Sentences with phrase «quotidian objects as»

Using quotidian objects as the foundation for their work, Lyon and Bustin's practices similarly evoke the mixed sentiments found in domiciliary settings: equally comforting and melancholic, durabl...

Using quotidian objects as the foundation for their work, Lyon and Bustin's practices similarly evoke the mixed sentiments found in domiciliary settings: equally comforting and melancholic, durable and decayed.

Not exact matches

In an interview with Black Art In America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his works.

As though he were referencing French Existentialism, the lack of human presence is palpable and becomes a quality within the painting that, in turn, heightens the importance of the quotidian objects represented (i.e. the still life and the interior).

The paintings teach a straightforward but profound lesson: as in Roman cuisine, where the simplicity of means is a way to highlight the extraordinary quality of well - sourced ingredients, Morandi's poetic minimalism shows that the act of looking at even quotidian objects and spaces can be an extraordinarily generous experience.

The obsession of his art with the quotidian recalled the use of banal objects, such as tram tickets, in the work of Cubist painters, while his later pieces made explicit confession of his debt to Leger, Matisse and Seurat.

Referencing in his work «things the mind already knows», his imagery may be quotidian in nature, featuring familiar objects such as ale cans or the American flag, but they bring with them a whole host of associations that the artist can then manipulate and play with.

Hyperbolic color planes and tactile quotidian objects are used as props to enhance color interaction and hint at the mundane within an overblown and histrionic constructed composition.

These are situated atop large, white - plaster sculptures that have been alternately modeled after iconic works from the Greco - Roman era, including the Farnese Hercules and the Esquiline Venus, or after such quotidian objects from the contemporary residential landscape as a rustic mailbox, a birdbath, and an inflatable garden snowman.

While Khedoori's emphasis the quotidian as subject matter serves as a sober update of Pop Art's embrace of common objects, her placement of these everyday objects within undefined and thus mysterious surroundings invites an almost surreal unease.

Here, McCarthy strikes a balance between the ephemeral / everyday and the valorized - as - art, showing how the transforming hand of the artist raises quotidian mass - produced objects (drinking straws, shelving, soft drink cans) to the privileged status of art object.

The artist makes portraits of undocumented Latin American immigrants, and of other distinct communities, using the focused attention of observational painting to mark those who are socially unmarked in society, along with the apparently anonymous goods that constitute a transnational trade in quotidian objects such as flowers, garments, handcrafts and letters.

Employing everyday objects and domestic materials, Salcedo creates works that serve as monuments to moments of political crisis or tragedy, suffusing the quotidian objects with layered meaning.

The items include quotidian objects such as pillows, furniture, and potted plants; the conversion of these items into art subjects is obvious, given the inclusion of Duchamp's infamous readymade urinal in the stack of items.

Taking from Pop Art's exploration of commodities and the anthropomorphic qualities of goods, Craig - Martin's acrylic paintings take mass - produced objects from the consumerist age as subject matter, depicting these quotidian items in graphical lurid colours and outlined in black line drawing.

Similarly, Ellis» large - scale paintings feature the reoccurring presence of uninhibited motion as black swaths of paint bob and weave their way through an amalgamation of quotidian images, objects, and colors; elegantly forging a cadence analogous to the artist's aural compositions.

The ideologies of artistic practice may motivate painters and fix their positions in the discourse of art history, but for viewers of the work itself, the painting exists as image and / or object - an image or object whose relationship to the quotidian world of perception is ambiguous and multivalent.

In this body of work, large plaster sculptures modeled after iconic works from the Greco - Roman era and quotidian objects such as garden ornaments are each anchored by a blue «gazing ball» of hand - blown glass.