Sentences with phrase «of flat surface space»

Not exact matches

Freezer storage: Store in a tupperware (to allow the puree to expand as it freezes, leave 1 - inch of space between the surface of the puree and the lid) or Ziploc bag (air sucked or squeezed out and frozen flat to free freezer space).

Saffitz points out one great reason to store in bags instead of containers: They take up less space in your freezer if you freeze them flat (not in a squishy lump blob), and they'll thaw quicker, thanks to the increased surface area.

Just as an ordinary holographic image represents a 3 - D scene on a 2 - D flat surface, nature itself can store information about the interior of a region of space on the surface enclosing it.

Generalizing the standard model of flocking motion to the curved surface of a sphere rather than the usual linear plane or flat three - dimensional space, Bowick's team found that instead of spreading out uniformly over the whole sphere, arrowlike agents spontaneously order into circular bands centered on the equator.

The emphasis is on creating a sense of space with a horizon line and students have to compose their blob / scribble shapes in this infinite space to create a sense of depth on a flat surface.

The space is enhanced by the design's elimination of engine intrusion into the cabin area — along with the fold - down front passenger seat that provides a flat work surface.

The inside - out concept finds echoes in the panoramic glass roof, the flat rear passenger floor and high window surfaces - all contributing to an overwhelming sense of interior light and space.

However, it's let down by some worrying performance issues, a disappointing screen, threadbare Microsoft app Store, the huge storage space Windows 8 RT takes up and we really think the restrictive design of the Surface only being made for flat surfaces and not lap use is a massive oversight.

The Marchioro Goran 82 Cage for Small Animals offers a great amount of flat floor space, as well as a solid surface additional level.

On the matter of comparing drawings with photographs, Bonnard said to his nephew Charles Terrasse, «To represent on a flat surface masses and objects situated in space, that is the problem of drawing.

Ms. Heft's work is inspired by an exploratory approach to materials, and the interchange of two and three dimensional space on flat surfaces.

Because the colors in a Fauve painting are of similar saturation or intensity, the pictorial space appears flatter, with objects seeming to be closer to the surface of the painting.

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

One of the most influential European graffiti artists, best known for breaking the dimensionality of the flat surface graffiti was painted on, took over the entire gallery space by creating site - specific audio - visual installation.

In contrast to the traditional verticality of the renaissance picture plane, which is dependent on head - to - toe correspondence with the viewer, with his combines Rauschenberg introduced the «flat - bed» plane and in doing so completely reoriented the pictorial surface so that it was no longer representative of a world space, but an analogue of operational processes.

Unlike Barnett Newman, whose flat opaque layers of even reds, blues, whites and browns emphasize the flatness of the surface — after all it's a two - dimensional space, Francis draws with a combination of translucent, semi-opaque and opaque pigments.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

In a text titled, «Post-War Reflection,» Kusama writes, «My Works are usually painted flat on undivided space so that each microscopic mass is followed by another and its surface has a concrete appearance when looked upon as a whole showing a group of remarkably vast masses.

Working across a range of media, the artists in the exhibition touch on how we might perceive a space of infinite and ever changing content, laminated to a surface defined by its attempt to recede into a flat plane.

The artist transports the viewer to this holistic in - between - stage by reformulating the constituents of painting as similar quintessential dualities: flat surface versus deep space, precision versus ambiguity, material versus ethereal, the grid - like composition of brightly colored dots versus animated, formative fields of homochromatic hues.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

Judd identified actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic of Minimalist faith in the productive reality of embodied, as opposed to purely visual, experience.1 Hammons, however, combines the purified geometry of a Judd or an early Robert Morris with the cast - off traces of African - American urban life.

This led him in 1958 to visit the Venice Biennale: the experience of Lucio Fontana's slashed canvases, which dramatically introduced the element of space into otherwise flat surfaces, was succeeded by direct contact with Piero Manzoni, whom Fabro met when he moved to Milan in the following year.

You know there's a time that it takes to make something and painting traditionally has to do with this kind of uncanny attempt at creating space out of a flat surface, but its's also an incredible pleasure that comes from it... I find it absolutely just human and essential - every time every time it happens.

Her abstract paintings present a confluence of affinities from the ornamental to the extra-terrestrial; profoundly deep spaces are built with extremely flat surfaces.

The subjects allow the artist to explore the relationship between deep space and the flat plane of the picture's surface.

Collar's exhibitions and performances include: A rock that keeps tigers away, group exhibition, Kunstverein München, Munich, July 2017; a performance event and micro residency, Kunstraum, London, June 2017; Plural Melts at Yvonne Lambert, Berlin, 2017; Tall Tales, touring group exhibition and performance, Freud Museum, London, Touchstones Gallery and Museum, Rochdale and Glasgow Women's Library 2016; Tarantallegra, group exhibition, Hester, New York, July - Aug 2016; Secret Surface, group exhibition, KW, Berlin, Feb - May 2016; 11/50, solo exhibition, Fig - 2, ICA, London, March 2015; Probably, Like a Melon Rolling Off a Table: Part II, solo performance for Saturday Live, Serpentine Galleries, London, Jan 2015; Secret Agents, group exhibition, Finnish Museum of Photography, Helsinki, Sept - Oct 2015; PALIMPSEST, performance collaboration with William Cobbing at Hayward Gallery Project Space, London, 2014; Let's Make Another Possible Now, group performance event as part of ANTIKNOW at Flat Time House, London, 2014.

