Not exact matches
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.
In this new series of works, he plays with absence and presence,
abstraction and figuration,
creating silhouette - like shapes that feel
organic.
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.
Using figurative representation and playful geometric
abstraction, Brooklyn - based artist Ted Lawson is someone who loves to combine digital technology — such as 3D printing — with traditional art methods to
create organic fine art as well as large - scale sculptures that explore humanity.
Christopher Adams utilizes biological concepts - speciation, convergence, mimicry - as he
creates ceramic works of «
organic abstraction.»
The sinuous whorls of red, yellow and blue course across the green - grey picture plane, framing
organic forms and
creating an overall impression of fluidity and natural, gestural
abstraction.
Deladier Almeida's paintings meld
organic forms with manmade order, using landscape as an armature over which to
create intuitive, vigorous
abstractions.
In the decades that followed, Loving explored new directions,
creating more
organic abstractions from torn and sewn pieces of canvas, trading in a restrained formalism for an unbounded, exuberant aesthetic.
His «camera-less» photograms were made in the darkroom by arranging and exposing objects directly on top of light - sensitive paper; juxtaposing geometric, industrial, typographic and
organic forms to
create images that are poised between
abstraction and representation.
Gorky began (c. 1940) to
create abstractions consisting of involved, voluptuously
organic shapes and glowing colors, all enveloped in an aura of mystery.
He went on to
create a whole series of forms - known as biomorphic /
organic abstraction - iin wood and plaster, some were later cast in bronze.
Disappointed with «pure» geometry and disinclined toward
organic abstraction, they began
creating constructions derived from elements of painting, sculpture, and architecture.