Sentences with phrase «resulting images of painted»

Not exact matches

Given the ability to recognise what aspects of an image elicit emotion, The Painting Fool could choose a basic theme for a piece, scan the web to find strongly emotional images, then use the results to inspire a swathe of pieces, he says.

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By the end of each sequence, the resulting painting is the image seen in last shot.

«Announcement of Revisions to Consolidated Results Forecasts and Expected Extraordinary Loss» and paints a grim image of the publisher's performance across the current financial year,» their statement read.

The result was an explosion of otherworldly biomorphic and architectural ink washes that evoke images of tree branches, piers and unfinished buildings, and more recently, their counterpoint, huge paintings with big thick tactile lines of color that sweep across the canvas like a roller coaster.

As a result of this particular history, photographic images still bear a strong aesthetic kinship with western painting.

One result was «Porn Grid» of 1989, four small paintings whose images are lifted from men's magazines, aided, abetted and partly obscured by salacious drips of paint.

Finding himself drawn to figurative images displaying a complexity of expression, Lawson's resulting paintings each focus on a single figure from torso up, all including faces and hands.

For Crosby, the painted gesture brings together line and form in a way that imposes control and at the same time locates a kind of freedom for the resulting image.

The result is at once a strikingly resonant contemporary and yet evanescent image, that through the collage of canvas also engages with the history of distorted form and the constructive brushstrokes of post-impressionist painting.

As a result, the large - scale images of crowds depicted in tones of brown and grey lead on to paintings of great luminous spheres.

This exhibition will feature photographs from his recent Pictures of Magazines 2 series, in which the artist has carefully culled and torn pieces of paper from art, fashion and news magazines; amalgamated them into re-creations of iconic and historically significant paintings; and then photographed and magnified the images, resulting in evocative, exquisitely - detailed and entirely unique works of art.

Demonstrating the elegant stillness of a Giorgio Morandi painting, Shirreff's images are the result of extraordinarily extended exposure times, revealing assemblages of simple, almost Platonic forms and surfaces evocative of «sculpture,» bathed in light and shadows.

The resulting paintings contain a luminous interplay between the mirror - like finish of the metal surfaces — reflecting a view that changes from every vantage point — and the highly saturated colors of the pigmented wax and traditional acrylic silkscreen images.

In effect the brushstroke precedes the canvas, with the painted image diligently reinforced and the voids created as a result of areas left unpainted.

The wolf image, used in both her painting and her sculpture, is the result of a friendship Brown once cultivated with a wolf in the San Francisco Zoo.

200 %: You commented in the catalogue that the selection of the images on which you chose to base your paintings resulted from a «trigger» in you.

Each one is a painting of the image search results for a different abstract painter.

The work comprises an immersive environment, in which a sequence of images is projected onto walls collaged with aluminum foil, doodles, paintings, and sculpture, resulting in an ever - shifting, abstract composition.

The result is paintings whose vibrating color space, where image and afterimage interact, recall the utopian optical constructivism of painters like Wojciech Fangor, as well as the meticulously Photoshopped, if blithely neutered, color field photography of younger artists like Cory Arcangel.

Muniz's Metachrome works are exceptionally rich in allusion - they challenge the issue of materiality by leaving the medium (pastel sticks) literally embedded in the work; and the resulting photographs become not just images of something, but works about paint, about creating art and about colour itself.

As a result, I think of these works as painted objects as opposed to pictures or images.

The resulting exhibition is an incisive snapshot of contemporary practice, spanning diverse media, processes, themes, influences and approaches — from moving image and performance to more traditional approaches to making work such as printmaking, painting and sculpture.

But Tuymans» use of paint results in bleached impenetrable surfaces that appear to emanate light, alluding to a zoomed image on a digital monitor, or the freshly snapped image on an iPhone screen.

The end result is a set of paintings based on a multilayered game of chance: each image is first dependent on the variable place and time in which each card was produced; then it is dependent on the card ending up in Tyson's collection, which he formed from scouring eBay and trading with other aficionados; and finally, it depends on Tyson choosing that particular card for this particular series.