The lives of these images have seen multiple stages of transition; flat ‐ image planes, to image surfaces manipulated by the artist's hand in the space of the studio, and are finally re ‐ photographed as objects.

Fontana aimed to uncover a depth in the traditionally flat surface of painting so as to reveal an inner space.

The works of Carol Heft juxtapose 2D and 3D space on flat surfaces and combine physical and illusionary layers of space.

From 1993, he reverted to more conventional flat surfaces, creating space through interleaving painted forms, but always demonstrating his extraordinarily astute use of colour.

Cubism's flattening of space also plays heavily into the later Abstract Expressionist emphasis on surface, as evident in Cavallon's flat fields of abstract color.

Coupled with white shapes that could seem either solid or transparent, laying flat on the surface or implying a geometric solid, Held used these ambiguities to reintroduce the idea of imaginary space back into painting.

I'm always trying to activate the space between the object that's really about this flat surface on the wall and the space between it and the viewer, so that the viewer is engaged perceptually through the movement of the strokes, the opticality, and in following my body's movement across the picture plane like a kind of mimesis.

The paint texture, marks and subtle variations in color, and bleeds / drips / rips of paint similarly create their own interference, breaking the illusion of depth and space within the pattern, and bringing the eye back to the surface of the paint, the «skin» covering the flat canvas.

Foell's practice investigates «the boundaries of legibility, accessibility and (re) presentation modes that relate to the impermanence of messages we read continually,» and for this particular exhibition she focuses on the flat surface, combining autobiographical images, «floating scripts like signs,» and the technique of scratching to invert «our expectations of a deflated space.»

The diagonal space was getting in the way of the tension on the flat surface.

The paintings assume a sculptural presence on the wall as their molded stretchers and torqued surfaces project the thick, flat layers of paint into three - dimensional space.

Although the color and canvas are bound together on a totally flat surface, our eye moves, in her words, «miles back and forth» through the fictive space the artist creates out of her large, open washes of color.

Frank Stella has been recognized for his artistic innovations since the age of 25, when he cast aside the concept of creating illusionistic space in his canvases in favor of privileging flat surfaces.

The unfolding blocks of color refer to the computer's organization of virtual dimensional space on a flat surface.

The large works that have occupied him since 1969 are, in brief: Hubris, commissioned for the University of Hawaii at Manoa, one of Smith's most open and regular pieces to date, which consists of a two - section, 9 - by - 9 grid in black concrete, one half thin slabs at ground level, the other half the same grid raised to 3 feet 3 inches by a four - sided pyramidal module; Batcave, a complex environmental interior designed to «mold space and light» rather than material form, at the Osaka World's Fair, a new version of which will be shown soon at the Los Angeles County Museum; a gigantic triangular sculpture inserted into a Californian mountainside; a labyrinthine water garden for a delta; Smog, a huge new horizontal piece made from the dismantled components of Smoke (which was made for the Corcoran's «Scale as Content» show, 1967); Haole Center, a sunken square «pavement» within a square stone sculpture, with a metal ladder leading down below the earth's surface; two related monumental sculptures on platforms (Arch and Dial); and a flat 81 - block grid proposed for downtown Minneapolis.

Painting will no longer create space as a theatre; it will give space itself a theatre.5 The paint will meet the surface sensuously, In a broad, flat engagement of the palm, by fingertip daubs, and through varieties of clawing and caressing.6 Painting will always tremble, but very precisely.7 There will be no difference in the world between planning airily away from the canvas and actually taking your brush and making the first mark.8 The revolution will be painted.

And whilst I applaud the sense of her wanting to make her painting more abstract, and lose the semi-figuration that is part of the Hofmann / de Kooning «package» she starts from, it comes back to the ever - present dilemma in abstract painting: deep and dramatic space is (often) ambiguously figurative; shallow space and surface is (often) flat and disappointing.

The absence of traditional closets, shelving units, and storage spaces is forgiven, as every flat surface seems to hide ample storage.

However, it's let down by some worrying performance issues, a disappointing screen, threadbare Microsoft app Store, the huge storage space Windows 8 RT takes up and we really think the restrictive design of the Surface only being made for flat surfaces and not lap use is a massive oversight.

It used to be that you'd see real estate agent faces just in the pages of newspapers and magazines, but now you see them on park benches, billboards, shopping carts — really, anywhere there's a flat surface and someone willing to sell you space on that flat surface for an «affordable» (i.e., very, very large) monthly fee.

Even if you live in a mega mansion with lots of extra rooms and wall space and flat surfaces to hold decorations, there's just no way that you can give each and every decoration that you want to do the time and care that they need to really look their best.

The surface will create light, creating an illusion of extra space — and a more flattering atmosphere for applying make - up!