Sentences with phrase «oil paint skins»
ANGEL OTERO Drifter's Escape, 2015 oil paint and oil paint skins collaged on canvas 84 x 60 x 2.5 inches 213.4 x 152.4 x 6.4 cm signed and dated on verso LM19557
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Oil paint skins on canvas.
ANGEL OTERO Galatea (after Raphael), 2011 oil paint skins collaged on resin coated canvas 96 x 86 x 3 inches 243.8 x 218.4 x 7.6 cm LM15640
ANGEL OTERO High Applause, 2015 oil paint and oil paint skins collaged on canvas 84 x 60 x 2 inches 213.4 x 152.4 x 5.1 cm signed and dated on verso LM21636
ANGEL OTERO There's nothing so I wonder, 2011 oil paint skin on canvas 87.5 x 98 x 3.5 inches 222.3 x 248.9 x 8.9 cm Private collection LM14516
Not exact matches
«I've always liked the physicality of paint,» says the artist Angel Otero, who transforms liquid material into thick - yet - elegant layers, or «oil skins,» as he calls them.
This resplendent monograph, which accompanies the exhibition yet is intended to endure long beyond it, reveals both the overt themes and the more ambiguous substructures of Otero's oeuvre to date, from his early still lifes and famous «skins» — paintings made of fragments and scraps of oil paint culled from previously painted images — to his more recent «transfers» and innovative sculptural work in porcelain and steel or iron.
ingredient's isle, 2013, sand, cayenne pepper, baby powder, coffee, turmeric, cinnamon oil, drift wood, rocks, silk, rabbit skin netting, and drywall, accompanied by sound incased in foam, surrounded by paintings on paper, honey comb board and molded rabbit skin glue, dimensions variable.
Their surfaces are animated by lines where the squeegee has paused, by brushstrokes, other scrapings, and areas where the skin of oil paint has dried and rippled.
Thr Brooklyn - based artist, 29, who joined Lehmann Maupin last May, fashions the surfaces of his large expressionistic pictures and assemblages from «oil skins,» created by pouring oil paint into glass, allowing it to dry, then peeling away the resulting sheets of color.
Her oil paintings, and in particular her portraiture, demonstrate a fixed fascination with pattern and skin.
For Polvo, Varejão has created her own oil paints, named after thirty - three definitions of skin colour taken from the 1976 survey.
Deborah Grant, «In the Land of the Blind the Blue Eye Man is King,» from the series By the Skin of Our Teeth, 2007 (oil, archival ink, paper, Flashe paint, and enamel on five birch panels).
The Brooklyn - based artist challenges painting traditions with his abstract and textured «oil skins.»
Through his investigational approach, Otero combines the traditional act of painting with his innovative creation of «oil skins,» produced by layering oil paint on glass and then peeling it off in «sheets» before transferring it to canvas.
It consists of oil paint «skins» and scrapings made...
To the left of the «skin» paintings is a series began alongside the refinement of the oil skins as a means of counterbalancing their unruliness.
Rita Ackermann AFRICAN NURSE 2005 - 2008 Acrylic and oil paint, gel medium, oil stick, spray paint, leather, rabbit skin glue on canvas 67 x 49 x 1 3/4 inches (170.2 x 124.5 x 4.4 cm) ARG # AR2008 - 016 © Rita Ackermann Photo by Christopher Burke
His work has involved the act of physically entwining his face and chest with fishing gut (in Bind / Ontbind2, Venice, 2003), licking sand off anthills (in Licked Colony, SA, 2011), painting his face with gold leaf, honey, flour and oil while defacing a gallery wall (in Figurehead, Rotterdam, 2010), and having sump oil and milk poured into his outstretched hands containing Buddha statuettes sewn into his skin (in Thank You, Bodh Gaya in India, 2011).
Her oil paintings, and in particular her portraiture, show a fixed fascination with human skin and its range of hues and tones.
With each tuft of hair, vein, and patch of skin, all are meticulously captured in oil paint.
In one corner a few gold «oil skins,» the artist's sheets of dried oil paint, drape atop a stool like the slough of a reptile.
«Material Discovery,» the fist museum solo for the 31 - year - old market darling Angel Otero, opens at the Savannah College of Art and Design, featuring his distinctive «oil skin» paintings, made by pouring paint onto glass and peeling off the dried sheet.
