Sentences with phrase «object out of a canvas»

I thought that by making an object out of a canvas I'd be able to achieve what I want to do, which is practice making things physically.

Not exact matches

Hansa artists» works represented in the Grey show include Jane Wilson's Portrait of Jane Freilicher (1957), an oil on canvas merging abstraction with figuration, and Jean Follett's Many - Headed Creature (1958), a piece that recreates a fragmented body on a wood panel out of junk and found objects — a light switch, socket cooling coils, a window, a screen, nails, a faucet knob, mirror twine, cinders, a caster, springs, and rope.

He began deliberately draping the canvases, creating fluid, semi-sculptural objects out of two - dimensionalpaintings.

Mechler almost empties out the canvas of any objects in order to focus entirely on what he describes as a psychological confrontation with painting.

«A single facet or canvas may have its own color, or the shadow across it may serve as color -LRB-...) Sometimes the color solely belongs to the edge of a work, or so it seems, until one notices that Hinman has painted the back -LRB-...) He is not just shaping an object, but also taking it out from the wall.»

Bare canvas and pencil lines visible between the stripes insist on the object and its making, and so does the wood of the stretcher, set thick dimension out.

«The process of making these is so slow and organic — like creating an aftermath or a debris field where you intuit, and sometimes actually make out, the lives of many generations of humans, alongside nonhuman traces, and objects, all laid down under pressure — which take time to make and are filled with that time, pieces of what might have been a larger canvas of handiworks that reference entire lives, whole communities that are brought into the field of the painting, where the painting itself becomes another community,» described Sacks his painting method in a 2014 interview with Natasha Kurchanova published on Studio International.

The Brooklyn - based artist has for years been refining a distinct technique that produces mesmerizing works that dance between painting, sculpture, and textile — their surfaces ripple with busy and vividly colored painted patterns that seem to swath mysterious objects in various fabrics; thick gobs of paint cling to areas of the canvas as if squeezed out like thick frosting or Easy Cheese.

Despite the fact Martin did her best to seek out and destroy paintings from the years when she was taking her first steps into abstraction, the exhibition features examples of her experimental early practice — such as The Garden from 1958, for which she glued rows of found objects onto a background canvas.

The exhibition also includes a selection of canvas pieces, reminding us of popular jumpingjack cut - outs covered with individual body parts and objects.

His canvases, visually complex, are teeming with objects and abstracted shapes formed out of a bright white and heavy impasto paint.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»