Sentences with phrase «personal space of the viewer»

His exuberant sculptures of the period unfold within the personal space of the viewer, shifting dramatically in appearance as s / he walks around them, although they mark a departure from the figure as subject, a sense of liberation from the concentrated weight, scale, and ordered naturalism of the body endures.

Not exact matches

Attendees will receive a line of exclusive PlayStation Home / EVO virtual items: Visitors on Friday will receive a limited edition EVO t - shirt for their PlayStation Home avatar; on Saturday players will be rewarded with a special fighting stick companion item; and on Sunday all viewers will receive a replica of the EVO trophy for their PlayStation Home personal spaces.

The repetition of forms and lines establishes a seriality while also locating the viewer in a deeply personal space.

By combining both realism with the many techniques favored by the surrealists, including the alteration of space, perspective, tonality, focus, manipulation, the content of the image is then open to the viewer's personal interpretation.

Here, Place the Lever is reversible language that beckons the viewer outside the comfort of personal space toward loaded contingency.

Many of Crosby's paintings are actually portals of some kind or another, providing glimpses into her personal life while momentarily transporting the viewer to the domestic spaces she experienced as a child in Nigeria.

In the adjoining side gallery, the Screen Combines take the tools of productions out of the paintings and into the viewer's personal space.

Opening with Rachel Rossin's I Came and Went as a Ghost Hand (Cycle 2), 2015 which will run until 18 March, where viewers will experience her depiction of personal spaces, studios and bedrooms created from digitally manipulated images.

Inviting the viewer to enter a space charged with symbolic elements, from the more obvious to the more covert, that configure the multiple realities and readings which give life to the artist's personal universe, «Something old, something new, something borrowed» essentially speaks of personal records and comforts, of the past and the present, of what was and what is — a series of reflections that convey a repertoire of emotions, interests, and stories particularly important to the author: distant family recollections, but also recent intimate memories; pleasant re-connections with domesticity after long periods of travel in the real world, but also disconnections and ironic provocations with the virtual world of social media; a long relationship with the universe of animation and video games, but also another with themes of classical representation from the history of art.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

From Heilmann's and Davidson's personal and quirky approaches, to Davie's sculptural undulations, Schifano's reductive vocabulary, Owens» and van Genderen's investigations of space, and, finally, Levine's sentimentally wise paintings, the work in this exhibit addresses ideas of pleasure for both the artist making the work and viewer beholding it.

Viewers» efforts to truly experience the personal space of the artist are thwarted, which is perhaps the point of Suh's project.

From far away many of these paintings appear to be large - scale gestural abstractions, but on closer inspection the viewer detects total flatness — the abstract paint marks were actually photographed and silkscreened on top of images of personal spaces, creating an image of abstraction rather than the abstraction itself.

The works construct a personal, narrative journey in which magic dominates and transcends physical and psychological space ultimately leading the viewer to a unique understanding of the nature of knowledge itself and how we come to construct, acquire and utilize this powerful tool.