His heavily impastoed paintings, often described as sculptures themselves, came from the pouring of paint from a can, with little planning and constant evolution in
the medium upon the canvas.
Not exact matches
Livingston asserts that by abandoning the
canvas she is able to push the idea of painting as a «flexible»
medium that can be expanded
upon while still engaging with the traditions that have come before.
She skips from
medium to
medium and adds layers
upon layers, in big, brashly colored
canvases, painted ceramics, and sculptural drawings.