Sentences with phrase «material nature of painting»

With this conversation, we haven't even talked about the material nature of painting.

Not exact matches

The findings, which have been reported in Nature Communications, reveal that the h - BN layers form the strongest thin insulator available globally and the unique qualities of the material could be used to create flexible and almost unbreakable smart devices, as well as scratch - proof paint for cars.

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast; to his reliefs, sculptures, and assemblages created in a variety of materials; to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits, and a return to still life, this exhibition provides an in - depth look at the work of a unique and significant American artist.

The nature of the paintings» ground is allowed to be it's own color as is the texture of each material.

Large, dripping swathes of paint or chips of crystalline material complicate the distinction between creation and actuality, undermining the fundamental nature of photography.

Holme's work stems from the intersection of material, space and chemical reaction, transforming the contextual and physical nature of her materials to create a discourse between painting and sculpture.

«Those non-Black artists who sincerely wish to highlight the shameful nature of white violence should first of all stop treating Black pain as raw material,» Black's letter read, and went as far as to ask that the painting be destroyed so that it could not realize any commercial value.

In her tapestries, paintings, installation and sculpture, Nkanga uses her body and other organic material — plants, grasses and fruit — as catalysts to reveal the shifting nature of objects, imagery, narratives.

His poetic use of found materials, printed and reproducible images, his unconventional and inventive mark - making, and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb stains of nature and of the studio, or exposing the paintings to the forces of weather) can be seen echoed within Schnabel's entire body of work as well as in the work of a subsequent generation of artists.

With an irreverence for the normative nature of painting to find a definitive resolution, Evans tests the limits of a material and its spatial boundaries, as paintings merge with installation and the picture plane expands into sculptural form.

Birds, butterflies, bees and flowers set against a backdrop of reflective material literally hold a mirror to nature, while gold - toned plexiglas backings on her pollination paintings evoke pollen.

Reflecting on the embedded and latent meanings around light, nature, the frontier, borders, race, gender and power in influential American landscape paintings of the 19th century, she uses materials collected from her everyday life, including holiday - themed tablecloths, discarded medical records, nature calendars, plastic bags and paint, to craft imaginary landscapes that are grounded in accumulation, personal narrative and historical critique.

For Richter, that tactile thingyness of a painting stands in contrast to the ephemeral nature of the photo — particularly the way images appear online, weightless and without material form.

Asserting that abstraction «is always about something... what it is about is beyond confines of language,» Sarah Braman creates abstract geometric sculptures and paintings on pieced - together plywood panels, in which she simultaneously foregrounds the formal qualities of her materials while referencing home, family life, and nature.

Among the themes explored are the establishment of new definitions of painting; the introduction of movement and light as both formal and idea - based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology and humankind; and the production of live actions or demonstrations.

Painted on such unconventional materials as mattress fabric, offset wood and a box from a pharmacy, they make up for their scattershot, unrefined nature with a taste of the shape of things to come: raw visages, scrawled text and an obsession with the organisation of space.

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast, to his reliefs, sculptures, and assemblages created in a variety of materials, to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits and a return to still life, the exhibition provided an in - depth look at the work of a unique and significant American artist.

Others work in sculpture, often fashioning their works from materials that belie the pedestrian nature of the subject - Ai Weiwei's jar of hundreds of sunflower seeds, made from hand - painted cast porcelain, or the work of Yoshihiro Suda, who creates weeds that «grow» from the gallery floor, carved by hand from magnolia wood.

The exhibition also incorporates key materials from the Clyfford Still Museum Archives that have been invaluable to the Museum's research on the featured works, illustrating the enigmatic nature of each painting with intimate details.

His use of colour, form and material as elements in a compositional lexicon, as well as the stained or dyed fabrics which are his principal medium, declare the origin of his practice in the investigation of painting in an expanded field, while the way his compositions occupy and transform space are evidence of their sculptural nature.

