Unlike Fontana, Shimamoto's «Ana» series featured delicately eroded
picture planes layered with industrial paint.
Not exact matches
By contrast, the brilliant «Paprika,» directed by Satoshi Kon — a masterly example of Japanese anime, intended for adults — is partly hand drawn, and features multiple areas of visual activity
layered at different distances from the
picture plane.
I mean as much as it creates greater ambiguity, it also reveals both a sense of history of the
layering of the paint while, at the same time, anchoring the whole image so that it doesn't float in the
picture plane.
For Kerrie Warren appears to have evolved the capacity, through the
layering of intricate tiny strokes of mainly pure primary hues that ultimately seem to meld into a single energy field, to simultaneously animate and stabilize all activity on the
picture plane, and finally apprehend the calm stillness at the center of the painterly storm.
Mental maps form the basis of his working method: they push against the edges of the
picture plane; his larger paintings exceed a strictly 2D
plane, being more like relief sculptures, employing
layer upon
layer of collaged forms — abstract painting, ephemera from travel, photography and juxtaposed linear structures — to denote the performative aspect of his initial research.
His monumental paintings exist on many levels, utilizing a
layer of materials, sources and subject matter to capture and freeze a larger narrative that resonates a poetic that is beyond the
picture plane and exclusive to each viewer.
Alongside the recent developments in the artist's material choices, Ofili has remained faithful to a pictorial style that relies on a conscious flattening of the
picture plane, carefully
layered surfaces, and diverse, history - spanning sources of inspiration.
With
layered washes of similarly hued watercolors, the canvases of this London - based German artist seem at first monochromatic, but slight changes in light or a viewer's position reveal clusters of dancers, a single body pressed up against the edges of the
picture plane, or a moonlit landscape.
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 fluid movement between abstract, hand - applied oil and
layered, photo - based silkscreens causes one to optically weave in and out of the compositional
picture planes, thus drawing one's attention to the shifting relationship between figure and ground.
His
layers are somehow simultaneously on top of the monochrome, on top of each other, and behind the
picture plane.
Cloudy grays are contrasted with rainbow hues: a colorful gradient emerges from misty
layers of charcoal airbrush while polychrome netting veils ethereal
picture planes.
It seems (at the risk of making a simplistic checklist) there could be some criteria for abstract painting such as; non literal, integration of the
picture plane, even optical pressure (Richard Ward's term in a Brancaster discussion), no false structures, no
layering, relationality.
This volume surveys the work of Romanian painter Marieta Chirulescu (born 1974), who interposes thin
layers of glaze between applications of oil or acrylic to the
picture plane, creating austere, multi-tiered abstractions.
Each painting is an amalgamation of events happening at once, flattened into one
picture plane, with shifting
layers of debris that distort and fracture the horizon.
Lindquist's obsession with a Claude - like sense of view is magnified by his alienating sense of color (much like that produced using a Claude glass), use of multiple and
layered identical images, and slightly off - kilter or literal frames painted into the
picture plane.
Unlike the surfaces of earlier paintings, in which thin
layers of rolled acrylic paint constituted the backgrounds onto which black pixelated images were silkscreened, the backgrounds of the Shadows canvases were painted with a sponge mop, whose streaks and trails add «gesture» to the
picture plane.
The breadth of the exhibition — chronologically and stylistically — is illustrated when comparing a work such as Greene's # 10 (1935), composed of densely
layered papers on a small scale in a variety of textures, shapes, and palette of muted hues, to Vicente's Untitled (1980), the expansive
picture plane dominated by emphatic vertical and horizontal linear forms in deep greens, purples, and reds.
An artist fragments the
picture plane into several related shards,
layers or pieces.
The Grisaille method of underpainting is an excellent example of this historic push and pull movement of paint through space as in this technique, the white highlights of a painting are built up in
layers to a kind of shallow, bas - relief topography across the
picture plane.
The text isn't boxed and
layered over the
picture to obstruct; it exists within the same
plane and hence is vulnerable.
In the project gallery new collages incorporate watercolor, gouache, original photographs, found paper and thread elements into masterfully
layered picture planes where positive and negative, recession and relief are constantly in flux.
The paintings manipulate what the viewer has come to understand to be two - dimensional both in the paints that have amalgamated on the
picture plane and the
layered complexity of the polyester screens.
His lush surfaces and inventive palette form intricately
layered planes of depth and flatness; objects continually dissolve and re-emerge, creating elusive, ambiguous spaces within each
picture.
The figures, forms, architectural elements, and space, which are constituted by
layers of overlapping imagery that exist between abstraction and representation, remain active on the
picture plane with their seemingly melting colors.
In some cases, pieces of the photograph have been removed to reveal the watercolor
layered underneath, blending the two into a single
picture plane.
However, here subtly shifting
layers of the high - gloss enamel white
picture plane are framed by blue paint that extends out and around the support.
The diffused sprayed
layers don't feel like a specific
picture plane, instead they are a space where parts of the painting can act or perform.
In literal terms the painting was made as a simulation of Matta - Clark cutting through
layers of a building, more formally the canvas surface is not only a two - dimensional
picture plane but expands into space and becomes a physical thing.