Sentences with phrase «paint through the image»

It's also interesting because you're making paint through the image — paint is oil and pigment, and those two things are coming together in the work.

We move through this painting not because we are looking for something; we move through it because we are making complex connections within the painting through image, color, shape and texture.

Not exact matches

We tapped San Diego artist Richard Hawk — who creates copper oxidation masterworks through the use of acid solutions — to render the image of a jet engine by dipping his brushes in our sauce, and letting its Carolina Reaper & Moruga Scorpion peppers serve as paint.

Roanna Rosewood, Ashland, OR, USA Image: Literary Tandem by Ketzia Schoneberg Restaurant exhibit celebrates breastfeeding through colorful paintings of tandem nursing.

«We have demonstrated, for the first time, through OCT and our image analysis approach, we are able to quantitatively and automatically measure the size, number and orientation of metal flakes in industrially applied car paint,» said Yaochun Shen, lead researcher on the project and professor at the University of Liverpool, UK.

Now check out the image below and you can sadly see the water stains that bled through after beginning painting it.

Swap heads, paint with light, paddle in a virtual fishtank and see live moving images of Edinburgh projected onto a viewing table through a giant periscope.

i am sensitive, caring loyal and honest, I love animals, nature, creating art (whether it be through painting, drawing, jewelry - making, quilting or digital image manipulation) and long walks through the forest or along the beach.

Some of the superheroes who will be introduced to the viewing audience include Peter Petrelli, an almost 30 - something male nurse who suspects he might be able to fly, Isaac Mendez, a 28 - year - old junkie who has the ability to paint images of the future when he is high, Niki Sanders, a 33 - year - old Las Vegas showgirl who begins seeing strange things in mirrors, Hiro Nakamura, a 24 - year - old Japanese comic - book geek who literally makes time stand still, D.L. Hawkins, a 31 - year - old inmate who can walk through walls, Matt Parkman, a beat cop who can hear other people's thoughts, and Claire Bennet, a 17 - year - old cheerleader who defies death at every turn.

puzzle building, reading, writing, understanding charts and graphs, a good sense of direction, sketching, painting, creating visual metaphors and analogies (perhaps through the visual arts), manipulating images, constructing, fixing, designing practical objects, interpreting visual images.

We focused on some specific demographics to paint a more accurate image of who in America gets help through public assistance.

The visuals are a stunning blend of traditional «hand painted» 2D images bolstered by cel - shaded 3D graphics, which create the feeling that you're walking through a painting from the 1930's.

I have chosen this image showing the light breaking through dark clouds because I loved the drama and movement in the image I will be using it as a starting point for my pastel painting but am always prepared to let the painting guide me as it develops.

The Minneapolis - born artist shoots high - resolution black and white images through glass blocks, then adds photograms during the development process and, for the final layer, hand - paints the prints.

I thought that Art Tutor didn't allow us to use digital images, and to be honest, I think that using something like this is not all that far from going digital... As far as Dragongirl's comment that she was sure Phil did not mean us to use this tool to make our paintings look better than they actually are in «real life», well, just look at his demo of how to use Pixlr and see how much better the cropped, colour enhanced, brightened, pictures look at the end compared with the «original» photos and it's obvious they are different (otherwise why go through the process if not to make a difference) AND they have more impact, i.e. are BETTER than before.

As we chatted and she re-lived a part of her childhood while we stood in front of her painting, the image evoked for me memories of driving through the snow - covered countryside during my own first winter in Canada.

The exhibition, which will run through October 12th, features over 75 original paintings, bronze sculptures, embellished reproductions and collectible images from the legendary careers of Seuss (or Theodor Seuss Geisel, if you're on a real - name basis) and ten authorized Disney artists.

In an epoch when older painters tended to work for forty years exploring the same image, Wool blew willy - nilly through different images, often concurrently, challenging traditional notions about artist identity and branding and paint handling as well as the Modernist notion of progress.

Really enjoyed your article and love your vertical cityscape paintings I found through Google Images.

Always compelling, Wachtel's paintings take on the aesthetics of contemporary mass image consumption through a process of observation and montage.

It seems an appropriate descriptor for the reconsideration of New Image Painting, a loose movement articulated in the late «70s and recently reinvoked through exhibitions at Zach Feuer and Shane Campbell Gallery, among others.

Ms. Dumas, 64, walked through the space, its floor littered with half - squeezed paint tubes and its tables topped with art history books, museum postcards and photocopied images.

Beginning with his early text and photo - text paintings from the 1960s, he has explored these dichotomies through hybrid compositions of photography, text and painted images.

The work belongs within the trajectory of his painted series Women II through IV, which were realized between 1952 and 1953 and are variations on the same sinister, blatantly sexualized image of the female body.

Recent Paintings by John A. Parks through February 16, 2013 In his recent pictures, executed as finger paintings, John Parks explores the memories of his English childhood in a series of richly evocativPaintings by John A. Parks through February 16, 2013 In his recent pictures, executed as finger paintings, John Parks explores the memories of his English childhood in a series of richly evocativpaintings, John Parks explores the memories of his English childhood in a series of richly evocative images.

Upon entering the exhibition, the viewer passes through a threshold of a floor to ceiling installation of paint, images and process and into a gallery of walls painted bands of the color spectrum that dissolves to white.

The works on view at Eleven Rivington have long since distanced themselves from this beginning, having appeared in an artist book, then haphazardly rearticulated through three - color process paintings (cyan, yellow, and magenta), scanned and digitally distributed on his and others tumblr pages, and presently re-photographed through a PDF generating application on his phone, the images from which provide the basis for this exhibition.

