Sentences with phrase «light on work surfaces»

The fixtures are large enough to cast plenty of light on work surfaces, yet with thin, white shades and soft edges, they give the kitchen an open and airy feel.

Not exact matches

Don't let the egg wash puddle or pool on the surface — a light layer works best.

If your work surface doesn't have any flour left on it, give it a light dusting, then set the ball of dough back on it.

Procedure • Working on your dark surface with the lights still on, stand the CD case on its bottom edge.

Case histories of scientists, such as Isaac Newton, and of writers, such as Thomas Hardy, are provided, to throw light on how the wound surfaces in the life and work of different individuals.

Jorik is a postdoc in the Brongersma lab in the department of Materials Sciences, where he is working on nanostructured surfaces for the control over light - matter interactions.

Working since 1920 at the Meudon Observatory near Paris, he submitted a doctoral thesis in 1929 on the polarization of light reflected from the surface of several planets.

This halo MINI is also equipped with bi-xenon headlights with special black interior surface and additional driving lights with black housings, a plethora of carbon fibre features and special numbering on the side scuttles finishers identifies each MINI John Cooper Works World Championship 50 as an individual entity of an exclusive limited series.

Her interest in realism and the way light plays on surfaces set her apart from the prevalent modernists and decision has paid off, causing that her work has been acquired by numerous collectors and major museums.

Compelled to bring the subjective back into her work, Corse re-embraced the paintbrush and focused further on light, incorporating unconventional materials into her paintings to investigate the subtle differences in surface treatment.

At about five o'clock, an hour before closing time, the gallery lighting began to switch on — a hot orange that seemed to spring off the more industrial surfaces of the later works.

The surfaces in the recent work from 2013 — 14 reveals more literal variations of black pigment, often utilizing an uncompromising matt underpainting as a support for glossy black on top; or, alternatively, light refracting from severe cuts into a hardened density of pigment, unequaled in works associated with subsequent modes of pastiche used in some overworked paintings associated with painters of The New York School in the turbulent late fifties.

It will include works from Turner Prize winner Martin Creed, the playful minimalist who created the notorious room with lights going on and off, Andrea McLean whose dense surfaces teeming with birds, beasts, flowers and trees, double up as a delicately detailed diary of her experiences, Neil Jeffries's wall - based sculpture, David Batchelor's jewel bright minimalist painting.

There are lighter, more whimsical works, like the spinning Internet startup chair of Glenn Kaino and the early «net art» of Mark Napier, though even those works explore more than what's on the surface.

For this new work, he prints a kaleidoscopic composition on the surface of an origami sculpture, installing it atop a mirrored surface that, as with his earlier installation, transforms the light in the gallery space.

Phenomenal: California Light, Space, Surface, companion book to the exhibition of the same name, explores and documents the unique traits of the phenomenologically engaged work produced in Southern California during those decades and traces its ongoing influence on current generations of international artists.

The unusual vibrant colors and patterns in these almost abstract works are natural results produced by the camera through available light, selected camera angles, shifting wind patterns on the water and in the foliage, refracted reflections on the water surface, cropping / zooming for close ups, and fast shutter speeds.

In a series of works started in 2012 Thomas Ruff essentially takes an idea that was first introduced my artists like Man Ray, Laszlo Moholy - Nagy who simply placed objects of various shapes, textures and opacities onto photographic paper and captured their physical qualities through the optical traces they left on the light sensitive surface of the paper.

Up on the second floor, Wang Gongxin's installation work, The Dialogue (1995), focuses viewers» attention on ripples of causality: Two light bulbs slowly see - saw into and out of a pool of ink, gently touching the surface so that the resulting waves in this dimly lit room are only visible at close range.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Constructed in the manner of an abstract painting, the surface of the work absorbs and reflects light, changing colour depending on atmospheric conditions.

There is often paint on the surface, which can at times be invisible and at other times obvious depending on the light, another important element of my work.

Subtle mutations in tone call to mind the undemonstrative play of light on an opaque surface, but the work is an essentially formalist exercise consisting of the superimposition of black lines on a monochrome ground.

Metallic finishes in Grubin's art underline the interrelatedness of object, light and environment with fragments of reflective negative space appearing on — or within — the surface of the work.

Since the 1950s, Ryman has used primarily white paint on a square surface — whether canvas, paper, metal, plastic, or wood — while harnessing the nuanced effects of light and shadow to animate his work.

As the viewer moves around the work, the light reflected on the surface seems to be active and moving in various states.

Prominently on one wall, beside the exhibition title, a paragraph states: «Sometimes called Finish Fetish or Light and Space, this movement is characterized by works with slick surfaces and atmospheric colors influences by surf culture, custom cars, and the legendary climate of Southern California.»

