Sentences with phrase «reflective surfaces of his work»

Not exact matches

Nanotech works primarily in the security and anti-counterfeit industry, developing materials that use reflective surfaces and colours to provide a better way of authenticating a product.

The researchers» work exploits the effects of optical microcavities, which are structures formed by the reflective surfaces on either side of an optical medium.

As an added bonus, the way in which the technology works also makes e-paper displays reflective, which means that the light from the environment is reflected from the surface of the display towards the user's eyes, just as with traditional paper, with the display emitting no light itself.

Instead, there are tapestries made by multiplying reflected versions of paintings; close - up photographs of the surface of paintings; mirror - like reflective works; overpainted self - portraits; various grey paintings; photographic facsimiles of the iconic series of 48 Portraits presented in the German Pavilion at the Venice Biennale in 1972 — so returning them to their photographic origins in encyclopaedias; and a spectacular installation of «4900 Colours», 2007.

Perez, whose work celebrates the metaphorical and cultural significance of the International Style of architecture, has recently become interested in the reflective surfaces that characterize these icons of Modernism.

A few older works are also on display as points of reference, including a tar painting on glass from 1948, and a few of his «outrenoir» («blackbeyond») works — entirely black paintings with reflective surfaces from the 1980s, for which the artist is best known.

EAST HAMPTON, NY: Eric Firestone Gallery presents MirrorMirror, a group exhibition featuring works by artists concerned with reflective surfaces, the quality of a mirrored object's reflection, and doubled images.

The highly reflective surfaces of the Smith grouping and the multiple sound channels encourage viewers to move around the work, altering their relationship to the array of sound.

By working with a reflective surface, Pistoletto enables the viewer to become an integral part of the piece while the subject of the work is drawn into the activity of the gallery space.

Of central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movementOf central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movementof oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movements.

Michelangelo Pistoletto's work returns us to our starting point, reminding us of the paradox of the reflective surface.

In his more recent work, Color and Light, Pistoletto continues to experiment with reflective surfaces in order to integrate the spectator as a major component and participant of the work itself.

Literally doubled by the reflective surface of the material, the work's protagonist invokes minstrel show regalia and the ritual donning of black face makeup.

The architectural glass used for these works was manufactured in Brazil and comprises a layer of reflective coating sandwiched between two layers of clear glass, which allows the surface of the work to be simultaneously partially transparent and reflective.

The use of doors, canvas and mirrors, both literal — painting directly on discarded doors and incorporating reflective surfaces into their works — and as motifs, signal access to another realm or an entry point to the psyche, pulling viewers into their surreal and chimerical world.

These works of art elicit diverse aesthetic responses to white, reflective surfaces, and the play of light and shadow contrasted with solids and voids.

Mirror Tenses presents a selection of works by eight artists that focus on the interactive loop that can occur between the spectator / scene and the reflective surface thus highlighting a conceptually never - ending and always present moment.

The works are fashioned from the same small handful of materials and shapes: tubes of stainless steel; circular and rectangular sheets of transparent and reflective glass; thin lines cutting out, carved into, or painted on to hard surfaces.

With their thick impasto and shiny reflective surface, the tar creates a surface that visibly reflects the movement of the hand across the canvas, linking these works to Japanese calligraphy as well as to a history of gestural abstraction.

Sometimes, these juxtapositions provide stark studies in materiality: for instance, the reflective black surface of Johnson's wax, soap and tile work The Collapse (2012), evoking an urban streetscape, hangs near a recent Robert Irwin (Black Painting with Blue Edge, 2008 — 09), which seems, at once, to attract and repel light.

Le Bassin aux Nymphéas (Water Lilies) is a classic example of the artist's preoccupation and fascination with the beautiful reflective luminosity of the water's surface accented by floating circular lily pads and surrounding fauna, according to information provided on the work.

Pastel afforded new avenues of experimentation for Chase, which often emerged as texture studies: the reflective and sumptuous surfaces of the work on display exhibits Chase's command of the medium.

Supported by the National Gallery of Art in Washington, D.C., the ROCI venture inspired what some consider Rauschenberg's strongest works, such as the paintings his did on reflective surfaces and which in turn led to his long - standing obsession with the potential of metal.

In «Portrait of an Artist» members of the group explore the nature of visual work as a reflective surface that gives insight into artists» processes, practices, influences and distinct personalities.

Their smoothly polished surfaces are highly reflective, and one's perception of the work changes vastly depending on its environment.

The seductively uniform surface of this work, enhanced by the reflective finish of the copper, calls attention to its industrial origins.

Filmed at the Michael Davis Stained Glass workshop in Long Island City, New York, objects from this session were later given a mirrored surface as part of the artist's Total Reflective Abstraction series of works that took as their point of departure a conversation between Buckminster Fuller and Isamu Noguchi.

Metallic finishes in Grubin's art underline the interrelatedness of object, light and environment with fragments of reflective negative space appearing on — or within — the surface of the work.

The work, whether it is a reflective surface, paper or fabric, gives the illusion of fragility and illusiveness.

The pages of the graphite drawings are heavily worked with dense crosshatched pencil lines resulting in a near - reflective, active surface.

Also included in the exhibition is Around the Clock (1993), a six - meter artwork from the Urban Bourbon series, which continues the integration of overlapping imagery with gestural brushstrokes to create reflective depth in a five - part work that uses two kinds of metal as its surface.

In these works, viewers explore human experiences through examinations of abstracted forms, the power of nature, plays of light, shadow and reflective surfaces, and the unknown possibilities of infinity.

By working with a reflective surface, the viewer becomes an integral part of the piece while the subject of the work is drawn into the activity of the gallery space, prompting one to contemplate questions of self, representation and reality.

There's also a very specialized economy of gesture at work in the photos, with the mirror's reflective surface doubling halves of cow shit piles into wholes, multiplying pillars into a porch, and turning a touch into a hug.

One of the only works in the Celebration series to have double - faced reflective surfaces, Cracked Egg is the most significant work by Koons to be offered in London since 2008.

Among the works on view, both dark and light reflective surfaces create portraits of extreme opposites.

As a viewer of your works, I am first and foremost drawn to the physical qualities of your paintings — their jarring palette, their forms and shapes, their dimensionality and their extremely seductive reflective surfaces.

Building up strips of various materials on a single surface — these can be rough, smooth, gestural, flat, reflective, or matte — Wallace's work constantly evokes tactile or natural occurrences like rock outcroppings, seascapes, molecules, or even, on a more macro level, galaxies.

Building up strips of various materials on a single surface — these can be rough, smooth, gestural, flat, reflective, or matte — Wallace's work constantly evokes tactile or natural occurrences...

The reflective surface of the paintings pulls the viewer and surrounding space into the work, altering the fiction of the painted image as a frozen moment.

Noted for translucent, reflective, or ethereal surfaces, the work made by these artists explored the often ephemeral boundaries between painting and sculpture and the broader experiential possibilities of art.

The restoration of these works must be carefully considered, since the visual and emotional experience they elicit can be greatly compromised — even lost — by a reflective surface or by superfluous forms created through damage or restoration.

Polished to create a reflective surface, the works mirror their surroundings as well as the viewer standing before them, exploring ideas of perception.

When staring at the reflective surface of Holmes» Cheetos inspired works, the emptiness of architectural intervention, or ghost of historical past, begs the question: maybe it's not the emptiness or vacancy of the design that matters, but its reflection of our own cultural production?