Sentences with phrase «of organic abstraction»

For almost sixty years, Charles Seliger (American, b. 1926) has passionately pursued an inner - world of organic abstraction, celebrating the structural complexities of natural forms.

Possessed of an expansive intellect and generous spirit, Seliger pursued an inner world of organic abstraction, celebrating the structural complexities of natural forms.

Other 20th century sculptors were exploring new forms of organic abstraction, while mobile sculpture and kinetic motion was pioneered on both sides of the Atlantic.

Scandinavia was another home of organic abstraction in the 1940s and 1950s.

For more about this kind of organic abstraction in Britain, see also: Modern British Sculpture 1930 - 70.

For more than fifty years, Seliger has passionately pursued his inner - world of organic abstraction developing and refining his meticulous and obsessive interpretation of nature in small scale works.

Charles Seliger: The 1940s & 1990s illustrates the artist's life - long exploration of organic abstraction with works separated by half a century.

Seliger passionately pursued this inner world of organic abstraction, celebrating the structural complexities of natural forms.

As I reached the top I was embraced by several large paintings of organic abstractions - referencing both water and flora.

Adams is also a doctor, working as a part - time dermatologist, and in his art he plays with shiny, gnarly, and matte metallic finishes to evolve the skin surface of his organic abstractions.

Not exact matches

Vannes, France, Europe About Blog Inspired by natural forms, Stéphanie Kilgast grows colorful organic sculptures on abstract backgrounds, celebrating the beauty of nature and opposing it with abstraction, often a metaphor for the brutal impact of human activities on Earth's biodiversity.

Vannes, France, Europe About Blog Inspired by natural forms, Stéphanie Kilgast grows colorful organic sculptures on abstract backgrounds, celebrating the beauty of nature and opposing it with abstraction, often a metaphor for the brutal impact of human activities on Earth's biodiversity.

She began incorporating the dualities of representation and abstraction, organic rhythms and geometric form, refinement and expressionism that became distinguishing traits of her art.

Her explorations of form and composition, color and gesture give rise to a compelling language of abstraction where her ideas and feelings about the inner life are projected through organic shapes and energetic brushstrokes.

His work embodies classical ideals and traditions in a unique style of abstraction that combines both industrial and organic elements.

Your Version, My Version includes paintings from the Health of the Planet series that examine relationships between organic forms and technical ones, the macro and the micro, photography and painting, representation and abstraction.

This exhibition features Charles Seliger's intensely detailed, small - scale organic abstractions, which continue a personal and obsessive vision of nature which began during the early 1940s.

Such duality was at the heart of his artistic practice, which employed representation and abstraction; geometric and organic forms; somber calligraphic markings and brilliant fields of color.

Whether the composition is brushed, sprayed, carved, splattered, scraped or poured, the use of texture, mediums and abstraction creates an organic feel that captures and holds the viewers eye.

``... Werfel's new abstractions may have abandoned the window on the world for subjectivity and improvisation, but a feeling of landscape lingers in her «organic» palette and the forms evoked by her linear accents.»

However, some themes have been consistent in her work including a fascination with the beauty and abjectness of the body; the marriage of kitsch and decoration to an ambiguous organic abstraction; and a very personal and idiosyncratic approach to feminism and formalism.

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

Using an elastic visual language to describe the natural world, Gregory Amenoff's landscapes are organic, Romantic, and fluid, reminiscent of early 20th century experiments in abstraction, expressionism, and mysticism.

My abstract painting comes from reality, from the organic abstraction that lives in each and every one of us.

Hovering between representation and abstraction, Rivera's landscapes and still lives are characterized by vibrant color, subtle brushwork, and attention to the inherent beauty of organic forms and materials.

Such duality was at the heart of his artistic practice, which consistently employed modes of representation and abstraction, geometric and organic form, and emotional content ranging from joy to rage.

In this new series of works, he plays with absence and presence, abstraction and figuration, creating silhouette - like shapes that feel organic.

The result is an exhibition where variety in scale, medium, and degree of abstraction is balanced by the strong continuity among all the works — a reliance on automatism, a juxtaposition of unexpected elements and conflicting temporalities, and the presence of organic forms — bringing to light the profound impact surrealism had on pre - and post-war American artists.

