Sentences with phrase «pieces of canvas over»

Wylie often paints through the filter of memory and impression, using text to enhance facts and recollections and editing images by overlaying new pieces of canvas over images, like a collage.

Instead of revising her initial marks in certain areas, Wylie has collaged pieces of canvas over the paint, introducing texture and small flecks of color that together lend the work an organic nature.

Not exact matches

I cut two pieces of ribbon, centered them, flipped over the canvas, and hot glued the ribbons into place.

Where Cimino (over) reached for grand themes on an even grander canvas, Cooper delivers what essentially amounts to a character driven genre piece, albeit one wrapped in the ubiquitous state - of - the - nation accoutrements of its 2008 setting.

In addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieces.

Puns abound in his paintings: in his «Cover Letter» series (2010), a piece of felt in the shape of a lowercase «a» hangs over a stretched canvas.

This solo will put somewhat of a new direction from the street collagist on display described as «Abstract Expressionism meets Pop - Art» in pieces similar to «giant petri dishes where his text and pop iconography, aka germs, take over the canvas.»

To create her large - scale pieces, she lays unstretched canvas on the floor of her Brooklyn studio (à la Pollock) and then attacks it with sweeping brushstrokes, taped - off geometrical passages, and Rorschach - like splotches (made by allowing paint to pool and then folding over the canvas with a tight crease).

Some of them were dark twins of the white works, matte and smooth, but in most he collaged pieces of newspapers to the canvas and painted over them.

These towering pieces, stretching almost two and a half metres in height and over a metre in width, are titled with the singular word printed at the bottom of each canvas; they are synonyms, and therefore, as one work is titled, «Connected.»

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

By favouring the aluminium surface as his canvas over more traditional means, Cánovas emphasises the tangible nature of each piece, highlighting its place outside that of the conventional printed paper photograph and emphasising its status as an art object in and of itself.

There followed a number of dark paintings with irregular or mottled surfaces, often with relief effects produced by placing pieces of fabric or newspaper on the canvas and then painting over them.

The piece, which consists of a flag collaged on canvas and painted over with encaustic, has been in the collection of Johns's assistant, the artist Mark Lancaster, since its creation in 1983.

Adhering the book pages to the canvas happened first, then Ala un-stretched the piece and executed an archival pigment print over the surface of the book pages — the blue galactic scene in the shape of the star.

These elements in the drawings offer clues on how to read the painting, which also bears the words «in» to the left and «out» to the right, inviting the viewer to walk along the canvas from left to right and perceive it over time, as one would a piece of music.

She then began to create canvas collages, in which she would attach cutout pieces of canvas to a canvas, and then paint over them with oil paint.

And then you come to the pieces made with rubber glued to canvas, some of which are just amazing and quite frightening in the way her work is, and finally all the drawings on found paper — maps and such with figures drawn over them.

In murky tones, the 72 by 60 inch canvases are painted over sheets of papers, bits of this and that, bringing about an underlying texture that offers different impressions according to your physical relationship to each piece.

In this, his most colourful and complete body of work, Remi has created over 50 new pieces on paper, wood, and canvas that strengthen his resolve within the discipline of abstract painting... His use of colour and line is critically acclaimed, which has led to his work being acquired by some of the most influential contemporary collectors in the United States and Europe.»

The Absorbed pieces are achieved using Gleason's signature technique of deploying a thin coat of silver nitrate deposit over acrylic on canvas.

Spreading over three galleries, the exhibition pays tribute to Fairhurst's talents in a multiplicity of artistic mediums, from a specially commissioned wallpaper of his Underdone, Overdone oil on canvas series, and finely detailed gorilla line drawings, to the infamous early Gallery Connections sound installation and numerous collage pieces.

As in the past, he works on his canvases flat, spreading out the paint with the aid of spatulas or scrapers over a base of wet rabbit - skin glue, the drying time of which determines the duration of the piece's execution — a few hours at most.

Adian's wall - mounted abstract paintings, made by stretching canvas over shaped pieces of foam, will find themselves in a group show titled «Rascal House» with Blair Thurman, John Armleder, and Stephane Kropf at Half Gallery in January 2015, followed by an installation at Lever House in New York.

Deconstructing the images and then repositioning them over stenciled backgrounds, with pieces of torn canvas and wax for texture, Opalka questions the role of the artist in the cultural and political climate we live in today.

He soon regarded such aesthetic freedom with suspicion, however, and began to paint more premeditated pieces, such as Number 9: In Praise of Gertrude Stein (1950), in which calligraphic and typographic shapes form a floating, but controlled, network over the entire surface of the canvas.

His pieces are created through a method he developed himself: He reproduces images in thick oil paint on a piece of glass, scrapes off the «oil skin» from the glass when it's dry, and collages these pieces over large - scale canvases to create totally new art pieces — proving, of course, that there's more than one way to skin a canvas.

Multiple layers of plastic sheeting, black or transparent, are draped over another painting, though one of the bottom corners has been left uncovered and a tear in the black plastic reveals an area of painted canvas, but visible only dimly through the underlayer of transparent plastic; onto the surface of a third painting the artist has glued a frayed blanket, colored drab brown like a piece of army surplus.

In Kaamos, the most all - over abstraction, with the canvas treated explicitly as a two - dimensional surface covered with jots of blue and white paint, there are sections that are clearly birches, or pieces of birches.

Stretch pieces of fabric in bold - coloured solids and stripes over canvases or wooden frames for a cohesive collection of punchy, geometric art.