Jack Whitten's narrative Abstract Expressionist works from the 1960s draw imagery from the Civil Rights movement, including ghosted images of Dr. Martin Luther King, Jr; Joan Semmel's figurative paintings question representation of female sexuality through the lens of self - portraiture; Gay liberation and the AIDS crisis are the cultural context for narrative paintings by the late Hugh Steers (1963 — 1995).

Whichever way his broad interests manifest in a complex and diverse repertoire of images, each painting, as Roberta Smith wrote in her New York Times review, «exemplifies the exultation of material that courses through much American painting.»

it's frustrating to think that anyone of the perceptual painting mindset — who trace some lineage of image making via fairfield porter and edwin dickinson through to lennart anderson and others — wouldn't have a place for the appreciation of the sort of work that desiderio does.

BEST EXHIBITION SCHEDULE AT A MUSEUM IN UPHEAVAL The Met's, which included shows of camera - phone images exchanged by 12 pairs of artists; the nearly abstract etchings of the 17th - century Dutch artist Hercules Segers; Marsden Hartley's Maine paintings; an astounding survey of Japanese bamboo art and basketry (through Feb. 4); and, of course, the recently opened shows of David Hockney's paintings (through Feb. 25) and Michelangelo's drawings.

Bringing together more than 90 works from pubic and private collections, the exhibition features paintings and works on paper spanning the early 1930s through the late 70s, from his early depictions of African masks and figurative works to the abstract images for which he is most recognized.

With edges that look as friable as leftover slices of wedding cake, the paint shards offer a destabilizing context for these disorienting images, so thoroughly imbued with a tenuous «Through the Looking Glass» spirit themselves.

From here, the theme can be traced through his Alkoholfolter [Alcohol Torture](1981 — 82), his «Magical Misery Tour» of Brazil (1985 — 86), the collection of paintings and images of the artist beaten and bandaged under the title «Dialog mit der Jugend [Dialogue with Youth]» (ex.

The tension running through the best paintings is tectonic; each image is held in place by what's around it, even as it pushes back, seeking a bit more air.

Contributed by Sharon Butler / What you can't see clearly in online images of Carrie Moyer's new paintings, on view at Mary Boone (in conjunction with DC Moore) through April 21, is the remarkable fusion of flat, opaque abstract form with a masterful illusion of three - dimensionality.

In the 1992 «MLR (More Light Research)» series, Genzken built up layers using stencils and multiple applications of metallic paint sprayed through screens to create shimmering images, including one of the Hancock Building X, another of a grid of lightbulbs and several featuring a pair of gymnastic rings.

With deadpan drollery, LaDuke raced through a gamut of concerns, from abject life to brutish death, presenting images of paintings that veered from the photorealistic to the abstract and of extraordinarily painstaking, lifelike sculptures.

[Many thanks to Gary Snyder Fine Art for providing me with the image above and press materials for Janet Sobel at Gary Snyder Project Space: Drip Paintings and Selected Works on Paper, running now through February 27, 2010.]

Similarly playing with this idea of what to hide and what to reveal of himself, Self - Portraits (1994) and Mirror Image (1974) by Richard Hamilton (1922 - 2011) show the artist at work, through a sheet of glass, on to which he smears his paint, partially obscuring his iImage (1974) by Richard Hamilton (1922 - 2011) show the artist at work, through a sheet of glass, on to which he smears his paint, partially obscuring his imageimage.

Like a sieve moving through every moment of every day, Barbara Campbell Thomas's paintings siphon the onslaught of words, text and images, sounds, textures and physical stuff into piecemeal orderings of stacked lines, quasi-geometric forms and blippy brush marks — all in concert with collaged pieces of thrifted fabric.

A striking group of late inkjet paintings, combining dozens of images taken at home and abroad through the use of digital technology, reveal how he continued to innovate right into the twenty - first century.

In the pavilion, Polke installed then a series of raster paintings, among them Amerikanisch - Mexikanische Grenze, Polizeischwein, Hände (vorm Gesicht), which present news stories through images taken from the press.

The transference of the source material to canvas by inkjet printer adds an extra level of removal and manufacture to an already mass - produced image, with the Benday dots visible through the wash of paint clearly evoking Roy Lichtenstein's own transformative Pop appropriations.

His rhythmic patterns of repeating images, often featuring symbols of contemporary folk culture, are hand painted and rendered through the visual language of printmaking.

Starting with lost and «abandoned» footage created by Deren, McElheny has re-filmed, deconstructed and extensively processed these moving images to suggest a world of abstraction that sometimes coalesce into bodies or objects, or, in reverse, where mannerist bodies passing through the painting seem to dissolve themselves into granular abstraction.

More generally, the chapters of «America Is Hard to See» pay homage to a number of those seminal exhibitions through which the Whitney has historically recognised and advocated for emerging American art: «Anti-Illusion: Procedure / Materials» (1969), for instance, with its defiant presentation of the post-minimalism of Richard Tuttle and others, or «New Image Painting» (1979), which celebrated a revival of figurative painting in an artistic climate dominated by conceptuPainting» (1979), which celebrated a revival of figurative painting in an artistic climate dominated by conceptupainting in an artistic climate dominated by conceptual work.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

It's a wondrous portal this rectangle of glass — a sometime window, sometime screen, through which I can view images of paintings hanging on New York walls.

His practice involves an exploration of the significance and circulation of images and cultural artefacts through painting and curating.