Geometric abstraction features the arrangement of simplified shapes, while organic abstraction describes pictures with forms that resemble plant, animal, or other living matter.

Her technique combines the best features of abstraction with organic representational imagery.

Referencing interests in myth, morphology and the mysteries of aquatic states, she has developed a distinctive language of abstraction in which organic forms are imbued with a remarkable quality of luminosity.

The exhibition brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.

Inspired by the basic building blocks of the geometric world, Augustine Kofie has formed a retro - futuristic aesthetic which transplants these shapes and angles into a soulful, organic, yet highly mathematical form of abstraction.

She joined a small group of pioneer sculptors who were committed to abstraction, with whom she developed her more mature style marked by organic abstraction and innovative use of various media including string, wire and colored paint.

Grouped chronologically and ranging in size from delicate 3 - inch squares to more formally resolved 21 - inch forms, the show traces Youngerman's evolution toward his own style of organic, geometric abstraction.

They came up as artists, like most of the artists of the New York School — like Jackson Pollock, Rothko and de Kooning, looking at Primitivism, looking at organic abstraction, exploring Surrealism in the 1940's and defining their personal language of abstraction.

Augustine Kofie Inspired by the basic building blocks of the geometric world, Augustine Kofie has formed a retro - futuristic aesthetic which transplants these shapes and angles into a soulful, organic, yet highly mathematical form of abstraction.

Her colorful organic abstractions that reference specific examinations of nature - the gradual growth of tree rings, the melting of glaciers, the flow of water over time - are haunting allusions to incremental damage and irreparable loss.

Middlebrook's abstraction is inspired by natural formations like geodes and crystals, as well as by military insignia, architecture, mathematics, and other less organic appearances of geometry and pattern.

The juxtaposition of organic texture and jarring abstraction have become a trademark of Alsoudani's work, a means through which the artist dissects the trauma and carnage of violence.

Instead he experimented variously with robust formations that bear a distinctly cubist appearance, Surrealist organic sculptures and minimal geometric abstractions, some of which reflect Giacometti's early preoccupation with Sumerian and Cycladic art.

We can't help but agree with critics who compare him to Benglis, Tuttle, and Rauschenberg and describe his work as a «rare brand of abstraction that feels convincingly organic: neither secretly symbolic nor aspiringly decorative; capable of drawing true poetic meaning from the conscientious arrangement of things in themselves.»

These artworks drew upon the organic shapes of plants and animals, rejecting the rigid structures of geometric abstraction in favor of something much more free - flowing.

By Francis V. O'Connor, with a foreword by Thomas M. Messer and an introduction by Melvin P. Lader Hardcover with dustjacket: 12 x 10 inches 216 pages; 218 color illustrations (Hudson Hills Press, 2003) This is the first book devoted exclusively to Charles Seliger (American, b. 1926), and offers a rare glimpse at the working methods and personal life of an artist who has tirelessly pursued organic abstraction for over sixty years.

William Baziotes and Theodore Stamos explored an organic abstraction of muted but richly saturated colors.

By appropriating the Surrealist technique of automatism, artists such as Peter Busa, Arthur Dove, Gerome Kamrowski, and Boris Margo found their voices in what Theodoros Stamos called, «abstract surrealism,» now known as organic abstraction.

The «Water» pictures include large - format color images that often read like artful abstractions at first glance: the dried - up Colorado River Delta in Baja, Mexico, with its lunar - like silvery gray surfaces; a great swirl of water at China's Xiaolangdi Dam on the Yellow River that brings the British painter J.M.W. Turner to mind; and an aerial picture of dry - farming land in Aragon, Spain, whose jutting organic forms suggest the shapes of Picasso or Jean Dubuffet.

Today, the abstract works of Mark Rothko and Pablo Picasso sell for tens of millions, while famous examples of geometric and organic abstraction can be seen in museums of modern art across the world.

CALLICOON FINE ARTS Callicoon and Mother's Tankstation Limited of Dublin have collaborated on this four - artist show, with the strongest impression made by Mairead O'hEocha, who reinvents the floral still lifes of Rachel Ruysch (1664 - 1750) with small flyaway brush strokes that evoke abstraction and organic decay.

There's also a solid helping of funkier, more - organic - looking abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.