At present, painting is focused on structure, discovering and molding
pictorial form for its own sake.
Version 1: is animal themed with just the digit in the middle Version 2: is fantasy / people themed with number in digits as well
pictorial form for support Version 3: maths manipulatives themed (Numicon and Base 10) with the number in words
Not exact matches
It would then be an attempt to convey in a vivid
pictorial form the truth, or the belief, that self - sacrificing love is so supremely valuable that in comparison with it even death is of small significance; that although the enemies of Jesus won their victory over him, yet in retrospect his life has become a more potent influence than theirs,
for his memory has survived as an inspiration and example
for all men.
«I believe also that this particular special edition is going to go down as a historic edition and I don't want to miss that point because it's something that we must be able to put in all our institutions so like I said we are going to get many copies to be able to give to embassies, our hotels, our schools, our libraries, all our institutions, in the secondary schools and also to be able to keep
for those yet unborn to be able to see in
pictorial form of the things we have tried to do in the last 50 years and maybe inspire some other people to do greater things than what has been recorded here,» the Governor said.
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In 2007, painter Sanford Wurmfeld wrote that Jones «looks afresh
for ideas - ideas that are pure color and form... For him it is a visual language from which arises pictorial events to be savored.&raq
for ideas - ideas that are pure color and
form...
For him it is a visual language from which arises pictorial events to be savored.&raq
For him it is a visual language from which arises
pictorial events to be savored.»
By his mid-twenties, where this exhibition begins, a dual sense
for narrative mood and
pictorial space already infused his work, with geometry often concealing and imprisoning the
forms underneath.
He then eliminated
pictorial depth
for a field of color in the 1950s, calling the works Magical Space
Forms to recognize the importance of the flattened space.
Using his fragmented memories of the actual establishment as the setting
for these works, the artist meticulously renders parts of hotel's interior, adding the organic
forms and other
pictorial elements to enhance the works» depth and poignant appeal.
The painting invites its viewers on a
pictorial quest, scanning
for clues around the perimeter of this amorphous
form and searching throughout the rich gradients
for hints of the unique chromatic ingredients which have melded together to produce the majestic veil.
Narrative unfolds through a language of
pictorial construction where objects within each painted or drawn interior are chosen
for their potential
for symbolic
form — simultaneously loaded and banal.
The
pictorial space in these mesmerizing assemblages is comprised of clean geometric
forms reminiscent of Constructivist experiments where light with its reflections and distortions acts as a foundation
for the structure of the composition.
In his video «The Living Room,» artist Patrick McElnea conflates photographs and magazine cut - outs of architectural interiors and exteriors, real space and
pictorial space, creating a theatrical stage set that
forms the backdrop
for his exploration of various identities.
Taylor's influences are as diverse as Henri Matisse and Carroll Dunham, Joan Mitchell, and Peter Saul, all of whom provide a context
for the gestures and marks that coalesce and fragment in these paintings,
forming and reconstituting moments of
pictorial and narrative legibility.
Presenting approximately 30 large - size paintings and 86 works on paper, the exhibition in the Schirn will focus on this late work
for the first time, introducing an artist who, with his dynamically two - dimensional
forms and clear colors transcending the
pictorial space, makes an impression that is not historical at all but surprisingly up - to - date.
By reducing the obligatory details, especially the background, in favor of speed of execution on a large - scale format (which he gleaned from Abstract Expressionist painting), and by maintaining simplicity of
form (distilled by the artist
for the sake of observational necessity long before the emergence of minimalism), Katz was able to bring abstraction and observation, simplicity and speed into his singular
pictorial language.
These themes include re-envisioned landscapes, Surrealist meditations, Cubist interpretations of space and
form, and «the field» as a new metaphor
for pictorial action.
Yet another way to get up - to - the - minute reports on what's happening: the New York Times now offers its content in the
form of Times Wire, a kind of «river of news» web - based flow that gives you headlines, the first line or two of the story, and a block of photos with popup text
for those who like things
pictorial.