Sentences with phrase «moving the painting surface»

Not exact matches

Hose Length: You should find a sprayer with a decent hose length to save yourself the hassle of constantly moving the sprayer closer to the surface you are painting.

Tilt surface to move paint.

Get very little paint on the brush and move across the surface rapidly.

As the painting moves through each owner's hands, what was long hidden quietly surfaces, illuminating poignant moments in multiple lives.

In the paintings nearest to monochrome, the truest «blue paintings,» the surfaces open with time, seeming to breathe as they move between presence and evasion.

Each painting and sculpture tells a story as we move about its surface and into its space.»

Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin paint on white grounds to layering the surface with different structures and gestures.

In the eighties her paintings on the flat surface moved into space as wooden canvas - covered environments, evolving into paintings into which one could literally walk.

Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like stains suggest a vision, slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.

Surface Truths: Abstract Painting in the Sixties considers the work of 17 artists and the directions they pursued as they moved away from an aesthetic that supported a self - evident creative process to an aesthetic seeking to expunge gesture, pictorial depth and illusion.

The faded surface of «Corrupt Diptych» is haunting, like the distinct sensation of déjà vu, the dirt and gravel is metaphorical not material, moving this artwork away from hyphenated arts (art - and - environment) towards something more mysterious with its abstract lines that race past the corner of the gallery's gyprock wall; themes of time and movement that have more in common with land art than abstract painting.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

Moving into the latter part of the 60s, the third and fourth rooms suggest a broadening of Hoyland's palette and a more overt crowding of the surface with forms and, in the case of 17.1.69 (1969), a layering of the paint in so sophisticated and meticulous a manner that the canvas tends towards opalescence.

Tàpies moved on to create symbolic paintings that were influenced by Surrealist painters like Miro and Klee, and by the 1950s he had developed his signature style, which consisted of built - up surfaces that were scratched, pitted, gouged, and carved with letters, numbers, and signs.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the «flatter» surfaces of Barnett Newman's work and the «target» paintings of Jasper Johns.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

At Chelsea he discovered the possibilities of paint, in richly textured surfaces, and how to move away from storytelling to let viewers bring something of their own to the picture.

Moving from the early Abstract Expressionist paintings of Dusti Bongé and Marie Hull to the contemporary works of Bonnie Maygarden and and Shawne Major, this exhibition includes work that ranges from the early minimalist compositions of Ida Kohlmeyer to the fresh abstract spaces of Ashley Teamer; from the stained surfaces of Dorothy Hood and Anastasia Pelias to the biomorphic abstractions of MaPo Kinnord and Shawn Hall.

Ryan Sullivan (b. 1983) is an alchemist, inventing mixtures of paint and implementing strict processes of application that cause the surface of his work to move, wrinkle, crack, or deform.

Both tactile and sculptural, these thick impasto paintings are made entirely with palette knives that sculpt, incise and move large quantities of oil paint around on the paintings» surface.

Each of these paintings moves between surface appearance and psychic depth, conveying a nuanced range of emotions that are left to viewers» interpretations.

Ultimately, however, the rippled, stratified surface of Untitled [black painting with portal form], with its carefully wrought layers of text and paint, moves beyond the gestural vocabulary of the New York School, reflecting the unique syntax explored throughout Rauschenberg's Black paintings of 1952 — 53.

Combining the linearity of drawing with the materiality of painting, the surface gains sculptural volume when a viewer moves around the work, revealing the depth inherent to the negative spaces between each of the cards.

In another contrast to Pollock, Frankenthaler actively interacted with the paint and manipulated its direction, by moving it across the surface using a wide squeegee, her hands and brushes.

When Pace had a solo exhibition in 1954 at Artists Gallery, the poet and art critic Frank O'Hara stated in Art News: «He doesn't cultivate a «look»; some paintings have a delicate breathy surface with ominous dry light behind, others are more outgoing in their organization and move in a public, rhetorical manner.»

There doesn't seem to be a secret that needs uncovering: when I ask what prompted him to move from the lush, textured surfaces of the paintings he produced in the 90s — canvases that seem to have a warm bloom across them like a beautiful mould — to the flatter, looser, more painterly style he employs today, once again, he has no complex rationale.

