The autobiographical dimension of the artist's work is clear in her pieces related to friendships, memories and places; while the formal aspect of her oeuvre is evident in her paintings of grids and squares rendered in primary colors and in works based
on architectural planes.
pieces related to friendships, memories and places; while the formal aspect is evident in paintings of grids and squares rendered in primary colors and in works based
on architectural planes.
The autobiographical dimension of the artist's work is revealed in pieces related to friendships, memories and places; while the formal aspect is evident in paintings of grids and squares rendered in primary colors and in works based
on architectural planes.
Not exact matches
So here I am leaving
on a
plane this morning for Chi town, with about a dozen coffee spots and
architectural must - sees to pass my time.
Huge swaths of colorful washes and brush strokes become animated as the light emanated overhead and from a video projection refracts
on various fabric and
architectural planes.
The heavier, browner palette is found in Wilson's Hammer and Tongs (1972) with its meticulously worked drapery study, and the
architectural complexity of the workbench in Stretcher Pliers (1972), which is a damn sight more complicated painting than it seems at first because it balances several
planes from foreground to middle ground to a second stage of the middle ground
on a tilting shelf surface.
Alexa Meade is a Los Angeles based artist that paints
on the surfaces of live human subjects, found objects, and
architectural spaces in a way that optically compresses 3D space into a 2D
plane when photographed.
In the 60s and 70s the subjects of his work are reflected in his composition and subject; small identifying features of faces are distinguishable in his portraits;
architectural spaces are built up in structural
planes and the smooth fluid horizontal
planes of his Venice scenes conjure up the reflections of Italianate Facades
on the acqua alta.
The imagery appears to extend or recede from the surface of the picture
plane through the artist's carefully developed variations
on colour theory and
architectural elements with influences of Op art and Mathematical perspectives.
The placement of the lines agitate the air into what our minds perceive as solid
planes, yet the visual buzz — in marked contrast to the blinding vibrations set off by the black and white stripes of Sol LeWitt's wall drawings (currently part of a sumptuous exhibition at Paula Cooper one block north)-- has an inverse effect
on the nervous system, transforming optical turbulence into
architectural tranquility.
These works
on paper, informed by the
planes and angles of
architectural forms, represent a shift in Mang» ong» o's practice from his early figurative work to pure abstraction.
The figures, forms,
architectural elements, and space, which are constituted by layers of overlapping imagery that exist between abstraction and representation, remain active
on the picture
plane with their seemingly melting colors.
My paintings at this time were both perceptual and conceptual: smallish images of architecture, mostly Victorian houses, with their interesting balance of details upon large
planes, which were painted
on site during summers away from the city; small still life paintings; larger figure compositions ---- studio works ---- looking toward Italian High Renaissance painting, with one or two or three figures in an
architectural setting.
Since the beginning of his career in the mid - «60s, Robert Mangold (b. 1937, North Tonawanda, NY) has combined the classic elements of composition — shape, line, and color — to create abstract works of
architectural scale, drawing by hand thick and thin graphite lines
on subtly modulated
planes of color.