Sentences with phrase «painted upon found»

However, unlike his last exhibition whereby he assembled and painted upon found paintings in their entirety, in «Transformer» Gortner cuts and collages pieces from an even wider range of found paintings and discarded objects, incorporating them into a new composition.

Not exact matches

It means finding God in all the experiences and relationships of our lives; in our «world making»; in creative occasions of giving birth to a child, to a painting, to a poem, to a sermon, in sustaining events of eating a meal, cleaning a house, recycling our refuse, providing jobs, maintaining friendships; in experiences of judgment because of our reliance upon destructive weapons, because of our loss of integrity; and in redemptive relationships wherein we experience forgiveness, renewal, and peace.

What makes it unique from the same bare bones experience you'd get from its coin operated counterpart typically found at your local watering hole is the paint effect that splatters upon tapping the touch screen... and that's about it.

Recently I stumbled upon a fancy repainted Infinity character during a random Google search and after poking around a bit more I began to find more and more gorgeously painted and detailed re-imaginings of the already iconic characters featured in Disney Infinity.

Upon completing a level, the chests are opened and reveal the items inside, which range from spray paints to change Kirby's color, music to listen to on the sound test, keys to unlock the aforementioned secret levels, and heart pieces, which work similarly to those in Zelda and increase Kirby's maximum health when you find enough of them, to name just a few of the prizes.

Throughout your explorations, you'll find little things that build upon atmosphere of Dear Esther's scenery, like an armada of paper boats trapped in an underground river, or candles surrounding chemical diagrams and graffiti created with luminous paint on rocks and cave walls.

However the following morning, upon checking the images of my painting and the photograph in black and white, it was reassuring to find that there was enough variation in the tones.

As far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.»

Sarah Cain's practice is founded upon exploring new territories for abstraction and her 40 - foot - long painting, titled Now I'm going to tell you everything, is created from a call - and - response method of working with the space, both unpredictable and impromptu.

This ideal, of finding the essential unit upon which the entire structure of painting was built, was inspired by discoveries made in science in the 19th and 20th centuries.

Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the «flatter» surfaces of Barnett Newman's work and the «target» paintings of Jasper Johns.

Exhibitions during the anniversary celebration include Opener 29: Arturo Herrera (through August 23, 2015), featuring new works from the Berlin - based artist's recent body of abstract paintings for which he manipulated small books found at flea markets; Machine Project — The Platinum Collection (Live by Special Request), (September 19, 2015 — January 3, 2016), which will feature a series of interventions, performances, and happenings created for the Tang by Skidmore alumnus Mark Allen in collaboration with his Los Angeles - based collective Machine Project; Affinity Atlas (September 5, 2015 — January 3, 2016), inspired by the work of pioneering cultural theorist and art historian Aby Warburg, charts an exploratory path built upon idiosyncratic treasures and contemporary art culled from the Tang's and Skidmore's collections; and Alma Thomas: A Retrospective (February 6 — June 5, 2016), which will explore the work of this influential but sometimes overlooked artist in the first museum survey of her work since 2001.

Between 1959 and 1960 Polke completed a glass - painting apprenticeship, an experience that contributed to his lifelong attraction to transparency and layering, with many of his later paintings utilising see - through plastics or being painstakingly built up using strata upon strata of found imagery.

His treatment of found objects call upon a range of artistic disciplines such as painting, poetry, and sculpture.

To this day, Wool maintains a studio in Lower Manhattan, and his paintings still evoke the «aesthetics of decay» that he found so visually appealing upon his initial move to New York City.

This tendency towards formal dissolution characterises Innes» abstract painting, drawing upon the legacies of both Minimalism and Abstract Expressionism to find a delicate balance between gesture and restraint.

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.

Upon unrolling this painting, we found an inscription on the back, which noted that this painting was, in fact, a fragment cut from a larger work.

As a founding member of Chicago's famed Hairy Who (a group of figurative painters often subsumed under the banner of the Chicago Imagists whose ranks also include Karl Wirsum and Suellen Rocca among others), Nilsson is hardly unknown, but these 12 «monumentally - scaled» paintings made between 1984 and ’87 represent a selection of her later work that often goes unremarked upon in favor of focusing on her output from the 1960s.

