Sentences with phrase «physical edges of the painting»

With a grand use of white space dominating the work, one can't help but feel the push and pull — of the artist's intention and of the suggested action beyond the physical edge of the painting.

Placed in the upper half, and held in place by the physical edges of the painting's top and flanking sides, the ghostly bands float above a subtly inflected surface that we look at, as well as into, unable to settle comfortably in either domain.

Not exact matches

Done in enamel on identically sized aluminum panels, the highly concentrated compositions are the result of a visual algorithm in which the forms increased incrementally in height and width as they moved outward from the central, vertical axis — a narrow, empty space — toward the painting's physical edges.

Kaz Oshiro's sculptural painting contorts the physical plane of the canvas, playfully breaking the traditional hard edges in a brilliant shade of hot pink.

Moving from drawing, to painting, to sculpture, the physical manifestation of her forms brings to life the precision of Herrera's sharp edges.

Together forming an oasis of color, each painting is dominated by a bright tone and finished with the artist's signature slanted edges, pushing the piece into the physical space of the viewer.

As with Noland's earlier work, he continued to apply color as a physical material substance, but unlike his earlier hard edged paintings which rely on fields of dense color, for Into the Cool he used color through subtle tone and transparency.

When hung, these beveled edges projected the works off of the wall and towards the viewer, removing the image from the two - dimensional realm of traditional painting and into the viewer's «real» physical space.

The narrow rectangles pressing against the painting's physical edges raise the question: Is the image a slippery glimpse of something larger or something self - contained?

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.

His paintings embrace and rethink all the physical tropes of abstraction, including oily pigment halos, AbEx scale, hard edge geometry, and Twombly-esque calligraphy, reformulating each in the artist's own idiosyncratic, endearingly low - skilled way.

When hung, the beveled edges projected the works off of the wall and towards the viewer, removing the image from the flat, two - dimensional plane of traditional painting and into the viewer's physical 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.

Richter's surfaces also record the quickness or slowness of his gestures, gestures made with physical effort, but mediated through large unconventional tools, such as house paint brushes taped to long bamboo rods and variously sized squeegees edged with transparent Plexiglas.

Even in his freest inventions he restored the flat, physical reality of the surface by letting his pigment clot or by slapping the unsized edges of the canvas with his paint - dipped palms.