Sentences with phrase «paper into»

And that's just to make the paper; don't forget about the energy inputs — chemical, electrical, and fossil fuel - based — used to transport the raw material, turn the paper into a bag and then transport the finished paper bag all over the world.

I believe they sent the paper into GRL.

Getting a serious paper into Nature or Science is deservedly hard.

His work will be featured in the upcoming group exhibition Paper into Sculpture at the Nasher Sculpture Center in Dallas from March 11 through July 16, 2017.

The artist began last year to incorporate similar hyperrealist paintings on paper into his post-Minimal sculptures, which typically also involve light boxes, power cords, and industrial carpeting.

She could bend a pipe as well as any strongman or pound a piece of paper into submission with an embossed line of a pen like a blacksmith's hammer to a sheet of metal on an anvil.

With a commitment to working with paper and drawing as her medium, amanze transforms the two - dimensional static of paper into a limitless plane of possibility filled with depth, intersection, collision and overlap.

Similarly, Oki Sato of the Japanese design studio Nendo used resins to transform paper into a comfortable piece of furniture in his Cabbage Chair (2007).

In her new exhibition at Cheim & Reid, the venerable artist presents a new set of sculpture where the starting point is a skeleton of chicken wire which she expertly drapes with brilliantly colored hand - made paper into vaguely sexual amorphic shapes that appear both playful and poetic.

Multi-disciplinary artist Glenn Kaino integrates works on paper into his larger media landscape, often integrating technology and digital printing.

The artist will discuss his transition from works on paper into three - dimensional work, including encaustic and metal.

Nearly all the paintings feature a new methodology Zeigler developed to compact inches of collaged paper into a single flat plain.

While he might take cues from popular culture and those who came before, he is making uniquely original works that have grown from funky hand - made works on paper into over-the-top installations that fuse fabricated and hand - crafted elements.

The artist hand tore tracing paper into archetypal shapes laying them in abstract patterns on red, yellow and white grounds allowing him to paint the diffusion of color, transparences and capture shadowing in new ways.

His Piñatero method, based on the Mexican piñata, demonstrates the transformation of waste paper into sculpture (Harithas, 1999).

Taking cues from Mennonite quilt - making traditions, Shetler pieces together sections of isometric graph paper into a patched blueprint on which he draws complex, web - like grids.

Characteristic of the artist's process, the creation of the works began with Sosnowska rendering crumpled vinyl and paper into small maquettes.

Here Rauschenberg incorporated pieces of newspaper into the painting working the paper into the paint so that sometimes newspaper could be seen and in other places could not.

You can simply cut a piece of printer paper into a square before starting this lesson.

We also used watercolor paper, and cut the paper into quarters so we didn't use as much (great money saving technique).

He has a raw talent for turning ordinary pieces of paper into impressive folded animals and objects, using various clever techniques.

Chuck Kelton makes chemograms and photograms inside the darkroom; transforming light, chemistry and paper into abstract landscapes.

After graduating in 1958, he moved to New York City where he continued his work, developing a technique of rough, expressive collage that incorporated cut fabric and paper into his oil paintings.

This doodle - like work sees Clark exploring physical and negative space, dividing up the surface of her paper into a series of interlocking zones through the use of line, and then experimenting with the effects of foregrounding and recession through shading.

Sol LeWitt cleanly tears a piece of white paper into stark geometric sections in R115, 1973, generating an elegant composition with a simple gesture, while Robert Ryman defamiliarizes the monochrome in Untitled, 1967, a white - painted canvas square affixed directly to the white wall with masking tape.

The study lies flat, its serrated folds reminiscent of the «salt cellars» that were all the rage at primary school, made by folding and refolding a sheet of paper into a series of triangles, which you then slotted your fingers into and manipulated like a kind of beak or claw.

The same hand dips a blank leaf of paper into the water to catch a portrait and returns the new image to the table.

Early in his career Andrews developed a technique of roughly incorporating collaged fabric and paper into his paintings, which became a stylistic hallmark of his work.

Foraging in the city of New York, he creates art supplies from what's readily available, making ink from feeding discarded colored paper into a high - speed blender and creating sculpture molds from plastic jugs and his own recipe natural homemade glue.

Art on Paper continues to explore the many ways artists incorporate paper into their work.

Al Loving tore canvas and paper into colored strips, like an exquisite corpse.

Dip the paper into the paste and let it soak in the paste.

She fits cut paper into small abstractions, with the emphasis on fragments.

Our modern notion of collaging, or papier - collé (French for glued or stuck paper), was ignited in the early twentieth century by artists such as Pablo Picasso (1881 — 1973) and Georges Braque (1882 — 1963), who incorporated various text, photographs, found objects, and paper into works of art, resulting in an entirely new medium.

His flamboyant use of color transforms these drawings on paper into the phantasmagorical, with form and gesture so lavish the works seem to glow.

In place of Welliver's whites, yellows, and blues, he has Conté crayon on huge sheets of thick paper, sometimes sanded down to convert the white and texture of rag paper into the blur of atmospheric perspective, the spark of sunlight in a clearing, or the reflection off mountains in the snow.

Visiting artist Sarah Yakawonis leads visitors of all ages in creating sculptures by cutting and twisting paper into symmetrical, one - of - a-kind snowflakes.

His works are made by laboriously cutting and applying slivers of paper into images that are both painterly and cinematic.

Packing shredded paper into molds like clay to create totem - like forms, Benglis transforms paper from a surface meant for drawing or painting into a sculptural medium, a gesture that can be seen in continuity with her poured latex installations of the late «60s, that so memorably entangled painting and sculpture.

Additional expected highlights at The Photography Show include photographs by Swiss born Henry Leutwyler of the New York City Ballet in 2012 (Foley Gallery); historically important photographs from André Kertész and a collection of photography by Jerry Uelsmann including never before seen color work (Catherine Couturier Gallery); recent work by Alison Rossiter who creates photo based work by dipping expired photo paper into liquid photo developer or by pouring or pooling it directly on the paper to create abstract minamimal work (Yossi Milo Gallery) and others.

«Artists pursuing various agendas have transformed the disposable daily paper into compelling works of art.

She cuts, folds, layers and forms this printed paper into three - dimensional objects that engage the architecture of a space.

This was achieved by integrating the burnt and brittle ancient paper into a new, handmade sheet of paper.

Her vibrant abstract collages layer hundreds of vibrantly painted pieces of paper into dense collages that speak to topographies and mapping.

Schapiro even invented the term femmage to explain her process for creating art, in which she began to combine painting, textiles, and paper into collages.

For each painting, he used a ruler to divide the paper into equally sized quadrants, drawing a vertical and horizontal pencil line that intersected at the surface's center.

He infuses these works with a dense multi-layered mythology transforming paint on canvas or paper into living, breathing creatures from another dimension that continue to mutate.

The particular balance of marks which transforms a blank piece of paper into a drawing is the result of everything that was of concern to the artist at the time of making it and if colour is part of this concern then information about it is caught in the drawing along with everything else and is not just there by association.

You'll need a single sheet of origami paper, or cut printer paper into a square before starting.

Just screw up those bits of unwanted paper into satisfyingly round balls and fling them into your nearby recycling bin.