Sentences with phrase «painted shaped forms»

This Peterborough artist will present an installation of graphite and tempera drawing on the gallery walls in the West Gallery against painted shaped forms, projecting minimally off the walls of the East Gallery.

East & West Galleries: Toronto Wall Drawings This Peterborough artist will present an installation of graphite and tempera drawing on the gallery walls in the West Gallery against painted shaped forms, projecting minimally off the walls of the East Gallery.

Not exact matches

If you throw a gallon of paint into the air, does it form the shape of a house?

Sometimes these paintings express the discontinuity of modern religious experience, the loneliness in a world that knows no limits and that overwhelms our ability to speak meaningfully of its shapes and forms.

Now flatten your painted toilet paper rolls and pinch the edges so that they form an oval shape.

If you are getting painted, engraved, or shaped snaps please let me know under the special requests section of the form.

Simply paint the hands of your kiddos red, and carefully place them on white cardstock -LCB- one at a time -RCB- to form the shape of a heart -LCB- the thumbs will be touching -RCB-.

«The membrane can be incorporated with batteries in a variety of form factors, since it's like a paint — and we can paint the surface of electrodes of any shape,» Choudhury added.

Once the paint is dry, use the hot glue gun to glue the corks together to form the Christmas Tree shape.

8 — To paste painting onto Cardboard Ceareal box and to paint the back of the box 9 To construct with glue gun and to cut into shapes to form a hanging mobile.

A further example cutting this up by pasting on cardboard a copy of the painting and then cutting this up in shapes and building a construction of form as a 3D sculpture A Construction of a 3D sculpture using cardboard to make a mobile or standing sculpture based on Cubism.

In order to form the shape of the glasses, I painted in the rims which were very dark lines with a white paper highlight alongside.

In between are too few of the swaggering compositions — of target - like concentric stripes, designs based on compasses and protractors, and shaped canvases that echo the shapes painted on them — that made Stella a god of the sixties art world, exalting tastes for reductive form, daunting scale, and florid artificial color.»

His floral forms could be read as heart shapes or wings of butterflies, angels, or birds in those early paintings.

The importance of three - dimensionality is apparent when one compares her oil paintings from this period to related drawings: even when these are on several pieces of paper creating a shape or a broken field, they operate in a more conventional relation to form.

Untitled (Golden Yellow) Acrylic on canvas, 72 x 60 inches Ian Hughes October 9 — November 8, 2014 Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own.

Even earlier works like Fable II and Rite, both from 1957, earn their titles by the nonspecific figurative connotations of their bunched shapes; it would take only a little bit of further manipulation to turn those forms into the kind of stylized figures found in the paintings that Jan Müller was making around this time, or Bob Thompson just a little later.

By the time Kelly made his first shaped painting in 1966 with Yellow Piece, the first picture in «Ellsworth Kelly: Singular Forms, 1966 - 2009» at Mnuchin Gallery, it seems to have become obvious to him that he could invent great pictures.

Wickedly funny allegories merge with abstract painting as free - form amoebic shapes frequently fill the entirety of his canvases.

She has a mastery of the stuff of painting — shapes and forms, mark making, overlapping plans that develop a dynamic space, geometry of structure and composition, and lastly color.

After leaving Jepson in 1951, Hammersely recalled that he «bumped into hunch painting by accident,» inspired by the shapes that he saw in the figure and in still - life, reducing them to elemental form.

In the viewing room, Charles Hinman's Sugilite (2013) is a shaped hard - edge minimal painting which as we move is perceived differently: new colors, new facets, new forms, new shadows, as the work is constantly reinvented.

The space, shapes, and lines from the artist's original drawings are lost and the indeterminate blur that he produces becomes the paintings» dominant aesthetic form.

Each provides an arresting autonomy that focuses attention onto the unique interaction of paper, surface, and paint; as a group, the works form subtle relationships to one another and bring forward issues of horizontality and verticality, recurring shapes, and interacting arrangements of color.

These pieces include a pair of paintings by Nak - Beom Kho, depicting closely cropped, chiseled male faces of mannequins, and black - and - white photographs of Nakamura's sculptural works such as Car Cover (1991), which show two forms that each resemble the shape of a car — one rounded and the other square - edged.