James Dean Erickson, an artist whose paintings explore the space between realism and abstraction to elicit the ephemeral and enduring qualities of nature, will lead the Painting Traditional Subjects with Modern Material workshop and Simplicity and Synthesis lecture in February.

Text from Scott's recent exhibition at the Danforth Museum (MA) describes her work as «Influenced by the aesthetics of contemporary painting, as well as the thrifty and improvised nature of folk art, Susan Scott manipulates traditional painters» materials such as canvas, wood, staples and paint to create an elegant and quirky hybrid of painting and sculpture.»

When Ryman works on a smaller scale, his paintings tend to be saturated with paint, transforming the nature of the scrap materials he works with.

Not unlike Lynda Benglis» physicality of forms, gestural folds and darkened areas appear as portals that achieve transcendent depths, while the wide array of materials render paint qualities present as something derived from nature.

Sophia Contemporary is proud to present Im / material: Painting in the Digital Age, a group show of young contemporary artists investigating the nature of painting in today's digiPainting in the Digital Age, a group show of young contemporary artists investigating the nature of painting in today's digipainting in today's digital age.

Throughout his career Terry Winters has explored a wide range of subjects from biological processes, scientific and mathematical fields, the structural underpinnings of nature, technology and the human mind as source material for his paintings, drawings and prints.

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 subject matter includes sources as diverse as Teutonic mythology and history, alchemy, and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw, and all manner of organic material.

Despite their size and ambition, the paintings are composed of anti-heroic gestures that celebrate the potential of touch and the humble, earthbound nature of material things.

Abstract elements now and again emerge by way of exaggerated gestures, elongated limbs, the doubling or tripling of images, hints of apparitions, or the intrusion of foreign materials and text into the paint, which satisfy the rich psychological nature of Alexander's work.

Rather than discuss the structural framing of an image, Downes situates his work within a comparison of the physical fact of paint to the material presence of nature.

In the process of its creation there are two project axes between painting and sculpture; where the constant search for new techniques, materials and resources reinforces his discourse and his deep love of nature.

As always, Warren is not afraid to get her hands messy and her material handling of the psychically charged spaces of the id and the ego, the feminine and the masculine, imagos and logos, maintains the improvisatory, even rebellious nature of clay while couching the medium within the larger traditions of painting, sculpture, and space.

Beginning his career in New York at a time when the modern art scene was dominated by the formidable paintings of the Abstract Expressionists, Johns forged a unique artistic path that echoed the painterly qualities of his contemporaries whilst working with materials and themes in a manner that questioned the very nature of art.

Sinsel's minimal yet intricately detailed works reflect a focus on the nature of painting and sculpture and on the particular qualities and associations of the materials he uses.

The geometric forms that contrast the ground materials create a balance between sculpture and painting and explore the juxtaposition of man and nature.

His intense reflections on the nature of materials, textures and surfaces lead to the creation of some of his most important works: the sand paintings.

His subject - matter ranges over sources as diverse as Teutonic mythology and history, alchemy and the nature of belief, all depicted in a bewildering variety of materials, including oil paint, dirt, lead, models, photographs, woodcuts, sand, straw and all manner of organic material.

Among the themes explored are the establishment of new definitions of painting (such as the monochrome, serial structures, and fire and smoke paintings); the introduction of movement and light as both formal and idea - based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology, and humankind; and the production of live actions or demonstrations.

In an open letter to the Whitney requesting the painting's removal, the British artist Hannah Black wrote, «those non-Black artists who sincerely wish to highlight the shameful nature of white violence should first of all stop treating Black pain as raw material.

During the 70s, he continued innovating - this time by rejecting his former emphasis on the flat, 2 - D nature of the picture plane, and incorporating collage, felt, wood and other materials into the new «relief paintings» of his Polish Village series (1970 - 1973).

It's a personal exploration of nature, he continues, in which she uses «an impressive range of mediums and materials, from acrylic - on - silk paintings to resin sculptures, to photography and video projections.»

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