Sentences with phrase «paintings as physical objects»

It is refreshing to view paintings as physical objects — while not slick or monolithic, they operate as flattened forms shaped by human touch.

In addition, we can see a detachment from the traditional painting techniques and an development towards monochromatic surfaces in order to enhance the perception of the painting as a physical object.

Not exact matches

Physical skills develop and allow your child to walk and carry objects, as well as do more intricate activities, like paint a picture, or thread beads onto a string.

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

Composed of humble materials such as hand - painted string, delicate jewelry chains, tiny nails, stones, Plexiglas, slight metal rods and weights, and an occasional graphite line, every single object is pivotal to the overall composition and each is carefully considered for its intrinsic physical properties.

Suzanne Friedli, co-founder and partner of Annex14 who represents the artist in Zurich comments: «When we saw the paintings of Otis Jones for the first time we were immediately impressed by the deepness and the density of this reduced language, the physical presence of the object - like works and the concentration on painting as a process.

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.

A wall painting inflects the surrounding physical space differently than a painting - as - object does, becoming indivisible from the viewer's perception of that space.

For centuries, Western art traditions have been centred on creating tangible and physical objects such as paintings, architecture and sculpture.

Popova's work negotiates the physical, economical and political articulations of painting today as well as materiality and the value of art objects.

Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of paintings as objects and seeing as a physical act.

For him, silence was a landscape of unintentional sounds experienced between intentional sounds; as such, it was absolutely substantive, inseparable from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same perceptual interdependency that was central to silence for Cage.

These new paintings explore the physical qualities of light as both representational object and abstraction.

Through paint, pixel, word, and fabric she creates work that functions as a bridge between the hypothetical and the physical, objects operate as artifacts of personal - as - political discovery formulated within a landscape balancing between nihilism and mysticism.

These sewn sutures further accentuate the paintings as physical, constructed objects, rather than flattened, two - dimensional images.

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studio.

Many had the desire to break down the distinction between painting and sculpture, to create paintings that were physical objects as well as abstractions.

These sewn sutures further accentuate the paintings as physical, constructed objects, rather than attened, two - dimensional images.

Paulo Monteiro fills entire walls with beautifully contingent constellations of objects and paintings, marked by his physical engagement or the necessity of their making, much as David Ostrowski starts each painting as if it were his first, or last, questioning his practice at every stage.

There seems a need among many painters to grapple with the physical, to think about a painting as not just an image but an object.

Allmaier comments: «I think the key to letting the paintings make themselves is to regard the materials, along with their contingent circumstances (and it's silly to think of circumstances as separable from an object anyway) as mental states, without distinction from a particular physical state.

In Tim Davis's «Permanent Collection» series he takes photographs of classic paintings ranging from still lifes to religious, using the light of the camera's flash to obscure bits of the composition and / or bring surface qualities, such as brush strokes and crackling, of the physical object to light.

I am interested in the actual physical properties of the paint, the plasticity of the medium and the painting as an object.

At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.

The nine paintings from the series, spanning the years 1959 — 1971, illustrate the groundbreaking ways in which Herrera conceptualised her paintings as objects, using the physical structure of the canvas as a compositional tool and integrating the surrounding environment.

He originally began experimenting with painting, using the canvas form as well as the applied pigment, to alter the viewer's perception of the size and limits of the physical object.

From the tiny aluminium tablets which were shown throughout the Christchurch Art Gallery in 2006 as a part of the Out of Erewhon exhibition, to the bi-chromatic square panels exhibited recently at le Pavé d'Orsay in Paris, the «reasons» consistently underline the comprehension that, above all, a painting is an object to be appreciated in relation to others, and in the context of the physical space of the showroom.

As the artist noted, «I see the plank as existing between two worlds, the floor representing the physical world of standing objects, trees, cars, buildings, [and] human bodies,... and the wall representing the world of the imagination, illusionist painting space, [and] human mental space.&raquAs the artist noted, «I see the plank as existing between two worlds, the floor representing the physical world of standing objects, trees, cars, buildings, [and] human bodies,... and the wall representing the world of the imagination, illusionist painting space, [and] human mental space.&raquas existing between two worlds, the floor representing the physical world of standing objects, trees, cars, buildings, [and] human bodies,... and the wall representing the world of the imagination, illusionist painting space, [and] human mental space.»

Utilizing a number of different supports including canvas or linen, fiberboard and marble dust panel, Olson plays with the notion of surface and framing as constructs in his work, at times, employing handmade frames and thick borders of unpainted surface around a central painted field that act as both a physical edge to the painting and call attention to its nature as both an image and an object.

Olson considers surface and framing as constructs in his work, employing handmade frames and, at times, thick borders of unpainted surface around a central painted field that act as a physical edge to the painting and call attention to its nature as both an image and an object.

Attempting to locate themselves somewhere between the painting / apartment, the negative space, and their own bodily experience as they navigate the virtual space, viewers enter a fourth dimension that goes beyond traditional conventions of a physical encounter with a static, painted object in space and time.

Green April is a decidedly volumetric object; the processes, both intensely physical and material, responsible for its creation inform the way the painting is experienced as a thing in space.