When it becomes necessary to handle or move a painting, avoid touching the paint surface or the back of the canvas.

As with Grosse's previous work, such as her 2003 installation in Toronto's Pearson International Airport, the painting transgresses the architectural boundaries of the space, moving over multiple surfaces and onto adjoining walls in a strong diagonal direction.

With their pristine, high - gloss surfaces and accentuated colors Essenhigh's paintings continue to move towards an almost sculptural three - dimensionality in their delineation of forms.

Second, moving around big pieces of painted paper for the mock - up of the elevator bank mosaic led Hofmann to the signature motif of his late work: little floating planes of color, squares and rectangles of pure color locked together across the surface or isolated on fields of murkier colors.

After a while he took a can of black enamel (he usually starts with the color which is at hand at the time) and a stubby brush which he dipped into the paint and then began to move his arm rhythmically about, letting the paint fall in a variety of movements on the surface.

Considering the work of Edward Hopper and Fairfield Porter, Philip Koch looks at»... the difference between two of the main ways of seeing in painting - one can either move one's eye across the surface or plunge into the painting's depth.»

He hand paints and then collages pieces of paper onto the surface of his established image... In the process he moves away from observation and works with the materials and the surface.

He has rightly been regarded as a consummately perceptual painter — the interaction of the dots covering his canvases makes the most out of a very limited palette — but what struck me about his oil paintings in particular was how tactile they felt, with the illusion of space seeming to change, like the surface of a mosaic, as you move from side to front to side.

This exhibition investigates the intersection of abstraction and animism as emphasized by certain formal qualities — goopy, sticky, ooey - gooey or otherwise materially luscious surfaces in combination with aspects of pattern and repetitions such as flutter, throbbing, palpitation, pulsating, orgiastic rhythms.The paintings in «My Vicious Throbbing Heart: Animating Desire in Abstract Painting,» consequently, operate in between coming into being and moving out of form and are underscored by a sense of aliveness.

The paintings are mesmerizing and become more immersive as you move closer to their teeming surfaces.

In May, when she staged a solo exhibition at the David Kordansky Gallery, he wrote: «In the most audacious move, Weatherford «draws» over the painted surfaces with one, two or three neon tubes.

Rasgado then extracted the painted surface of the wall using strappo, a technique developed during the Renaissance to move a fresco from one location to another, and transported it to his studio in Mexico City where he subsequently divided it into 144 pieces.

Some use other than traditional art tools to make a mark or move paint around on a surface.

Between 1973 and 1974, he moved from sprayed to poured and squeegeed surfaces, working the paint back and forth, up and down, layer upon layer, always in search of the perfect non-color, it seemed.

Throughout that time, Holland, an accomplished painter with a great eye for compelling compositions, moved from canvas to aluminum to fiberglass surfaces but the results never seem like painted sculpture.

With this painting Falsetta moves into new territory by combining elements of what could be several paintings into one surface.

With The Fall Ganev takes his signature toy soldiers and spray - painted porcelain figurines from literal to the poetic, moving from flat surfaces to the three dimensional.

This color is itself cut with beeswax, at a low enough level not to conjure up associations with well known purveyors of the encaustic technique, like Jasper Johns and Brice Marden; it instead increases the sensation of the paint as dense and saturated, and gives it a subtle, changing play of light over the surface as the viewer moves around the work.

Martin has described his paintings as «journeys» whereby he physically moves across the surface as he paints.

brushstrokes move across the surface of these gestural paintings, enlivening the picture plane with pigment and texture.

Using layers of oil or acrylic gel on hard reflective stainless steel, aluminium or Perspex, he fashions comb - like pieces of metal or board to move the paint across the surface in one movement, often repeating it again and again until the perfect balance of paint, translucence and striation is achieved.

The ruler on the left lies flat against the painting's two - dimensional surface, while the middle one tapers upward, suggesting that it is tilting away from the painting's surface, and moving back in space.

Her process can be described as performative: paint brush in hand, she moves her entire body in a flowing, gesticulating, highly physical way, allowing her movements to inform the contact her brush is making with the surface.