Sentences with phrase «painting feels personal»

When finished, the painting feels personal and familiar: It's possible the beach is the one nearby; the sun - dappled side yard of the white house might be located on a nearby street; the people in Peabody's party scenes may portray someone known or reveal another part of a party attended.

Not exact matches

Before your baby arrives, get the basics set up in the room — paint the walls, get a crib, and figure out storage — and then go back later to add masculine or feminine twists to give the nursery a more personal feel.

Regardless of your personal feelings towards Vidal, Gore Vidal: The United States of Amnesia attempts to paint a cinematic portrait, both intimate and expansive, of this controversial man.

The RC F Sport seemed to bring out the worst in San Francisco's BMW enthusiasts; it's as if they took the orange paint, the gaping spindle grill, and the large L badge as personal challenges to their throne behind the wheel of the ultimate driving machine and felt obligated to knock me down a peg or two by launching away from traffic lights and weaving through traffic.

Once built, those with a creative touch can customise their Toy - Con creations with their own colouring pens, stickers and paint to give them a personal feel - the only limit is their imagination.

My personal feeling is that I alway respond to painting abstractly - not paying much attention to ostensible subject matter, but instead focusing on the space, line, form, and color - the language of painting.

The expressive force of his paintings derives from the intensity and conviction of their engagement with colour, scale and abstract form, rather than with any direct expression of personal feeling.

And yet, private as these paintings are, the feelings they expose are as personal as any I have encountered in a work of art — the kind you don't want to spell out because you are not even sure if you can.»

Mark Bradford is known for abstract paintings and collage - based works that recapture mid-century American art's capacity to conjure the sublime and evoke deep feeling, while incorporating layers of social and personal commentary.

The Minimalists felt that Action Painting and Abstract Expressionism was too personal, pretentious and insubstantial.

I felt like this was a committed abstract painter, and I thought this was the way painting should be going and that it had really opened it up to a much more personal experience.

The expressive force of Hoyland's paintings derives from the intensity and conviction of their engagement with colour, scale and abstract form, rather than with any direct expression of personal feeling.

He is using his own photographs as a reference, providing insight into his personal history and ethos.His paintings are characterized by unusual combinations of colors and a magic - realistic feel.

Through repetitive patterns, mark making, and textural floral elements, her paintings depict personal narratives that focus on feelings of identity, vulnerability, and loss.

It's hard to distinguish between fabric and flesh, and the painting as a whole feels intensely personal, plucky and seductive.

Each painting begins with a personal expression of feelings and the colors collide to form my story.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

This work, The House In My Head, feels very personal, conveying the contemplative, even dark mood one feels at night, which is when he often paints.

For Guston the lack of struggle he felt in making abstract paintings signified more than a personal creative impasse: It stood for contemporary painters» craven refusal to confront the world in which they worked.

While the other Abstract Expressionists were mining their own feelings, intuitions and subconscious emotions and using them to create works that were deeply personal and rife with hidden meaning, Kline made work that was about the formal qualities of painting, such as paint, brush stroke, composition and color.

Even if my works are categorized as portraiture, I don't really project any personal feelings onto my models while I'm painting, I consciously try not to.

I just paint from my personal feelings, and my reflexes and instincts.

Perhaps her personal struggles imbued her with a profound empathy to those she painted with exquisite sensitivity and feeling, capturing the depths of their humanity.

Some of your paintings feel so personal that they can almost be autobiographical.

With a Frank O'Hara - ness that is political in a personal sort of way, the book looks and feels like standing on a street corner as your honest paint - flecked friend tells you the way he sees it.

My personal opinion — based on nothing other than a subjective feeling — is that the black paintings do provide a contemplative experience I would call mystical.

In an interview with the art critic Irving Sandler in 1993, the artist made specific reference to this aspect of her painting, commenting: «I think that personal feelings, sentimentality and those sorts of emotions, are not art but that universal emotions like happiness are art.

The ensuing paintings are spontaneous but carefully considered: mixing up ideas and feelings from both external and personal worlds.

Her cityscapes have something of this brutal feeling in their paint handling; yet, as in McCarthy's novel, the hard exterior belies an interior narrative that is personal, sensitive, and heartfelt.

Their work has a directness that short circuits concept and fashion, and encourages an engagement with the materiality of the work and the felt experience of it; they are John Eaves RWA, from Bath; Frank Bowling RA, OBE, who works in London and New York; Patrick Jones, based in the Exmouth area, and John Bunker, from London Curated by Nick Moore, Bristol - based painter, musician and writer, the title of the exhibition derives from associations such as deep, profound, personal, direct, close; all words one could use to describe the qualities of these small abstract paintings.

nice stuff, Elizabeth, I enjoyed your landscapes paintings the one's done abroad seem to have a more personal feeling for you.

In other works, however, the themes feel like an abstract frame forced upon individual positions, for instance, in Monika Sosnowska's Façade (2013), a hanging steel sculpture of a crumpled architectural grid, or Oscar Murillo's unnecessary monumental installation Condiciones aún por titular (Conditions yet not known), 2014 — 17, taking over the courtyard of Bait Al Serkal with excavations, sawn canvases, paintings and steel structures inspired by morgue tables, picturing the process of a personal archaeology.

If Greenberg's formalism held that all signs point inward, namely, to the medium itself (i.e., that painting is essentially about painting and sculpture is about sculpture), Green affirms abstract painting's capacity to evoke personal feelings from the unconscious.

September finds Storr in what feels like his natural, peripatetic element: He discusses his personal experience of the 2001 attacks on the Twin Towers; he situates Richter's 2005 painting September within a brand of anti-ideological thought that he finds throughout Richter's work; he considers how the ubiquitous photographic documentation of the September 11 attacks affects the uniqueness of one's distinct remembrance of the events; he offers a valuable comparison to Richter's «October 18, 1977» cycle.

For both options we plan on moving that mirror up (maybe painting the frame), reframing some of the photos in wood, white, and gold frames then rearranging them, moving the two side chairs into the room so they feel part of the conversation and adding more personal accessories.

Cherished paintings and ornaments bring a very personal feel to this lavishly decorated space.