Sentences with phrase «painted elements while»

Not exact matches

For many people, though, the Scura's main talking point is the rather nifty matt black paint scheme, while inside there's a plethora of carbon fibre elements to help extend the lightweight image.

The new Eos White Night embraces the contrast of black and white: the body is painted in white, while elements such as the roof, radiator grille and mirror covers are in black.

Marble floors and contemporary design elements create a modern feel, while wooden furniture and paintings, depicting local scenes, showcase Hawaiian culture.

Featuring such luxurious elements as a painted fresco above the bed's headboard, our opulent Junior suites are decorated in a combination of Regency, Empire and Louis XV styles, while certain suites offer magnificent views of Bernini's church of St. Maria della Vittoria on Via XX Settembre.

That GTA: GD would make sense as a costume pack, I think once more games successfully implements the idea, it will become common place, and piggybacking on that GTA: GD idea, there could also packs for vehicle, real estate and radio customization, with such a level of immersion, where a player could find an unlimited choice of cars, picking a beat - up black 96 porsche carrerra with zebra paint, buying / renting a liberty city cocaine kingpin hideout on the oceanfront while listening to Daft Punk latest remix compilation... it's not only possible but I think probable that in the future as games include more social elements they will include those elements as they would provide greater immersion for players, greater revenues for gaming company, and marketing inroads for brands and designers.

This first - person adventure game draws inspiration from the Myst series and has players traversing through six painted portals that represent the \» core elements of life \» while a malevolent being is fast on your trail, constantly hunting you.

While a critic of 1843 saw «a club, a people's bank or a phalanstery» in «this dream of the gardens of Academe,» and noted the unusual amalgamation of Horace's Odes and Plato's dialogues with the steamship and the telegraph, the expendability of these contemporary elements is revealed when L'Artiste announces that Papety, on the basis of critical advice, has replaced his steamboat with a Greek temple, «which,» remarks the anonymous critic, with unconscious irony, «is perhaps more ordinary but also more severe than socialism in painting.»

Meg Lipke's work brings textiles into the sculptural realm while incorporating elements of abstract painting.

It should be noted that while the overall effect of Murray's work is one of abstraction, and the artist described herself as an abstract painter in an interview included in the 1987 catalogue, there are many representational elements and references in her paintings, in a stylized style emerging from cartoons, comics, and graffiti as well as from pop artists like Claes Oldenburg: works are shaped like shoes or cups and contains stylized abstracted but identifiable figuration and still - life imagery.

MA: With the painting Conjestina Achieng, I wanted to have elements of the painting that suggested that Conjestina, the central figure of the painting, had been given the role of village idiot by the local media (under the guise of public interest, she was repeatedly filmed and interviewed in an institution and at home while going through episodes of paranoid schizophrenia).

While the works by Hanneline Visnes (b. 1972) and Mary Viola Paterson (1899 — 1981) share thematic representations of elements of nature, the display of the works alongside each other highlights the way artists in different periods have considered their works vis - à - vis the economic aspects of painting and printmaking.

Stephan Groß drafted the fictional logo of the so - called System vorbestimmten Zeiten MTM — for universities — while a painting of a clock frozen at precisely four minutes past eight ironically exaggerated the naturalistic elements of painting, simultaneously reminding visitors that each moment of perception is always already about to dissolve into another.

The paintings almost become objects in the vain of Abstract Expressionism, the works are less about the hand and human presence and more about happenstance while also containing elements that are in fact purposeful.

Saylor's work recycles and reframes elements from graffiti, cave painting, and industrial production while mining the legacy of both American and European expressionism.

Deeply aware of the historical precedents of abstract painting, he sometimes evokes images and memories, while at other times uses the elements of painting to their own ends.

Adolf Gottlieb, the Abstract Expressionist, used bursts of red pigment as image and as structural element, while Josh Smith now churns out messy abstract paintings like child's play — or like an emerging artist's assembly - line product.

Tiffany Bozic and Alfred Steiner, also skillfully create work that combines painted elements from our world, to create new surreal compositions: Bozic focusing on the natural world, while Steiner draws our attention to contemporary culture.

Da Corte has created a phantasmagorical wonderland, transforming the space through tile flooring, painted walls, and colored lights, while also incorporating olfactory elements with rose, sage, and clove - scented misters.

While you're up close, you'll see that the subtlest of grids is formed by the trail of brushmarks and intentionally grainy elements within the paint.

Since then, she has continued to base her paintings on pastels made from direct observation, while frequently enlivening compositions through heightened color, repetition of certain elements, and manipulation of light, scale, and perspective.

Her paintings feature wildly colorful brushstrokes and her color monotypes showcase the sensory overload and luscious texture found in those paintings, while her black - and - white drawings are haunting and gestural, blurring together figurative and abstract elements.

Formal yet liquid, amorphous yet figurative, the sculptures explore notions of traditional architecture while encompassing elements of painting, stagecraft, and suggestive, open - ended narratives.

While painted in a traditional style reminiscent of Rembrandt and Titian, Kuo's works deviate from this history through his choice of imagery, combining signifiers of American culture with elements appropriated from film and photography.

While the paintings still hew to the cadre of influences that Martinez is often mentioned alongside — Picasso, Willem de Kooning, Philip Guston — they have more or less abandoned the figurative elements of epic earlier work, like «The Feast,» a dense triptych from 2010.

