Sentences with phrase «physical nature of the painting»

In this, his seventh solo exhibition at Waddington Galleries, he continues to explore the physical nature of paint, pushing further his practice and its examination of the relationship -LSB-...]

It also explores the physical nature of the painting process and the importance, placed by some artists, on the building of layers to create definition and texture within their work.

Not exact matches

Whether he really does accept it or not (and I would suggest strongly that he almost certainly does not) is irrelevant, all that matters is that he paints a picture to the media and the rest of his league that he and his players are not fazed by the physical nature of the Premier League.

The actual paint handling is about the experience of viewing Courbet's large paintings in person, his physical handling of paint between nature and the figure, chaotic, thick vs smooth.

Upper and lower bands of tactile impasto explore the sculptural nature of raw oil paint and create a «rough terrain,» establishing a physical barrier between the viewer and the painting.

Holme's work stems from the intersection of material, space and chemical reaction, transforming the contextual and physical nature of her materials to create a discourse between painting and sculpture.

Conversely, Yves Klein, who trademarked his single shade of blue, comes off as preoccupied with a painting's physical nature.

His paintings, prints, and installation work probe science, specifically cosmology to arrive at compelling discussions about the relationship between science, nature, and art, the mathematical structures that design our physical world, and what lies beyond the borders of our universe.

The idea of physical limits created by the very nature of painting is permanently present in these works.

Nathan Cohen's paintings explore the nature of our relationships with phenomena in the world around us, and how this can be altered through images and physical interaction with space and visual form.

Modeling her CG animations on the allegorical paintings of Casper David Fredrich, Fu continues her aspirations in the sublime from her painting background into experimental digital media, exploring the nature of physical and metaphysical limits, as the work also mirrors the fundamental aspect of Chinese Traditional Landscape Painting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous lapainting background into experimental digital media, exploring the nature of physical and metaphysical limits, as the work also mirrors the fundamental aspect of Chinese Traditional Landscape Painting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous laPainting, which often presents a type of virtual space where the significance of the individual and linear perspective is blurred into a voluminous landscape.

There are, of course, fundamental differences between the immaterial, insulated nature of VR experiences and the way we encounter physical objects, whether paintings, sculptures, or moving - image works viewed on a monitor or projected onto a wall.

Her paintings allow psychological, historical and geographical space to flow into one another, sensitively and intuitively summoning a feeling of the experience of nature on the writer and evoking the sense that the world in the painting lies somewhere between our physical and more essential interior world.

In recent years, Geffert has begun to blur the boundaries between painting and sculpture, generating the physical manifestation of the artist's remembrances of nature.

Hobbs's conclusion, that these artists» paintings should be understood «as contingent views of each of these women's own nature, which is partially and indistinctly witnessed through its connections with the physical world as it is being poetically invoked through the process of painting,» is precisely the kind of redefinition of Abstract Expressionism that Chanzit promised in her introduction.

In both her painted images and her animations, Sikander uses the process of layering to knit together elements from Hindu mythology, Persian tales, and personal experience in order to explore the shifting nature of the space — metaphorical and physical — in which we live.

The physical nature of the arrangement of books combined with the mutable meaning of the text places the paintings in the unsteady area between reality and invention.»

As with all the paintings of this series, the physical nature of each work is inherent.

«Richter's landscape paintings do not go back to any religious understanding of Nature,» writes Dietmar Elger, «for him the physical space occupied by Nature is not a manifestation and a revelation of the transcendental.

Though there may be a physical referent or memory on which an abstract painting is based — as for instance with Elaine de Kooning's Bullfight (1959), which is inspired by bullfights the artist saw in Mexico — the gestural and corporeal nature of abstraction ensures that the image is inextricably tied to the artist's hand, body, and mind.

The strength of her manner lies in its refusal to deny abstract painting's nature as elaboration of a surface with physical stuff - plus the optical stuff of color - and decisions.

In this lateest series, Choi employs a combination of liquid resin, hot - glue forms, and oil paint capturing an otherwordly topography of electric color and physical depth symbolic of her personal views on nature.

The amorphous nature of these paintings exemplifies Dove's belief that abstraction was not a departure from reality, but rather a means of representing the essence of the natural world beyond its obvious physical forms.

Rather than discuss the structural framing of an image, Downes situates his work within a comparison of the physical fact of paint to the material presence of nature.

This alludes to the physical nature of Moffett's works, but perhaps a better explanation of the emotional and intellectual impacts of his projection paintings would be describing them as a cross between people - watching at an airport and viewing a classical oil in a dimly lit cathedral.

During the waiting list period, pre-op and post surgery recovery, Dominic used painting, drawing and interactive documentation on social media outlets, to focus on the temporal nature of our physical bodies, human connection, and the mental / physical implications of organ donation.

Made from used and discarded supplies returned to home improvement stores, Cohen's works are less concerned with chromatic nature of the painting and rely more on the physical properties of paint itself.

He thus constructed his practice in a constant back - and - forth between the physical impulses of work in the studio and the resurgences of a sensorial memory, between the transcription of the sense of nature and the conception of pure painting fundamentally liberated from any kind of imagery.

Describing the instinctive nature of his process, he asserted that painting instead provided a means of «measuring one's physical and emotional responses».

The artist aims to center the viewer's focus on the act of painting and encourages one to reflect on the nature of human experience in the physical world, and how what is seen is privileged over that which isn't.

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.

In other words, my primary stride at that time as a painter was to make my painting real even though it was of, shall we say, abstract or even nonobjective nature, to make it terribly physical.

Kalley Fosso's work focuses on her process of creating abstract compositions; she is highly influenced by nature - both its physical traits and its historical aspects - and materiality - including acrylic paint, watercolor, charcoal, charcoal powder, oil based pastel, chalk pastel, graphite, spray paint, and so on.

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