This exhibition of paintings and watercolours, split across the gallery's two venues (28 avenue Matignon and 6 rue du Pont de Lodi), presents a practice premised upon the tension between raw material — whether canvas, found object, or space — and the artist's respectful intervention into it.

Later, she began exhibiting her copies alongside the actual objects upon which they had been based, as in one of her most iconic three - dimensional works, To Fix the Image in Memory (1977 — 82), for which Celmins made bronze casts of eleven stones she found in New Mexico and painted them so as to be indistinguishable from the originals.

While Rogers continues to de-stabilize and undermine his paintings through his layers upon layers of veils of watery colorful depth asserting themselves against concentrated solid formations, drips, daps, and splashes, he creates an immediacy found in Abstract Expressionism and a fluidity of action with a definitive brushstroke.

These new works expand upon the Rio de Janeiro - based artist's methods of rope weaving and straw braiding, in which pre-existing and found elements such as branches, seed pods, playful ceramic forms and paint brushes merge with the organic forms of the sculptures.

SOLO EXHIBITIONS 2013 Redux, 10 Gresham Street and Halcyon Gallery, London 2013 David Wightman, 10 Gresham Street, London 2013 Hero, HOUSE 2013, Brighton and Hove Festival 2012 Paramour, Halcyon Gallery, London 2011 Homage to Loreleia, Berwick Gymnasium Art Gallery, Berwick - upon - Tweed, Northumberland 2010 Secret Name, Sumarria Lunn / Art Work Space at the Hempel, London 2009 Behemoth and Other New Paintings, Cornerhouse, Manchester 2008 Aspirations — New Paintings, William Angel Gallery, London 2007 New Work, Found Gallery, Trinity Buoy Wharf, London

Steve Turner is pleased to present Caution: Wet Floor, a solo exhibition by Los Angeles - based Yung Jake that features combines made of yellow powder - coated steel panels, found metal and monitors upon which the artist has painted, drawn, printed and attached tape and stickers.

The standard story of 1970s art tells us that painting and experimental video were two discrete fields — that the artists who seized upon Portapaks and other new, time - based technologies found paint and canvas too conventional and commercial.

A constellation of paintings, sculptures, and found objects, this show dramatically expands upon the artist's practice including a carefully considered investigation of color and figuration amidst his signature abstractions.

And by the painter I mean the part of me that finds joy and play and possibility in the ways a painting can be its own reality set apart, not entirely contingent upon the conditions of the world as they are.

Morton's work reflects upon historical painting and literature, whilst also considering notions of the everyday and alluding to the domestic through her use of found household objects.

Upon his return to the United States, in 1954, he found himself at odds with the dominant style of the period, Abstract Expressionism, which favored a dynamic and energetic application of paint in a loose manner.

Rather, a Bertschmann painting compels the viewer to linger, and upon returning find invigoration anew.

Paintings that at first glance appear predominantly monochromatic, such as Chrystie (Pink) and Chrystie 18, upon closer examination are found to be otherwise.

However, this description of Spremberg's «collage paintings» doesn't convey their potential as interventions upon the found image or as a further play on the oft - unregistered «packaging» that accompanies and constructs consumer life.

Unlike computer viruses, which spread based upon how many paint chips the people opening them consumed in their youth, Internet memes spread based upon how entertaining people find them.

Unlike computer viruses, which spread based upon how many paint chips the people opening them consumed in their youth, Internet memes spread based upon how entertaining viewers find them.

I think you'll find this is a super easy project that you could make in an afternoon (depending upon drying time for the paint & stain).

Well I happened upon your blog last Spring when I did a search for «front door color»... I was looking to paint our front door & found so much more!

Farmer selected ikat paper and linen check window treatments by Stroheim to draw upon the vibrant hues found in the Venetian paintings of the harbor and other coastal scenes.

Upon graduating from art school, fine artist and decorative designer Annie Sloan, creator of Chalk Paint ®, was looking for a quick and easy paint that could be used in a myriad of ways, and when she couldn't find what she needed, she set out to create it herself.

I stumbled upon your blog while trying to find the right paint color for our new house.