At first glance, the painting clumps into abstract patterns so beautifully that it's easy to mistake it for fabric — what the viewer sees is in fact a full sheet of oil paint, what Otero calls an «oil skin.»
At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.
Like oil paint being a physical oily skin, or poured pigment reading as blood, urine, semen... The physicality of paint and the experience of living inside a fleshy mass are intertwined for me.
In the same vein, Varejão turned the 1976 Brazilian census, which allowed citizens to describe their skin tone in their own words, into 33 colors of oil paint, packaged in tubes labeled with names like «Coffee with Milk» and «Sun Kissed.»
He makes them by pouring oil paint on glass and then crumbling the resulting skin onto canvas.
Skin Set Painting: The Commons Divides Moses and Moses Divides S... 2011 - 2013 Water - based oil, acrylic on paper Diptych, overall: 60 3/4 by 117 1/2 in.
Skin Set Painting: Blue People Are My New God Replacing Chartreuse People My Old God 2012 - 2013 Water - based oil, acrylic, metal clips on paper 84 by 60 in.
Finding sitters among strangers, friends, family, neighbors, and fellow artists, Kim records each person's skin color in oil paint mixed with wax that he applies with a palette knife on a single 10 x 8 - inch panel, a common size for portrait photography.
Installation view: From left, «In the Land of the Blind the Blue Eye Man is King,» 2007, from the series By the Skin of Our Teeth (oil, archival ink, paper, Flashe paint, and enamel on five birch panels) by DEBORAH GRANT; «High Life,» 2013 (enamel and charcoal on paper) by GARY SIMMONS; (with work by DARIO ROBLETO in the foreground).
The Swiss artist, Urs Fischer's cast bronze, oil paint, palladium leaf, clay, chalk gesso, rabbit - skin glue
NANCY GRAVES Inside - Outside 1970 Steel, wax, marble dust, acrylic, fiberglass, animal skin and oil paint 48 by 120 by 120 in.
Sculptures such as Inside - Outside (1970) appear to be a camel skeleton, but closer examination reveals a formidable construction of steel, wax, marble dust, acrylic, fiberglass, animal skin, and oil paint.
In past work, the paint more dramatically creased, pinched, and folded as the artist piled layer upon layer of oil skins on the canvas, further abstracting the image.
He used acrylic paint, followed by oil paint to get the correct skin tone.
Over the last twenty years, Zurier has shifted from working exclusively in oil paint that has had the oil largely blotted away to working largely with distemper, which involves mixing pigments with rabbit skin glue.
Once the paint is half - dry he scrapes it off the glass and applies the richly textured oil - skin surface to a canvas.
CAM Raleigh presents five of these signature works — all abstract — in which the artist layers oil paint onto a plate - glass or Plexiglas support before scraping off the accumulating «skins,» as he calls them, and collaging them onto a canvas, letting the thickened medium ripple, sag, and wrinkle, marvelously, across the cotton surface.
She also speaks of her love for the oil medium: «It moves like a skin when you paint.
POPE.L Skin Set Painting: The Commons Divides Moses and Moses Divides S... 2011 - 2013 Water - based oil, acrylic on paper Diptych, overall: 60 3/4 by 117 1/2 in.
These «oil skins» are then scraped off in sheets and draped onto canvas, revealing layers of under painting and distorting the original image.
His backgrounds are layers of black pigment, rabbit skin glue and slate dust, which he sanded down before building up the text in black oil paint.
He applies thick oil paint to Plexiglas slabs and allows it to nearly dry before painstakingly peeling the oil skins away and reapplying them to canvas, to which he then adds and scrapes additional paint, resulting in an entirely new composition.
His pieces are created through a method he developed himself: He reproduces images in thick oil paint on a piece of glass, scrapes off the «oil skin» from the glass when it's dry, and collages these pieces over large - scale canvases to create totally new art pieces — proving, of course, that there's more than one way to skin a canvas.
[2] Scraped oil skins amass stains from the plexiglass on which Otero paints, like collected memories.
Once the paint is almost dry, the artist scrapes the «oil skin» from the glass surface, draping and collaging it onto large - scale canvases, obscuring the original painted imagery, and resulting in a wholly new composition.
Andrew Sutherland composes his acrylic paintings within a large folded trash bag; Angel Otero bunches up paint - soaked «oil skins» around an armature to resemble a ruched and rumbled sack of a painting.
The new oil skin paintings presented in this exhibition mark an expansion of focus for Otero.