It is in this manner, for example, that Jessica Warboys «Sea Paintings» came into existence — a performative act between her and the tides of the sea — in which she allows the waves of ocean to interact with
the pigments upon a canvas.
Not exact matches
Eschewing tools, as if to reject any reliance on the flightiness of brushwork, he applies layer
upon layer of somber - hued
pigment directly with his hands, not so much to paint as to rub the color onto the
canvas.
In other words, the impressionists» insistence
upon a direct application of
pigment to
canvas resulted in surfaces which declared themselves first of all as surfaces — and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out
upon the natural world.
By pouring her acrylic
pigments (she works almost solely with black and white) directly onto glass and letting them dry there, she can then slice into the
pigment and, having cut out a cartouche or a length of filigree, can carefully lift that segment of limp paint from the glass and position it
upon the
canvas.
Working downward from the top of the
canvas, using a limited range of colors, Wilson adds layer
upon layer of
pigment, a technique that provides extraordinary translucence and resonance.