Sentences with phrase «marble dust plaster»

Beauty of the Earth 48» x 60» x 3» Mixed Media with real leave impressions into the marble dust plaster has sold.

Not exact matches

Ian Pedigo Where Relative Beginnings are End, Ends, 2016 wood, plaster, marble dust, acrylic, aluminum, shoe lace 45 x 18 x 28 inches

Anna Rosen, with her use of the marbling technique, Nick Irzyk, with his incorporation of marble dust, and his idiosyncratic, jig - saw method of constructing and deconstructing paintings with foam core and plaster, and Nicholas Cueva, by painting against the irregular textures of a wide assortment of textiles typically used to make clothing, all use both art and non-art materials, alike, in order to set up material problems to resolve — but also to produce (5) enzymatic phenomenon to respond to in painterly fashion.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

His mixed - media works prove that painterly abstraction was hardly finished and challenge the discourse around painting and opticality by emphasizing the materiality of the support with a distinctive blend of marble dust and plaster.