Sentences with phrase «painted illusion of space»

Both the gestural and literal carvings cut up these paintings, and further add to the tension between a painted illusion of space and the paintings» tactile physical surface.

Not exact matches

Since the Renaissance, Western painting has attempted to create the illusion of space by the technique of perspective.

«Painting is great for giving the illusion of space,» says Francesco DiSarra, co-owner of Capoferro Design Build Group in Toronto.

I think it is plausible to say that at least some of the assertion of abstraction (or self - sufficiency) in modernist painting comes from stressing paint's materiality, so suggesting that illusions of space or light (or other allusions to the wider world) are in fact inherent properties of the material.

Reinhardt or even Robert Ryman is trying to squeeze out every last illusion of space, to make the painted surface speak for itself.

This question took her down a rabbit hole of experiments with painting on and people and objects that led her to develop an optical illusion for turning three - dimensional spaces into what appeared to be two - dimensional paintings.

The forms of the paintings themselves recall folding screens installed on their sides and bolted to the wall (and thus robbed of their function), though the impression of the hinged panels projecting into space is another illusion.

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Bspace between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BSpace, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of the painting as an object in space.

His constructed paintings as spider webs, shown at Boone and in a 1992 exhibition at the Parrish, came out of a 1970s movement of sculptured three - dimensional paintings that devalued the centuries» long culture of layering paint and creating an illusion of space.

The words sit on the picture plane, creating a play between the painting as a flat surface and as a window opening onto the illusion of deep space.

Although Singer's works often begin with Internet image searches for general categories — for example, «performance art» in Happening (2014)-- and are more or less traditionally painted onto two - dimensional surfaces to create the illusion of space and depth, to call them paintings is largely a misnomer.

Students will learn to translate direct visual observation into a painted surface that expresses the illusion of objects in space.

In the pioneering of this new art, Rauschenberg's innovations blurred the lines between sculpture and painting, and obliterated the illusion of Cartesian space.

They include the monochrome «Black Paintings» in which the illusion of space is suggested with only a few white lines.

Often they are cropped, cut, fold, pierced, stitched, sanded and manipulated, these works refer to many of painting's most long running concerns - genre and narrative, pictorial space and illusion, and color and texture.

In landscape painting, layering the planes of the foreground, middle ground and background lend to the illusion of space.

Trippy optical illusions created by Richard Anuskiewicz («Summer Sunset Reds,» 1982) and British artist Bridget Riley («Shuttle II,» 1964) and an earlier op - art piece by Victor Vasarely («Ixion,» 1956) share the space with color works by Ellsworth Kelly — beloved by the Atheneum as the first artist in its long - running MATRIX contemporary - art series — Barnett Newman, Paul Feeley and two of Josef Albers» «Homage to the Square» paintings, which complement two works by John McLaughlin.

There are several different ways to create the illusion of depth and space in a painting, whether the painting is representational or abstract.

The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.

This potent mixture of the past and present reveals a rich contemporary vernacular that explores the fundamentals of painting (line and form, the space between illusion and matter, etc.) with new texture.

Amy Garofano's (Painting» 12) installation in Telles's Martel window project space addresses the aesthetic implications of these environs while referencing painting and iPainting» 12) installation in Telles's Martel window project space addresses the aesthetic implications of these environs while referencing painting and ipainting and illusion.

Stephan uses the humble elements of painting — the stretched canvas, the brushstroke, color, the illusion of three - dimensional space — in straightforward ways, no painting tricks.

An illusion of deep space and an aggressively shallow surface can co-exist and even abut one another within the same painting.

Camargo's painted wood reliefs draw a parallel with Espinosa's painting «Emina», where the repetition of a simple form creates hovering illusions of space and movement.

The «Black Paintings,» for example, which create the illusion of three - dimensional space with a few lines, belong to the older works.

The shaped paintings on view in this exhibition create illusions of space and depth, where planes may be perceived as simultaneously receding or projecting, allowing the viewer to journey both around and through the work.

