Sentences with phrase «plastic canvas work»

After playing around with it over the last few weeks I have come to really appreciate plastic canvas work.

Not exact matches

I'm inspired to give it another shot and work on a plastic canvas purse for my daughter, I think she will love it!

Intricately detailed works, with dynamic and organic shapes spiraling across the canvas, each painting is mixed media, combining the artist's use of plastics (an ironic and intentional nod to the subject matter) with paint and digital effects.

The actual plastic supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down canvas that has been stretched over the frame.

In making the work, I create collage paintings and assemblages made from paint, plastic, paper, canvas and tape.

«My photo emulsion on linen work began with collages of paper strips, corrugated plastic board and packing tape, which were then photographed and printed on photo - sensitive linen and stretched on canvas to become «paintings.»

Kogelnik also utilized new materials, including vinyl and plastics, producing a remarkable body of works ranging from life - size cutouts of herself and friends to wrapped canvases.

For the Olympics, Varejão has reconfigured the work to fit the stadium; the tiles were photographed, enlarged, and printed on plastic canvas, which will be draped across the exterior walls.

The exhibition includes plastic on canvas works by Michael Assiff, counterfeit children's art by Brian Belott, ceramics by Karin Gulbran and Paul Swenbeck, metal sculpture by Yutaka Sone, and more.

The effect isn't as bracing as David Hammons» wonderful 2011 exhibition at L&M Arts, where he wrapped gestural neo-AbEx canvases in grungy plastic shrouds, but by working within in the same plane, Sprecher obscures layers without totally flattening it.

Thomas» works begin with construction / collages of paper strips, corrugated plastic board, and packing tape which are then photographed and printed on photo - sensitive linen and stretched as «canvases.»

Across media, Cheryl Donegan's work is unified by a sustained interrogation of surfaces — whether canvas, screen, fabric, plastic, or the artist's own body.

Combining canvases with store - bought trinkets, including a fake rose, a plastic earring, and a miniature gondola, this mixed - media work uses the female face to explore the entwinement of beauty and artifice.

[9] Another work from that time, Trinità (Trinity)(1966), consists of three large white canvases punctuated by lines of holes, embraced in a theatrical setting made from ultramarine plastic sheets vaguely resembling wings.

Arneson has not only transformed the abstracted painting into glazed stoneware, steel, wood, canvas, rubber and plastic additions, but incorporates a cenotaph, or coffin, in the rear of the work, as a reliquary to the departed artist, complete with death mask, penis, and work boots.

The works are arrayed in large rooms where the white canvases, broken up by extraordinary intervals of silver, then reds and blues, interpret the plastic qualities of convex forms.

Unlike Pollock, he continued to apply paint with a brush, working from all four sides of the canvas with an eye for what he called — in an echo of the modernist doctrines of the pre-War decades — «plastic expression.»

We'll be exhibiting works in Melissa's signature style of acrylic paint manipulated between many layers of stretched polyethylene films as well as works on raw canvas utilizing this same technique of using the plastic, the pressure of her body and movement as a brush.

We'll be exhibiting works in Melissa's signature style of acrylic paint manipulated between many layers of stretched polyethylene films as well as works on raw canvas utilizing this same technique of using the plastic, the pressure of her body and movement as...

A few years later he would use Mylar (a form of polyester resin used to make heat - resistant plastic film) and laminating film, in layers fused on to stretched canvas to create his Mirage works.

Since the 1950s, Ryman has used primarily white paint on a square surface — whether canvas, paper, metal, plastic, or wood — while harnessing the nuanced effects of light and shadow to animate his work.

Han's studio — an amalgamation of canvases and drawings, as well as the round objects that serve as the artist's inspiration — rubber bands, plastic cups, etc. — has been fully recreated for the exhibition, presenting the unique opportunity to explore and appreciate individual works within the context of the artist's larger body of work, her process, and the environment in which they are born.

Several of Accardi's canvases and gouaches, filled with the flatly rendered colored signs that characterize her work, are included in the exhibition, as are several works painted on transparent plastic called «sicofoil» — a series that revolutionized painting in Italy and beyond and had enormous influence on several sculptors from the «arte povera» group, including Luciano Fabro and Mario Merz.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Present in her work is a strong tension between painted surface, raw canvas or plastic background, and colored mark.

Also included are Wesselmann's steel - cut works, molded plastic paintings and his iconic shaped canvases.

The high velocity color and fractured narratives explored in these recent paintings show an uncompromising commitment to explore the compositional potential on all the canvases and triplewall plastic that he works upon.

A more subtle take on reflection was in the Sur booth of ltd los angeles, where Mexican artist Debora Delmar Corp. («incorporated» because her work focuses on commercialism) presented a series of plaster casts of fake Hermès Birkin bags (dyed with powdered fruit juice) that were displayed atop plush robes and surrounded by juice - powdered dust sheets that she turned into canvases and wrapped in plastic.

All the works on display in Reveal are mixed media using plastic and synthetic fiber on canvas and paper.

The show will highlight various techniques the artist pioneered including molded plastic paintings and steel - cut works plus shaped canvases and boundary - pushing collage and assemblage.

Adam Parker Smith will present two new bodies of work, building off his recent series of large wall sculptures: in one series, Parker Smith uses materials like EVA foam with UV prints of marble as his canvas, with plastic beads, faux food, and socks inlaid via intarsia.

Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while harnessing the nuanced effects of light and shadow to animate his work.

The show features works made in wood, plastic, neon, wool, canvas and carpet tiles.

Most of the dozen works are brushy, oil - on - canvas abstractions, reminiscent in style of de Kooning or Gerhard Richter, which have been overlaid with obscuring materials: black plastic garbage bags, torn industrial tarps and worn - out blankets and towels.

«I was able to work on thirty - five paintings and experiment with different surfaces instead of canvas (muslin, plastic, plexi).