By
manipulating color and line in this way, Haggerty's imagery becomes a study in spatial and sensory perception, appearing to hum and even making his two - dimensional paintings appear to be three - dimensional.
Not exact matches
These puzzles are quite easy in the first area, requiring players to just draw a
line from a starting point to an ending one, but things become more complicated quickly, with players having to separate different
colored dots
and reach the end point, create specific shapes,
manipulate panels so that sunlight can reveal the correct path
and so on.
He paints geometric patterns,
manipulates color,
and his distinctive painterly expressions with vertical
lines, diagonals
and triangular forms
and curves appear to be grasping for the borderline between representation
and abstraction.
As Veronique Ansorge, Associate Director at David Zwirner Gallery (New York / London) explained, Ruff creates these shapes
and lines in his computer, digitally
manipulating color and light to create his large scale abstract compositions.
In Worn Copy, the doodle - y
lines, frenetically spray painted figure - eights,
and hazy patches of
color are rendered
and manipulated digitally.
She juxtaposes strong architectural details, often
manipulating perspective
and space, with luminous
colors and intricate patterns, rendering common scenes as detailed explosions of
line and color.
Besides skillfully
manipulating forms,
lines,
colors and textures, he also pieces together stylistic qualities.
Other highlights include Edgar Arceneaux's nine - channel video installation «The Alchemy of Comedy... Stupid» (2006), featuring a performance by comedian David Alan Grier; Tammy Rae Carland's «I'm Dying Up Here» (2011), a series of large - scale
color photographs of female stand - up comedians captured mid-act, emphasizing the vulnerability of performance; Stanya Kahn's absurdist, pathos - filled video «Lookin Good, Feelin» Good» (2012), shown alongside a selection of her humorous
line drawings;
and an installation of Sara Greenberger Rafferty's visceral photographic works, for which she
manipulates images from the history of late 20th century comedy.
Yet here the
line of representation inevitably blurs, as the artist nudges his forms toward abstraction
and surrealism through softened edges, shifts in scale, lush but strange
colors,
manipulated perspective,
and shapes
and imagery that repeat but become altered over time.
In Gelah Penn's site - specific installation, The Naked Kiss, the artist
manipulates colored monofilaments
and other tendril - like materials to reveal the complexities of movement
and flowing expansion
and the accretion of
lines and shadows.
The several paintings exhibited were the first Stanczak would show in New York,
and displayed the artist's masterful ability to
manipulate lines and form through the medium of
color.
Referencing
and manipulating styles of antique cartography, Macfarlane's work injects energetic
lines and vibrant bursts of
color into her portrayals of early modern cityscapes.