Sentences with phrase «physical space of painting»

It surely helped to have on tap new media on temporary walls, not the fragile physical space of painting and sculpture.

Not exact matches

The group's manifesto identifies their aims as carrying «painting beyond the appearance of the physical world, through new concepts of space, color, light and design, to imaginative realms that are idealistic and spiritual» in an effort to «widen the horizon of art.»

A case in point is the current exhibition of painting and installation by the artist Franklin Evans where a physical copy of Painting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about thpainting and installation by the artist Franklin Evans where a physical copy of Painting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about thPainting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about the space.

STILLPASS: You call this space opened up by the canvas a mental field, but it seems to me that your paintings invite a physical relationship as much as a mental one, especially the paintings you place in the middle of the room.

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.

Ferris: Often I think of my paintings in terms of theater sets — a fake world surrounded by a larger atmospheric light world — you only glimpse the stage through this light construction that permeates and creates the physical space.

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.

The so - called expansion of course is into sculptural and installation - type manifestations of painting, where the space of the viewer is often encroached upon by physical elements in the artwork.

As the contemporary practice of painting continues to expand exponentially, with many artists becoming less concerned with the physical medium of paint itself, Cain's practice — a combination of control, happenstance, and environmental information — is made unique through its reliance on space and the structural conditions of the locations in which her work is exhibited.

I think Poons changed his work in 1969 - 1970 because of his physical and literal awareness of space and materials, his conscious philosophy of the unknown as well as his desire to paint great paintings.

We were both affected by the way those sounds functioned in the Rothko Chapel, but we were also very aware of how the physical presence of the paintings alters one's emotional interaction with anything that goes on in that space.

While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of the painting as an object in space.

A wall painting inflects the surrounding physical space differently than a painting - as - object does, becoming indivisible from the viewer's perception of that space.

Challenging a Modernist perspective that painting is defined by and bound to its surface, these paintings — constructions of wood, mirror, glass, paint and, in two instances, video projection — acknowledge a painting's physical and imaginable space.

Instead of acting as a simple physical barrier, the frame — not unlike the first glossy black «mirror paintings» of Michelangelo Pistoletto, also commenced in the 1960s — reflects a shard of the viewer's own surroundings, creating a direct continuum with the external space they occupy.

Subjecting the canvas to a range of painted actions and erasures upon it, Humphries tests the limits of painting, always interested in synthesizing physical and psychological space onto the painted field.

AP: Throughout our conversation you spoke of abstraction, and your paintings, in relationship to the physical space of not only the surface of the work, but how it relates to your own physicality / body.

Through the use of materials such as nylon flocking, which is a material commonly found in wallpaper, sand, resin and acrylic paint, the highly physical surfaces create a sense of deep pictorial space.

While Pistoletto has typically relied on the mirror's reflective surface to seamlessly integrate pictorial space with the physical space of the viewer, the Scaffali paintings appear to complicate this relationship.

Julian Schnabel will feature a body of significantly sized, sculptural paintings in the iconic Court of Honor, plus three other distinct bodies of new work in the galleries dedicated to Auguste Rodin's sculptures; the artist's response to the physical space of the Legion of Honor and eternal themes in its collection.

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.

Both trends conceived paintings as an experiential space, for a physical / psychic action, which in the case of action painting would be comparable to the act for someone who climbs mountains and whose literature and imagination are clearly rooted in romanticism.

She is known for creating installations of large, physical, two sided paintings that establish an architectural environment that addresses the immediate experience of time and space and resists photographic transcription.

Opening on October 22nd, their Mid-City space will be filled with Williams» hypnotic, large - scale paintings on canvas and metal that present the physical and conceptual disintegration of structures.

Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of paintings as objects and seeing as a physical act.

Their relationships to social, political and philosophical expressions of feminism are as diverse as their work in sculpture, painting, drawing, video, installation, collage, assemblage and the wearable — yet all six directly consider the literal and allegorical ways in which the female body occupies both physical and semantic space in the modern world.

I had just done small shows like the Nietzsche - Haus, and suddenly I found myself with hundreds of paintings, and having to install them in a physical space, and I learned so much from Kasper and his vision.

Although TPG members were committed to a shared set of philosophical concepts and ideals, each artist developed his or her own artistic language and sought a unique path «to carry painting beyond the appearance of the physical world, through new concepts of space, color, light, and design.»

This is an exit out of the picture, but the language of the painting forms a ligament to the edifice, connecting the pictorial, conceptual, and physical spaces through the established language of color and form in the painting.

Although TPG members were committed to philosophical concepts and ideals, each artist developed his or her own artistic language and sought «to carry painting beyond the appearance of the physical world, through new concepts of space, color, light and design.»

He often responds directly to the physical gallery space through the spatial embodiment of his paintings.

These textual landscapes set forth a physical space in a three dimensions, but through the two dimensions of painting and one of time.

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studio.

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.

Inasmuch as actual physical parts form shapes and surfaces to be painted, Stella's rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.

The event is presented alongside Markus Schinwald, the Vienna - based artist's first major museum commission in the United States, featuring 19th - century paintings and wooden sculptures created from the legs of Chippendale - style tables that alter the physical and psychological potential of the gallery space.

My recent paintings and sculptures focus on the African - American experience of navigating public spaces while remaining buoyant within them... Working beyond the physical image of the body, objects of buoyancy, and navigation become metaphors for selfhood, resilience, and the sanity required in the turbulent oceans of contemporary America.»

These renderings are then executed in acrylic paint and overlaid with enlarged drawings painted with a vinyl paint that alternately reinforces the illusionistic space of the painting and calls to attention the physical reality of the paintings» two - dimensional linen support.

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.

For McLean, the two - dimensional shade paintings are sculptural, explorations of light and shadow as physical, almost tangible entities in space.

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

Physical / Ephemeral by Casey Snyder features two dimensional mixed media works that challenge the boundaries of painting and space.

Throughout Georgia Noble's vivid abstract works, her objective is to exceed the conventions of customary paintings of landscapes that instead award the spectator with an illusion of space that travels outside the physical and real to conjure a perception of somewhere «other».

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.

The artist also incorporates sculpture, sound, photography, and video to create installations that further expand the space of painting and draw parallels upon interdependent physical and cognitive relationships.

The physical and metaphysical potential of such textures is explored further in installations of Caivano's work where touch, tone, pace and pitch are made resonant through juxtaposition and space is orchestrated as much through pauses as paintings.

Leigh Ruple creates large - scale paintings that use colour to create energy and define space while also addressing physical and psychological situations of isolation and reclusion.

This relationship between the pictorial and the physical space is often linked to Color Field painting, a style of abstract painting -LSB-...]

Interspersed throughout the floor, serpentine - like sculptures extend the installation into the physical space of the gallery, connecting the flat level of the paintings with the volumetric realm inhabited by the viewer's body.