He defines systems in his work as «a way of communicating an intelligible idea in terms of shapes colours and forms, or an organisation principle that I predetermine and allow to run to see what the outcomes will be...» In his painting here, Triangles within a Dodecagon, he takes the regular twelve sided shape as its starting place and bases an equilateral triangle between two of the vertices, or along one of the sides.

And so at the moment about two dozen of Ms. Crockett's sparkling late paintings, with their bright tangles of jazzy lines and shapes floating on pale, brushy backgrounds, form a surprising exhibition at Meredith Ward Fine Art.

In these paintings, gestural lines sinuate around, sometimes emerging into vague shapes, other times into obscure forms, creating a rich schema of marks, symbols and colors - self - contained and relating to each other within the boundaries of the canvas.

His paintings are expressions of colors that breathe life into his bold images, his recent sculptures bear traces of his fingers that have shaped their forms, and his drawings capture the spontaneity of daily thoughts.

The organic shapes, the intermixing of vibrant colors, and the flatness of form, takes us back to the paintings of Matisse and Gauguin.

The paintings present imagery of the universe like black holes, dark matter, stellar births: phenomena that are being visualized in a variety of different shapes and forms yet have no standardized structure.

De Kooning never abandoned the human form, Pollock sought (and failed) to reappropriate it after his signature drip paintings, and Gorky's abstractions, those lyrical elisions of biomorphic shape and washy veils of pigment, are nothing if not figure painting by other means.

In part the idea came to him from his free - form shapes in ceramic of 2008, works that bear a striking resemblance to the paintings of Dutch / Belgian artist Bram Bogart.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

In the paintings, columnar forms suggested by built - up geometric patterns appear alongside mathematically derived shapes which the artist calls «knot - forms».

Each hand - painted form creating a perfect geometric shape is a microcosm of this balance suggesting the breadth of human experience.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

Her canvases - some unusually large - are filled with grids and intersecting circles, simplified flower forms, gonad - like shapes, flattened cubes, painted numbers, stray, sometimes invented words, spirals, weird vectors, loop - the - loop lines, pyramids and sunbursts.

If a viewer has a working knowledge of maritime flags or, as in my case, an index of their meanings, then Mizù's geometric forms become more than visually pleasing shapes, as the painting actually spells out the title of the work.

In Portraits, her first show in Chicago, the New York based artist presents three medium - sized paintings, each one featuring a head - like oval form, all of them technically dazzling with skeins of parallel dribbles that acutely change direction, forming a veritable undercarriage for hazy and more definite shapes.

Shaped pieces of painted electrical conduit, pulled from the walls of his own studio, form the semblance of a mask, revealing the painting, Son on the Steeple, behind.

Referencing organic shapes, his oil and acrylic paintings on canvas and paper expertly utilize the single gesture to represent an entire form, delicately balancing soft effusions of colour against the frenetic energy of the mark.

Often working in series, her painting continued to move between recognisable and imagined forms, revealing her sensitivity to colour and shape extracted from the environments in which she found herself.

They also thought similarly of color and line, exploring not only new materials but also the new shapes they found in their painted and sculpted forms.

Adian's bulked - up, shaped and painted canvases are simple abstract forms that look something like the vinyl upholstery once found in cheap bars — a perverse kind of artistic reverse engineering.

Halkin's most recent paintings share with his earliest work a fascination with hieroglyph - like shapes and mottled fields of muted color, though the palette is overall less subdued and the forms less abstract.

I myself once compared her paintings to those of Josef Albers, seeing them as «fundamentally abstract, the house [being] not so much a house as the form of a house, a given shape, a certain geometry,» like those endless squares painted by the ex-Bauhaus colorist.

Claudia Comte (1983, Grancy, CHE) is a Swiss artist whose sculptures, large wall paintings, and immersive installations emerge from the artist's interest in the shapes and forms of Modernism.

Through a process of forming paper pulp into shapes and painting with pigmented pulp, Liu cultivates chance and embraces a stylistic looseness that playfully mines painterly traditions.

After applying a light color wash to the paper, Ossorio would draw forms with wax, and then paint in watercolor, which would saturate all areas of the paper except those with wax - drawn shapes.