As a result, each bold line and cross-hatch the artist used to construct the image is vividly communicated, revealing White's signature style, which blends gestures of painting, printmaking, and drawing with text to create new visual content.

As much as Wood is manipulating formal strategies in order to develop and assert his own language in painting, he also creates what he calls «new memories» by rearranging reality to suit his own desires.1 This overlay of impressions and memories onto his subjects results in an intensely personal catalog of images derived from his family history and individual interests.

The ever - present coarse weave of the canvas absorbed Chase's thin washes of paint, resulting in a blurred image.

It is all intuitive; because of the internet, I am able to see more images in one day than some people will see in an entire lifetime, and as a result I have all these gestures in my mind when I am painting.

His use of active staining and flung paint in a work in acrylic and gouache of 1973 results in a radiant and open image, demonstrating the influence on Francis of the art of Japan.

She has also called what inadvertently happens to the back side of the canvas as a result of the staining, soaking, and hosing - down of the paint as «received images,» or, as in the case of «March Hare,» «a completely received image,» (meaning she applied no paint at all to the back).

Kantarovky's diverse range of references results in images that are attached to broad histories of painting, literature, and the popular arts but experienced in intimate and humorous episodes.

Although Martin uses a ruler to apply delicate lines of graphite on her canvases, the resulting image avoids the hard - edge clarity of many geometric paintings.

Rather than approaching painting as image making, these painters were using the act of painting to record the results of personal, intuitive, subconscious dramas they were acting out in front of the canvas.

Unlike Auerbach, whose gestures structure his image, or Hodgkins, whose paintings are abstractions based upon memories yet still appear anchored in reality, Caivano's best results seem less emphatic statements and more queries into the nature of picture - making.

Though the resulting images are seemingly abstract, they actually encompass a code - embedded depiction of other paintings by the artist.

Comas will present a group of «Reverse Paintings» that consist of painted canvases that he restretched to expose the unpainted, reverse side: The pigments that leached through the canvas fibers result in the new image.

Similarly, evidence of mistakes and earlier versions survive within the finished work, and rather than depicting «space» or specific «images», the resulting paintings emerge as tenuous, questioning, and ultimately poetic ciphers in and of themselves.

By photographing paint and luxurious ephemera at close range, then using the resulting image as his subject, Ben Charles Weiner creates works that pose a confusion of object, subject and medium.

The composition of your paintings is the result of an accumulation of images.

Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and organic forms, resulting in atmospheric images evocative of representational landscapes, but always opening up to something more, something beyond.

The silkscreen paintings have an expressive quality that results from their hand - painted areas, the collage - like overlays of photographic images, and the intentional slippage and irregularities, which the artist allowed to remain uncorrected during the screening process.

The result of constant experimentation, Otero's paintings begin by reproducing reference images in thick oil paint on a large plate of glass.

Beginning in the early «90s, Twombly used specialized copiers to enlarge his Polaroid images on matte paper, resulting in subtle distortions that approximate the timeless qualities of his paintings and sculptures with their historical and literary allusions.

A pillowcase, pasted Morrisons shopping bags, a disposable camera photo, paint, a boxy old TV, and moving image showcasing glitched layers of sexualised needle usage happily exist among one another — and the resulting atmosphere isn't immediately recognisable.

Translated as «photocopier work,» Sigmar Polke's «Photocopierarbeiten» series was made with the experimental use of a photocopier, resulting in warped, blurred and fragmented images that play devil's advocate to the celebrated artist's history of paint, pen and canvas.

The resulting hybrid images cite the tradition of plein air landscape painting, while underscoring the contingent confluence of space and perception in the moment of encountering the natural world.

This practice of constructing an image layer by layer is combined with gestural brushwork and highly finished surface textures to result in «paintings» that reward prolonged viewing.

The walls upon which these paintings are hung are papered with thousands of thumbnail images generated through Google searches for provocative phrases such as «Muslim Rage,» which resulted in images of masked terrorists, the Queen of England, Abu Ghraib torture images, and — perhaps even more disturbing than the original torture images — spoofs and memes of torture images, such as a pile of naked Lego men with their heads covered with sacks.

Each painting marks a transition with the following series of works - result of first considerations for further image motifs.