As demonstrated by the 40 - odd elements that make up this 30 - year «retrospective», his practice intersects with architecture, design and theatre while flitting with seeming ease between painting, sculpture, installation and video.

The brilliance of Untitled [black painting with portal form] is that one can simultaneously appreciate the artist's complex handling of paint across an array of uneven surfaces while acknowledging the ways that the artwork, in its use of newspaper as a formal and almost sculptural element, bridges painting, collage, and assemblage.

His painted photographic prints combine airbrushed acrylic paint and abstract photographs while cleverly incorporating external elements such as variations of light, space, and time, with the intention to raise questions about perception and how we relate to various media.

But while my response to certain human elements is as obvious as it is inevitable, I am also pleased to note that upon reflection many persons have found that they were as much concerned with the artistic implications of my paintings as with, what may possibly be, my human compassion.

Some of your paintings are framed, while others are exposed to the elements.

Of course, there are moments while working when a story or memory will come to mind, an element I've painted will resemble something or someone familiar.

In treating painting as a hybrid, open practice that combines elements of painting, sculpture, collage, and installation art, the artists in Stretching Painting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingpainting as a hybrid, open practice that combines elements of painting, sculpture, collage, and installation art, the artists in Stretching Painting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingpainting, sculpture, collage, and installation art, the artists in Stretching Painting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingPainting extend a distinguished historical trajectory associated with minimal and post-minimal art, while expanding our sense of what paintingpainting can be.

Clement Greenberg, the most influential of apologists for modern painting of the period, placed particular stress on the formal elements of abstraction, while artists» more otherworldly ideals tended to be played down.

Using elements from the tangible world such a artists» materials, travel ephemera, tobacco and wine labels allowed Motherwell to construct a narrative for the viewer while still maintaining his automatic and gestural style of painting.

Thus while he painted individuals from photographs, Richter's replica images were often blurred and bore nothing distinctively identifiable about the subject, an effect that forced the viewer to consider the fundamental components of the painting itself, such as composition, color scheme, and so forth, rather than leaving the viewer to identify with, or be distracted by, a picture's implied content or its emotional element of «humanity.»

But while Owens's work certainly plays on the conventions of Color Field, she draws from a wide range of source materials, including embroidery and Asian landscape painting, frequently commingling vaporous washes of color with frankly goofy representational elements.

His works center around the relationship between form and content: often using several layers of paint, resin, glitter, collage elements, and occasionally, elephant dung, Ofili enlists sexual, cultural, historical, and religious references to create uniquely aesthetic and physical works that expose the darker undercurrents of society, while also celebrating contemporary black culture.

We will investigate the formal elements of painting such as composition, space, form, color temperature and intensity, while maintaining an appreciation for the immediacy of the medium.

His use of colour, form and material as elements in a compositional lexicon, as well as the stained or dyed fabrics which are his principal medium, declare the origin of his practice in the investigation of painting in an expanded field, while the way his compositions occupy and transform space are evidence of their sculptural nature.

While motifs are shared between the drawings and gouaches, the two bodies of work exist in distinct domains, one furrowed and creased, a progression of elements roughly scored onto the paper, the other a set of color - infused structures residing on the Apollonian sheen of the painted surface.

He would also smear sand, broken glass, and other textural elements on the canvas, while painting in a fluid motion from all sides of the canvas.

Tannatt, while working on predetermined «hanger» forms he was translating into glass elements for wall mounted sculptural / painting work, re - remembered an aspect of Mike Kelly's «Uncanny» project and incorporated the reference into his intention of «breaking in» and how we now «break in» in virtual ways i.e. codes & «watermarks.»

and Hong - Do Kim (1745 - 1806), while some elements are taken from Farmer's Life, an eighteenth - century genre of Korean paintings applied to folding screens, reproductions of which are displayed alongside Ri's paintings.

«The Bay» is another example of one of her monumental paintings, again based on her love of landscape, that conveys a sense of luminosity and spontaneity, while also emphasizing the formal elements of color and shape.

While continuing to explore language and perception with her familiar word - objects, Nancy Dwyer's paintings and sculptures employ vernacular graphic elements to conflate context & object.

Artist: Ernesto Burgos Exhibition title: Without Isolating Themes Venue: The Goma, Madrid, Spain Date: May 23 — July 11, 2015 Photography: images courtesy of the artist and The Goma, Madrid While in his first exhibition at The Goma a few years ago, Ernesto Burgos combined all kinds of elements to produce sculptures that also had room for painting, the US artist's recent work has fused these two disciplines into an inextricable whole.

By painting layer upon layer of whites and off - whites over silkscreened elements used in previous works — monochrome forms taken from reproductions, enlargements of details of photographs, screens, and polaroids of his own paintings — he accretes the surface of his pressurized paintings while apparently voiding their very substance.

The action of draping becomes the thematic focus of the paintings, while light is also incorporated as a sculpting element.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

Jasmin uses her drawing skills on finding the form and proportion of their characters, while Falk specializes on painting the photorealistic elements.

While having contributed to the Concretist and Neoconcretist movements that stormed the Brazilian avant - garde, she was never associated with a single movement but her work contained elements of Lettrism, Color Field painting and early conceptual art.