Rainey works with and
manipulates paintings language and physical qualities to create strange other - worldly painted environments; worlds where time stands still, and gravity is no more, resulting in paintings that lie somewhere between abstraction and representation.
Not exact matches
At A+P, McMillian, whose artistic practice embodies a wide range of media and techniques, will discuss how he
manipulates a multitude of materials, including those found in his everyday life, to create striking sculptural works,
paintings, and videos that challenge the relationships between
language, aesthetics and content.
As much as Wood is
manipulating formal strategies in order to develop and assert his own
language in
painting, he also creates what he calls «new memories» by rearranging reality to suit his own desires.1 This overlay of impressions and memories onto his subjects results in an intensely personal catalog of images derived from his family history and individual interests.
Together, many of the works in these exhibitions seemed to beg the questions: Despite abstract
painting's inherent ambiguity, can its most capable practitioners
manipulate its techniques or
language consciously enough to at least control its emotional temperature or, at most, to convey certain subject - specific messages?