Sentences with phrase «paint skins collaged»

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

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

Not exact matches

Some of his most well - known works consider passing time, utilizing dried paint «skins» from the tops of paint cans or paint trays as collage elements or subjects on canvas.

At the back of the gallery, a selection of work by Hudinilson Jr. showcases the late Brazilian artist's idiosyncratic oeuvre, from a disturbing, jaundiced painting of harlequins (Amantes e casos, Ménage à Trois, 1978) to his homoerotic collages and tender photocopy self - portraits — all masses of hair and folded skin.

LEFT: Rhonda Wheatley, «Empath Protector,» 2016, Vintage mannequin hand, wooden beads, natural fluorite crystal tetrahedrons, and acrylic paint / / RIGHT: Rhonda Wheatley, «Subconscious Translator,» 2016, Vintage headphones, beads, quartz crystals, plant roots, fossilized shark teeth, snake skin sheddings, collage, and acrylic paint

In his recent works, these collages consist of fragments of hard - core pornography as well as sensual details - such as a bit of drapery or a glimpse of skin - cut out from art book reproductions of Renaissance paintings.

Angel Otero: Everything and Nothing chronicles the evolution of Otero's practice to date and features four distinct bodies of work created between 2006 and 2015, including his iconic skin and transfer paintings, early work created using silicon and collage, as well as sculpture.

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.

Whitten's poetic and physically compelling compositions reinvent the medium of painting time and again — from his series of small «ghost» paintings of the 1960s, his smeared test slabs and dragged canvases of the 1970s, and his collaged acrylic «skins» of the 1980s to his more recent tessellated constructions of paint tiles.

Whatever it is, if drawing presents a certain window into the artist's brain, then the exhibition «Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing,» which opens at the Studio Museum in Harlem on Thursday, will serve as a trip inside the mind's eye of an artist whose practice has included everything from multimedia paintings comprised of acrylic and collaged felt to site - specific installations and even a ballet — one that explodes off the page and directly onto the gallery walls.

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.

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.