting which she is seeking.

In this bilaterally divided canvas, Innes demonstrates a signature technique of building layers of oil paint, before stripping away sections using a turpentine wash.

Although she follows a fixed method in her painting, applying purely geometrical shapes to a classic 48 x 38 cm portrait format in layer after layer of oil and acrylic paint, her painting is far removed from serial production.

Often beginning with a charcoal drawing, and gradually building up layers in oil or tempera, Reyes paints blocks of color that appear photorealistic when seen from a distance, but become more abstract and gestural upon closer inspection.

Printing patterns (using Western oil colors) on top of the landscape traditionally used in Asian paintings (using water - based colors) transforms the masculine initial layer, now seen through a feminine veil.

I chose them because they are, in many ways, the polar opposite of traditional mediums — a way to take very complex, age - old master's techniques like reverse painting and the glazing and layering of oil paints, exploding them onto modern mediums that speak more to current times.

In Ligon's paintings, the instability of his medium — oil crayon used with letter stencils — transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriateIn Ligon's paintings, the instability of his medium — oil crayon used with letter stencils — transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriatein meaning, much like the subject matter that he appropriates.

Around 1960, Fontana began to reinvent the cuts and punctures that had characterized his highly personal style up to that point, covering canvases with layers of thick oil paint applied by hand and brush and using a scalpel or Stanley knife to create great fissures in their surface.

Executed in oil on canvas from a digital image, the paintings incorporate layer upon layer of fine lines of colour to create architectural - like forms, suggestive of a dense, abstracted cityscapes.

Since resuming his engagement with «terre verte» Marden has begun layering oil paint of this single color, focusing his conditions in order to heighten them, so to speak.

Painted in a palette of bright hues to deep blacks, Brown's works are centered on the human figure, built with layers of vibrating oil paint.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of clear independent marks that form a whole.

Gibson's painting practice often includes sculpted pigmented silicone, in addition to the simultaneous use of oil, acrylic, and spray paint; he employs these to create layers of patterns in low relief or thick impasto.

The British artist, Shaun McDowell, has worked to create distinct series of paintings using different materials and applications in each body — acrylic paint applied by hand, oil stick drawn and smudged, oil paint applied wet on dry to build up layers of...