This quirky abstract painting features gray stripes that wrap around the picture plane, creating the illusion of a deeper recessional space while simultaneously emphasizing the gritt...

In these early silver works, the result was an iridescent layering of muted color, in which the undercoats of paint glimmered through the overlying metallic sheen, creating an almost classical illusion of luminous space.

Throughout Georgia Noble's vivid abstract works, her objective is to exceed the conventions of customary paintings of landscapes that instead award the spectator with an illusion of space that travels outside the physical and real to conjure a perception of somewhere «other».

The co-director of Minus Space, Deleget has never been particularly interested in traditional painting approaches such as wet - on - wet and glazing, color mixing, or other techniques that create the illusion of three dimensionality.

One will not see late modernist concerns for expression, truth in representation, illusions of space, or the materiality of a painting's support.

Abigail Groff Hernandez uses the restrained tradition of still - life painting to subtlety break the illusion of pictorial space through contrasting formal compositions.

Iva Gueorguieva's (b. 1974, Bulgaria) abstract paintings and sculptures investigate notions of space, illusion and movement.

Reflective Radiation explores the notion of light and illusion while each painting plays with the viewer's perspective with various grades of shimmer, illuminating the space.

His approach to exploring psychological concepts is highly abstracted and every painting begins with metaphors relating to architecture — rooms, staircases, hallways: «These spaces are stretched and contorted, almost to the point of becoming paradox illusions, to twist spaces that should be readily familiar into places that are fragmented and uncertain.»

Miniature painting, with its flat, stylized forms, stands in opposition to newly introduced European perspective, with its emphasis on individuality and the illusion of space.

I allow the paint to bleed, smudge, peel back at times, which disrupts the illusory or pictorial space, emphasizing the materials and surface instead... the way in which I construct illusions of depth and space, where certain patterns seem to float in front of others, screens of lines that you are looking through, into another internal space.

On the other hand, a painting offers the possibility of a three - dimensional experience, the illusion of moving into space and discovering form.

He has rightly been regarded as a consummately perceptual painter — the interaction of the dots covering his canvases makes the most out of a very limited palette — but what struck me about his oil paintings in particular was how tactile they felt, with the illusion of space seeming to change, like the surface of a mosaic, as you move from side to front to side.

Over the coming decades, he continued to challenge the boundaries of aesthetic space, creating paintings that presented three - dimensional reality as a tactile, objective thing rather than an illusion.

Their genesis traceable to Bell's obsession with the finishes he developed and eventually released from his minimal glass works, the two - dimensional CS paintings are composed from abstract forms that appear as a shimmering vortex of light, creating the illusion of three - dimensional, highly sculptural space.

He explores the ambiguity between the illusion of perspective in painting and the physical space of sculpture, creating characteristic canvases that play with the perception of volume, color and light.

Deftly creating dynamic illusions of depth and space on a two - dimensional surface, Grotjhan makes reference to various points in the history of painting, from Renaissance linear perspective, to the utopian shapes and visions of early 20th century Russian Constructivism, to the hallucinatory images of 1960s Op Art.

Sparks employs reconstructed sculpture and cut and sewn digital paintings that fracture our perception of space with their shapes of flat color and conscious reproduction of illusion.

As a result, I intend to tie a reality constructed and modeled from representations and the virtual world of pictorial illusion with the physical interactive space created by the painting's materials and hypnotic conditions.

Walking through the darkened space, observers find themselves inside Steir's painting, where they become part of the illusion she has created with paint and light.

This transformation from an object - based system of communication to an increasingly virtual method of transmission is mirrored in abstract painting's move from an embodiment of frontal space, manifested through color, form and canvas shape, towards the illusion of infinite space, rendered with digital - like precision.

The title of the present work For Picabia perhaps references Stella's «preoccupation with wiping out Cubism, whose vestigial illusions of luminous, layered spaces he hoped to replace with another, fresher kind of spatial construction» (Robert Rosenblum quoted in L. Rubin, Frank Stella Paintings 1958 to 1965: A Catalogue Raisonne, New York, 1986, p. 11).