Sentences with phrase «painting on canvas allows»

Not exact matches

Instead of splashing paint on a canvas, Garriott built a paint box that allowed droplets of paint to form spheres that would float over and stick to the paper inside the box.

Their short length allows the reader to revisit the work in detail, focusing on sentences, phrases, or words as one might examine the painted passages or marks on a canvas.

Tàpies painted with his canvas on the ground, which allowed him to incorporate his own feet and slippers into the pieces, but also served as a reminder to stay grounded to the earth.

To create her large - scale pieces, she lays unstretched canvas on the floor of her Brooklyn studio (à la Pollock) and then attacks it with sweeping brushstrokes, taped - off geometrical passages, and Rorschach - like splotches (made by allowing paint to pool and then folding over the canvas with a tight crease).

His poetic use of found materials, printed and reproducible images, his unconventional and inventive mark - making, and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb stains of nature and of the studio, or exposing the paintings to the forces of weather) can be seen echoed within Schnabel's entire body of work as well as in the work of a subsequent generation of artists.

Working with thirty - foot lengths of canvas on the floor, he would pour one layer of paint over another, not - quite - cured layer and allow the top layer to shrink, separate and craze as it dried.

These patterns were produced by placing the heads of spray paint cans on white canvases and allowing the paint to spray onto the surrounding surfaces.

«So,» he wrote, «it is the eye and the paint — the paint on canvas — with which I am involved, allowing the paint to have a chance and achieving a harmony between the two.»

His poetic use of found materials and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb the environmental stains of the studio, or exposing the paintings to the forces of weather) can be seen echoed in the work of a subsequent generation of artists, including Joe Bradley, Dan Colen, Urs Fischer, Wade Guyton, and Nate Lowman, among others.

Contributing to the luminosity of his paintings is the fact that Jenkins primes his canvases, allowing his poured pigments to pool and flow on the surface rather than soak in.

Relying on the thinner quality of acrylic paint compared to oil, Nara creates each painting by adding and removing pigment until he reaches his desired effect: a canvas made up of suspended hues that allows the figure to emerge through layers of color, inviting the viewer to stand still and enter a moment of contemplation.

Working first with oil paints and later acrylic, Jenkins poured paint directly on the canvas, allowing it to drip, bleed, and pool, as well as manipulating it with an ivory knife.

To do so, she uses thin paint, and starts with the canvas flat on the ground, then raises it up and turns it around, allowing gravity to do some of the work.

With an unwieldy subject thus reduced to manageable scale, the intimate dimensions of each canvas — approximately three by two feet — prove more than adequate for the artist's personal ruminations on a primeval atmosphere, allowing her to expend less effort on referencing specific aspects of the text and focus instead on abstract painting's inherent immediacy.

I usually work on three or four canvases at a time, but all of my work feels like one continuous painting allowing me a deeper understanding of my own self expression.

Correa remarks: «Though much of my recent work has utilized print making techniques, I don't have any training or expertise in printmaking; what I like about it is it's physicality (I print by hand) and I like to think that my naivete allows for some diy ingenuity, or wrongness in printmaking can make rightness in painting... I've got a group of paintings made by painting on wine bottles and then wrapping and wringing canvas over them, and another group is made by painting through a blank silk screen, the screen clogs as I go, making it's own marks until its no longer useful.

The reduced amount of activity on the surface of the canvas and on the composition of the painting allows for the brushstrokes to take on an important, highly structured and heightened sense of experience.

Unlike traditional watercolourists, Otto - Knapp paints on canvas and linen, which allows her to repeatedly wash away and rebuild layers of paint, lending her delicate images a distinctive flatness and luminosity.

As was the case for many Korean abstract artists, his technique was painstaking: he painted on stretched cotton rather than canvas and allowed dots of color to spread out, which he then surrounded with squares.

Over the years, I have discovered makeshift sculptural solutions that allow this to happen, while actively avoiding the obvious traditional tropes — painting a canvas and putting it on a wall, placing an object on a plinth or shelf etc..

Working on canvas allows Otto - Knapp to layer each detailed yet atmospheric image, subverting the difficulties of watercolour by producing substantial paintings that accentuate the imperfections of the medium, such as the drips where the paint fails to absorb.

I apply the stains to canvas with more wet paint as a binder, allow it to dry, remove the plastic sheeting and the painted gesture remains on the canvas, intact, with textural language of ripples and folds from the plastic that vibrate in the glow of raking light.

Although Murillo may execute a painting in a matter of hours, the process leading to its creation can take months; cut up and stitched together in different sections, folded, unfolded, left to assimilate studio debris, Murillo allows the environment of his studio to accumulate on his canvas.

Self Portrait (Freehand 2), 2007 was again produced in acrylic on canvas but this time the artist allowed himself the freedom to paint the I by hand, in three strokes of the brush.

The technique involves pouring paint directly onto the surface of unprimed, un-stretched canvas spread out on the floor then allowing the paint to soak into the fibers and spread across the surface of its own accord.

In the earlier series, Louis utilized primed canvases, making the support not as absorbent to the poured on pigments; in the 1958 — 1959 Veils he has transitioned to raw canvas, allowing the paint to seep fully into the grain of the material.

He allows himself to smush around too much white — muddy the colors and mix paint directly on the canvas.

Whether dragging a canvas on the ground, allowing a drop cloth to absorb environmental stains, or using printed images as supports for his paintings, Schnabel's formally and conceptually wide - ranging work can be connected through the notion of the palimpsest.

Included are nine medium - sized paintings — in oil on canvas or linen, from the last five years — that attest to Ayhens's command of her pictorial means: elastic or distorted space, a distinctive palette, and a willingness to allow realism to dissolve into pure abstraction.

Rail: Another thing I noticed about this group of paintings in the show was that they were painted on beautiful primed linen, the opposite of the raw cotton duck canvas which allows for the natural absorption of the paint's liquidity as it often is associated with color field paintings by Helen Frankenthaler, Morris Lewis, and Kenneth Noland, among others.

Shear admitted that, though he generally leaves his paintings untitled (or «indexed them, so that they do not assert themselves on the viewing experience»), his interest in poetics encouraged him to try for «24 solid gold titles», while allowing the potential for some canvases to remain unnamed.

Whilst areas of the streams are still somewhat wet, randomly stipple / drop the mixture on, allowing the paint, not the brush, to form organic dappled shapes (to achieve this use a round - ish tipped brush, ensure you have a decent amount of paint on the canvas and flatten the brush bristles out so they push the paint — it just creates a more natural shape).