Sentences with phrase «physical canvas works»

During this period she started creating digital works in conjunction with her physical canvas works.

Not exact matches

Joffe has described the absorbing, as well as the highly physical experience of the work's making, the thickly applied pastel accumulating with a luminous purity that is markedly different from the act of painting and the ways in which oil behaves on canvas or board.

Kurchanova writes: «Apart from large canvases covered by Pollock's signature all - over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work as that of an «action» painter... Pollock's active engagement with printing presents his achievement as a painter to us from a completely different angle and complicates the understanding of his work as based in physical action and unmediated involvement of the artist's hand.

Built with wood, cardboard, canvas, foam, and various found or store - bought items, these 3 - D works are the physical manifestation of her 2 - D imagery, exuding a comic and clunky theatricality that one might associate with early Claes Oldenburg.

By continually changing her working environment with lighting, mood, and orientation of the canvas while painting, Scully pushes the boundaries of not only her practice, but of physical and psychological space.

In the Creation series, Furnas» technique integrates wholly with concept, as his method of pouring paint along a grooved surface on the canvas introduces gravity into the work in a physical and literal sense, as the imagery depicts the sequence of events leading to the Fall of Man.

The passion, chaos, rage, and femininity of a woman's personal riot in the current political landscape can be seen throughout the works, with the vibrant colors, physical gauging of the paint, tearing and pressing of materials into the canvas, and the placement and destruction of female objects creates a fiery and feminine event.

Her canvases are unprimed and the sometimes bare surfaces are a deliberate part of the work, just as while some paintings imply the image continues beyond the physical constraints of the canvas, others are literally framed.

However, whereas Monet's paintings were more concerned with the effects of light and the deconstruction of the physical landscape, it has been argued that Mitchell's work is more like that of van Gogh and Cézanne in its adherence to the structural grid of the canvas.

However whereas Monet's paintings were more concerned with the effects of light and the deconstruction of the physical landscape, it has been argued that Mitchell's work is more similar to van Gogh and Cézanne in its adherence to the structural grid of the canvas.

In an abrupt departure from the critically popular gestural work of Abstract Expressionism, Kelly pursued a highly finished art, one in which his refined canvases suggested not the hand of the artist, but rather the extracted forms of his observations of the physical world.

While collage is an integral part of both artists» work, they use it in different ways: Nelson controls the composition of her paintings by erecting physical boundaries on the canvas with gauze soaked in glue while Gueorguieva uses various means to push and move the colour as it gets absorbed by the raw canvas.

Materiality This grouping of works draws attention to the physical properties of the artist's chosen materials, whether they are soaked, stained and paint - dripped canvases or menacing shards of glass.

In his Creation series, for example, Furnas» technique integrates wholly with concept, as his method of pouring paint along a grooved surface on the canvas introduces gravity into the work in a physical and literal sense, while the imagery depicts the sequence of events leading to the Fall of Man.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

«If a painting has a physical presence, it has an ability to transcend its literal meaning,» Zucker says, recalling his early canvas - weave works of the 1960s.

Working with acrylics on un-stretched canvas, and limiting himself to the temporal constraints of quick - to - dry paint, the works function as archives of the physical act of painting, and as tools to record the passing of time.

Even though only one song is used for each work, often times multiple recordings are needed to cover the canvas surface — and those little spots between the dark strands mark the physical and musical beginning, or ending, of each song.

While these works reflect the atmosphere and palette of the gardens that surrounded her after she settled at Vétheuil, her painterly space clearly remains the space of Abstract Expressionism — often disjunctive, yet always primarily grounded in the physical nature of the canvas and the materials deployed on it.

Martinez has made a more conscious move into abstraction in recent years, and these works have also been characterised by the physical difficulties caused by a temporary handicap that limited the movements with which Martinez could create his large canvases, thus turning their production into a sort of performance, whereby the artist's impairment becomes apparent in his gestural reach.

Martin worked until her death in 2004 at the age of ninety - two; decreasing physical facility forced her to adopt a smaller uniform size for her canvases.

A strong physical dimension is associated with the development of his works: very large canvases, enormous sculptures created with drip techniques and experimental ceramics created in a sequence of several firings.

Using a mixture of constructed wooden forms, stretched canvases and found objects such as soda cans, tambourines light bulbs, washcloths and bath towels - Lee's works subvert ways of portraying human physical interaction.

Some works take physical issue with the discipline by disassembling or reconfiguring canvas and stretcher, preferencing material qualities over any notion of the picture plane.

Experimenting with modulations of form, color, and plane, Clark's early abstract works challenged the canvas» edge and extended the visual field of painting into the physical realm of the viewer.

I remember the feeling your works evoked for me — a sense of physical scale that was different than the whole Greenbergian notion of flatness, in that your approach to gesture opened up the space in front of the canvas through the awareness of the body.

This laborious and intricate technique involves placing the canvases on the floor of her studio and working from a horizontal viewpoint, meaning that the scale of her work is often informed by her own physical body.

[7] For example, a painting by Rembrandt has a physical existence as an «oil painting on canvas» that is separate from its identity as a masterpiece «work of art» or the artist's magnum opus.

Leslie Wayne's sharp show of new work continues her interest in paint not as an embellishment on canvas but rather a physical material in its own right.

Lifting the title from a British punk band song (The Mekons» Where Were You), the exhibition combines prints, paintings, relief objects and canvas works united in the minimal physical artist involvement required to put them to fruition, but expressive of endless human hours of contemplation and refinement.

Alex Dordoy aims to expand the traditional flatness of painting and image - making by producing Works that explore beyond the limits of the canvas or page and move into the three - dimensional physical world.

Dordoy aims to expand the traditional flatness of painting and image - making by producing works that explore beyond the limits of the canvas or page and move into the three - dimensional physical world.

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.

Pollock's works in particular seemed to flow beyond the canvas, being cut off only by the physical limits of the canvas edges.

In the works exhibited the flailing bulls are trapped by the physical limits of the canvas.

«They're very physical, you totally see the artist's hand working and manipulating the canvas.