The phrase
"recognizable shapes" refers to forms or figures that are easily identifiable or familiar to us. It means being able to easily recognize and name an object or pattern based on its shape or outline.
Full definition
His work explores the idea
of recognizable shapes and structures living within irrational thoughts and emotions.
It's unique and instantly
recognizable shape not only make it easily identifiable, but it also makes the Soul one of the most flexible vehicles on the road today.
Taking a slightly different tack, New York Times best - selling author Jean Thompson uses an easily digestible narrative style to twist classic fairy tales into more
recognizable shapes in her new collection, The Witch: And Other Tales Re-Told.
Either way, it can be a super fun bedtime activity, but it can also be a real challenge twisting and curling your fingers
into recognizable shapes!
One the
most recognizable shapes in all of automobiledom, the Beetle's arching roof, curvaceous fenders and short front and rear overhangs are as iconic as any low - slung Ferrari.
GT enhancements or not, Aston Martin's DB9 is still one of the most
recognizable shapes on the road — mimicked by many but never quite matched in beauty.
Yet, universally
recognizable shapes emerge from the canvas, such as umbrellas, trees, swans, architectural constructions, and a few human forms.
One of Saab's strengths has been its cultlike appeal to a small group of owners who appreciated the unique attributes of the car - from its
highly recognizable shape to the early two - stroke engines that hardly had enough energy to get out of their own way, and even the floor - mounted ignition switch of the old 900.
Around the beginning of the 1970s, Hodgkin's style became more spontaneous, with
vaguely recognizable shapes presented in bright colors and bold forms.
Certainly, the idea that he was
drawing recognizable shapes, prompted by his unconscious mind, in the air over his canvas — or alternatively that such figures were deliberately veiled beneath overlapping whirls of paint — is beguiling.
This installation plays with the idea of apophenia, a phenomenon in which one
sees recognizable shapes in repeating patterns.
Among recognizable shapes, like a crowbar or a screwdriver, the viewer discovers silhouettes that are difficult to classify, making the whole composition an abstract placeholder for unknown variables.
Yet intimations of
recognizable shapes seem to emerge: the torso of a rising horse, a human body falling headfirst with hands following, or a swatch of cityscape in an oval - shaped bubble oozing through the layers of paint.
Their richly and extensively modeled forms give the impression of having been dug from the earth, but on closer inspection they gradually transform
into recognizable shapes — a voluptuous torso, a craggy visage, a horse's head or the foot of a god.
SHAWN MCNULTY / STRIATIONS Shawn McNulty's paintings explore the relationship between man - made structures and the natural world; the idea
of recognizable shapes and structures living within irrational thoughts and emotions.
But for all its elusiveness, turbulence impresses with visibly coherent, recurring,
recognizable shapes.
Within this deep - field image are
recognizable shapes: spherical galaxies called ellipticals, reddish in color by virtue of their light from mature stars, and crystal blue spiral galaxies, blazing from the glow of their hot, young stars.
In any Egoyan movie, however, there comes a point at which the ensemble's collective neuroses reach a critical mass, which is paradoxically the very point at which Egoyan begins reassembling his narrative fragments into
a recognizable shape.
The styling is spot - on, a subtle but effective upgrade that keeps
the recognizable shape but refines it for a new generation.
The serifs form a link between letters, creating
a recognizable shape.
As you near the bottom,
a recognizable shape begins to form.
Her understanding of art - historical narratives, tied to
recognizable shapes and patterns, comes in and out of focus — canonical motifs distorted by more contemporary painterly gestures.
While his imagery has changed several times over the years, the artist characterized himself as being «from the beginning, a minimalist abstract artist, a geometric abstractionist, with
no recognizable shapes in my work» — other than circles, which have always captivated his imagination as «the perfect shape.»
Made from oil on plasticine clay on panel, the works are flat near -
recognizable shapes that intersect painting and sculpture with holes, which the artist calls «orifices, points, or measures of space.»
«I start from the top and start finding flower forms — shapes and leaves, all kinds of stuff, looking negatively to tease out
recognizable shapes from the splotches of color.»
They stated that figurative art «communicates because it has the capacity to refer to experiences that the artist shares with his audience», and that «the image,
the recognizable shape, the meaningful symbol, is the basic unit of the artists» language».
In Untitled I (1999), to name one of many examples, colorful strands almost coalesce into
recognizable shapes, only to fall apart once again.
Unconventional forms start to emerge as
recognizable shapes, as if filtered through a dream.
He is still using his tropical hot color in rigidly localized areas, fitting together the compositions like those jig - saw puzzles that have some pieces in
recognizable shapes.