Sentences with phrase «physical space of the viewer»

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.

Its swirls of Day - Glo pink, yellow, orange, and blue expand to fill both the visual and physical space of the viewer, carrying both feminine seductiveness and stereotypical masculine bombast.

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 obtuse and sardonic as Duchamp may have been, he had still done painting the enduring service of bringing the picture more immediately into the physical space of the viewer.

Not exact matches

It's just a medium shot with a reasonable depth of field, but its simplicity allows the viewer into the physical and emotional space of the character.

Her bottom half remains rigid as she extends her arm backward into space, giving her the appearance of swimming, falling from flight, or reacting to a physical stimuli the viewer can not see.

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.

The floating cube responds to unique visitor interaction: although the audience plays the role of an active observer, the viewer's relationship to the physical space is called into question.

-- moves the viewer beyond the physical object into a space of introspection.

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.

Throughout the duration of the exhibition, her performers continuously enact a form of live installation in the gallery and the museum's outdoor spaces, bridging the conceptual and physical divide between performer and object, bystander and viewer, while addressing the ways in which dance and the spectacle of performance are presented in theatrical and exhibition contexts.

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.

A story of advancement inevitably turns into obsolescence, and Technologism seeks to document the early use of broadcast technology as a way of bridging the gap (and finding a space) between the image on the screen, the physical presence of the viewer, and the broader community.

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.

An expression of neutrality, grey and its «in - between» status enable the artists to navigate the physical space occupied by the viewer and the imaginary or fictitious state driving their creative ambitions.

Known for creating work that responds to architecture and the built environment, Cain embraces the relationship of psychological and physical space by encouraging viewers to be fully present and immerse themselves within her work.

Viewers are invited to enter this intensely disorientating yet disturbingly familiar space, with Fitch and Trecartin seeing the audience's physical engagement as a crucial extension of the life of the work.

Just as the material conditions of the studio in this way become inseparable from the finished artwork, Murillo invites viewers to approach their physical engagement with the gallery space as part of the viewing process.

She wanted the exhibition to point to a multiplicity of formats that create «a stunning physical installation that can put a viewer in touch with many new forms of artmaking in one space.»

The materials chosen by Oderbolz often fluctuate between stability and ephemerality and have a particular influence on the viewer's physical and mental experience of a space.

As the writer Jennifer Yum has explained, because Casebere's photographs «are resemblances and approximations and never rote documentations of physical sites, their iconic nature is suggested, as though identification of the space rests in the periphery of the viewer's recollection.»

Because the surfaces of my work do often shift and follow the perspective of the viewer, there is a perceptual movement that coincides with a person's physical movement within the gallery space.»

Manders makes a physical as well as mental space for the viewer to «enter the world of objects and matter and find poetry in it... and to know how poorly we normally see our daily life.»

Bell recreates an ethereal experience for his viewers; and while the viewer is reminded of his / her presence by the occasional reflection in the mirror, the audience is transcended as their physical space comes into question.

Viewers in the space, by experiencing a sense of physical and mental constriction, are encouraged to reflect on the authoritative and symbolic meaning of signs, barriers, and borders.

cat., Museo Nacional Centro de Arte Reina Sofía, Madrid, p. 30) This is evident in Untitled, 1961, which demonstrates a strong relationship with Pape's earlier Tecelares, through a rigorous exploration of space and the economy of line, as well as a foreshadowing of her later Ttéias, in which Pape filled entire rooms with glimmering golden columns made of delicate threads through which participants traversed, begging viewers to immerse themselves wholly in an unadulterated experience of light and physical sensation.

ARTIST STATEMENT My work explores the space of video installation through the use of often large scale projections that incorporate the physical space, creating immersive environments that trigger an experiential relationship between the viewer and the piece.

This digital animation presents a slowly shifting beam of «solid light» whose physical properties become outlined within the haze - filled space of the gallery and are further enhanced through viewer interaction.

The exhibition provides the viewer with a look at how some of the most compelling artists of our time have demystified, remystified, and reconsidered this site within the physical and conjectured space of the work of art.

The works of Jaray and Wilding occupy physical and reflective space and offer the viewer an intervening layer of realised «otherness», above and beyond either the picture plane or the physiognomy of sculpture — Wilding's «Terrestrial» being the specific reference in point.»

The tactile, sensory, and textured nature of Kang's works, many of which incorporate repurposed materials sourced directly from factories in South Korea, will help form a physical connection between the objects and the viewer, creating a dynamic and interactive relationship to the surrounding space.

Exploring the function of materials and forms in concrete space, the simple equations invoked by these works locate them within the physical and conceptual environment of the viewer, who encounters them both as sculpture and study.

Bulloch's participatory sculptures explore the physical and psychological aspects of space by using simple light and sound effects that require the viewer's active participation.

By moving the sculptures off of the base and into the viewer's own physical and emotional space, Sonnier has also addressed a challenge that has concerned sculpture for most of the twentieth - century and beyond.

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.

In Fujita's three - dimensional works, relations of shape, form, and structure become animated as the viewer engages with the work in physical space and time.

These paintings become more physical through the use of transparent glass which allow the viewer to see how light, colour and form come together in an open space.

The artist's use of tie rods to suspend the massive beams in place added to the precarious nature of the installation and collared the viewer into re-imagining one's physical relation to the space and work.

Haberny is also interested in the psychological impact experiencing an object in a space has on a viewer, creating works that seem to defy the confines of the surrounding physical space.

During the yoga sessions, Winkler will interject verbal statements that will consider curating (manipulating space — both mental and physical) as an artistic practice; the participant / viewer as an artwork; and the lived experience of the class in the gallery as the exhibition.

The exhibition provides the viewer with an unprecedented and illuminating look at how some of the most compelling artists of our time have demystified, remystified, and reconsidered this site within the physical and conjectured space of the work of art.

The installation examines drawing, volume, space and time, as well as how viewers engage with each other and the physical realms of an artwork.

Chiharu's installations alter and energise the physical and architectural space, challenging our perceptions of the immediate environment and embracing the viewer as an integral part of the experience.

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.

Alongside those physical embodiments, Martinsen's oil paintings also cast a light on the intangible attributes of the art space, such as the artist and viewers» presence and absence, the passing of time, and the constancy of the art itself.

By the skillful expressions of rich nuances in Sugito's work, viewers are able to feel even physical sensations such as the senses of touch, light and shade, and temperature, which enter into viewers» minds and embrace the space.

«The famous hole and cut were not just gashes punched through a canvas, but a way of making the viewer look beyond the physical fact of the painting, to what Fontana called «a free space».»

Fusing together form, process and perception, her stages take the same gradual curves and twists of the brush, the knife, and the sewing machine, and extend it out into physical space, both introducing a similar meandering pathway to the viewer's experience of the works, and simultaneously drawing a connection to the weeds» presence «below,» the idea that the ground we walk on is extended over that of natural earth.

The installations will fill each gallery with immersive artworks that engage viewer's experience of physical space, light, and sound.

Her work is often devised around audio and spatial feedback systems that manipulate the visitor's awareness of sound and space, incorporating the physical and sonic qualities of surrounding architecture to engage the viewer's senses.