Based on the works of contemporary Southern California artists such as Larry Bell and John McCracken, students will use new, nontraditional materials as artistic mediums to analyze the effects of light, space, and surface on their compositions.

Working both large and small, he grounds his paintings (all oil on canvas) in traditional Realism, achieving finely rendered details, soft light and surfaces that are delicate and painterly.»

When light activates the work, it's possible to see «an infinite movement of sound on the surface of each paper,» according to the artist.

The process of producing images by radiant energy and light on a sensitive surface, was, for my father, as much of an achievement as mixing color on a palette and composing, either representatively or abstractly, a work on canvas.

Appearing as a relic of a bygone era and removed from its everyday function the work becomes a vessel emitting interactive light that brightens or dims depending on the viewer's proximity to its surface.

Among the works on view, both dark and light reflective surfaces create portraits of extreme opposites.

Phenomenal: California Light, Space, Surface, which opens this September at Museum of Contemporary Art San Diego, investigates and focuses in on these artists and how they appropriated and utilised light as a medium in their Light, Space, Surface, which opens this September at Museum of Contemporary Art San Diego, investigates and focuses in on these artists and how they appropriated and utilised light as a medium in their light as a medium in their work.

You can see the lines of the pencil, because I don't work with the painting on a stretcher, I put it against the wall to create a hard surface, and then I just paint from the lightest to the darkest colour.

«It has been incredible to see how different each work looks depending on where and how it is placed — the movement of light looks like water moving across the surface.»

Since the 1950s, Ryman has used primarily white paint on a square surface while harnessing the nuanced effects of light and shadow to animate his work.

Espírito Santo's work deals with structure, design, place, surface, space, light and material, and is based on a subtle subversion of Minimalism through abstracted everyday items.

Known foremost for his refined surface treatment of glass and explorations of light, reflection and shadow through the material, Bell's significant oeuvre extends from painting and works on paper to glass sculptures and furniture design.

Garth Weiser's new body of work that will be on display at Simon Lee Gallery in Hong Kong continues this interplay of light and shadow as the surfaces of his paintings absorb and reflect light in an unbalanced manner.

With titles like «Willow,» «Climbing Vine,» and «Angelic Blue» and a press release that emphasized «color, light, and surface,» it required time and quiet attentiveness to get beyond the suggestion that this work, a group of thirteen relatively small, unprepossessing stripe paintings, simply falls on the lyrical, colorist end of today's spectrum of abstract painting.

Working slowly, I place each object on the film's surface, exposing it to modified light.

His practice broadly explored the interplay of pigment, surface and light to create his iconic works of translucent color on unprimed canvas.

Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while harnessing the nuanced effects of light and shadow to animate his work.

In perhaps what is his most traditional work, Stripes (2017), an ink on paper work, showcases vertical lines of grey and white moving across the surface of the board, illuminated by a single LED light.

The large works that have occupied him since 1969 are, in brief: Hubris, commissioned for the University of Hawaii at Manoa, one of Smith's most open and regular pieces to date, which consists of a two - section, 9 - by - 9 grid in black concrete, one half thin slabs at ground level, the other half the same grid raised to 3 feet 3 inches by a four - sided pyramidal module; Batcave, a complex environmental interior designed to «mold space and light» rather than material form, at the Osaka World's Fair, a new version of which will be shown soon at the Los Angeles County Museum; a gigantic triangular sculpture inserted into a Californian mountainside; a labyrinthine water garden for a delta; Smog, a huge new horizontal piece made from the dismantled components of Smoke (which was made for the Corcoran's «Scale as Content» show, 1967); Haole Center, a sunken square «pavement» within a square stone sculpture, with a metal ladder leading down below the earth's surface; two related monumental sculptures on platforms (Arch and Dial); and a flat 81 - block grid proposed for downtown Minneapolis.

I have always worked to capture the qualities of both color and light that have throughout history activated the surface of paintings... I am exploring how oil on canvas can tap into the rich resonance of luminosity or «glow»....

He's been working for a while on paintings where the color, surfaces and format are akin to film or TV screens, things that are lit from within or involve a type of technological light.

Editor's note: Marco Tedesco, Sarah Doherty, and other coauthors of the work described above urged the scientific community in a recent opinion piece on Eos.org to quantify the roles of multiple factors — among them coarsening of snow, light - absorbing particles, and melt ponds — in the darkening of the Greenland ice sheet's surface and subsequent ice loss.

This paper assesses the three pathways in the light of Working Group I's recently released contribution to the Intergovernmental Panel on Climate Change Fifth Assessment Report (IPCC 2013), which provided three specific global carbon dioxide (CO2) budgets, and associated them with specific risks of a global surface temperature increase of more than 2 °C by the end of this century, relative to the 1850 — 1900 average.