Sentences with phrase «sculpture form language»

Intended to convey the latest thinking from Hyundai's designers and engineers, the i - oniq evolves the company's fluidic sculpture form language and represents bold «New Possibilities» with its futuristic powertrain.

Not exact matches

The i30's styling represents a further evolution of Hyundai's «fluidic sculpture» form language with both the exterior and interior design modeled closely after the i40 sedan / CW series.

Active aerodynamic elements, such as the adaptive front spoiler and side rocker blades, found form through Hyundai's signature Fluidic Sculpture design language.

There are endless ways of appreciating John Newman's incomparable singularity -LSB-...] By revealing a willfulness to persist in pursuit of a vision that emphatically demands a precise pictorial language — one that correlates with its differences, materially and formally — Newman has created another kind of sculpture in which different forms sing independent melodies that harmonize with the orchestration of his unending interest in all things.

The exhibition presents a body of work (sculptures, photographs, and drawings) that address several themes dear to the artist: Confrontation between cultures, unfortunately often taking place in the form of violence, the subject of language and knowledge, and even the relationship between said knowledge and so - called ignorance.

Jeremy Anderson began making sculpture in the late 1940's and developed a highly unique language of hand - carved surrealist forms and figures, often arranged as a landscape tableau.

From the Sun to Zürich, 2016, anchors the installation: it is among the largest examples from the series of painted steel tube sculptures Bove refers to as «glyphs,» whose curving forms could alternately suggest a cosmological spiral, an ancient hieroglyphic language, or a wayward noodle.

His idiosyncratic practice is about getting inside and exploring this space like a language of his own — somewhere between drawing, painting, and sculpture and between subject, image, and form.

New modernist language included surrealist visions, anthropomorphic forms and impressive material combinations and extensive use of steel and ready - made in sculpture.

Engaging with the idea that adaptation is necessary for survival, the artists in this exhibition present films, sculpture and text - based works that reflect on new and hybrid forms of architecture, technology, biology and language.

Written language is central to Khan's painting, sculpture, and photography — from his stamp paintings, with their abstract forms built up from densely printed words and phrases, to the vast inscribed tablets that constitute his monument for the UAE Memorial Park, inaugurated in 2016.

I spent countless hours studying the masters, forming guided tastes and opinions, trying to develop my own voice inside the language of painting, drawing, and sculpture.

It explores information transmission through a combination of Mesoamerican art and contemporary technical language in drawing and print, while another sculpture, «Modular Glyphic System» (2013)-- made in collaboration with Genghis Khan Fabrication Co. — resembles a PC computer case of thin metal that can be taken apart and recombined into other forms.

A new series of ceramic floor works referred to as «code poems» gather a range of references to the interaction of visual form and language, namely a nod to the American L = A = N = G = U = A = G = E poetics through an appropriation of Hannah Weiner's experimental text Morse Code (2002), as well as the spatial elegance of Carl Andre's minimal floor sculptures.

Morris's early sculpture tended to emphasize a banal repertoire of form and subject - matter, while attempting to investigate the role of language in artistic representation.

McMahon explores an abstract language informed by the natural forms and structures that populate the landscape and the history and experiences that shaped that particular place — from the surrounding fields and undulating hills and ravines to the hidden treasures left behind by the original landowner who made sculptures and land art.

Since the 1990s, Berlin - based artist Judith Hopf has mastered an independent artistic language that unswervingly manages to stake out new ground, be it in the form of sculpture, film, drawing, performance, or stage design.

He is creating an evolving language based on typographical alphabets, but deliberately declines to offer an accompanying dictionary.Parts of his sculptures often resemble the human body: tongues, limbs, eyes, and casts of his family's fists appear among the forms — directly referring to our bodies as we move through the gallery and around his works.

He depicts these notions through the use of found domestic and utilitarian objects and materials to form sculptures, drawings, and prints that generate visual puns and cultural overtones, while also aiming to highlight how these objects portray and mimic language, specifically Spanglish — the rhythmic convergence of two languages spoken in Latin - American homes.

Informed by his own migratory experience, living primarily in South Africa and Zimbabwe, his sculptures and installations form a visual language commenting on both the personal and political.

His innovative approach to scale, form and materials to «expand the language of sculpture» has not only won him international plaudits but has revolutionised the field of three - dimensional art.

Informed by his own migratory experience, living primarily in South Africa and Zimbabwe, his sculptures and installations form a visual language...

A similar tension of opposites informed his visual language; although distinctly minimal in composition and form, the active interplay of cuboid and cylindrical forms infuse his sculptures with life, whilst in others, it is the reconciliation of that tension that informs their power and elegance.

Within this context, the letters begin to function as visual elements removed from language, and the form of the sculpture dissolves.

Cragg's transformative relationship to form, surface, scale, volume, his interest in providing an alternative to the utilitarian realm, and his synthetic approach to object making has brought constant innovation to the language of sculpture.

For more than two decades, Jessica Stockholder has been fashioning a new language for sculpture and installation art, one that applies a painter's sense of form, pattern, texture and color to three dimensional spaces through the use of a staggering variety of media, from heavy duty construction material to mass - produced commercial products and even live horticulture.Her sculptural and architectural interventions spread themselves over the spaces they occupy; planes of vivid Technicolor hues abut precisely arranged and patterned objects and assemblages of unlikely materials combine and bloom amidst the colorful chaos.

Rebeca Bollinger combines ceramic, glass, bronze and aluminum sculptures with photography, video, writing and drawing to give visual form and language to invisible realms, memory impressions, imprints, stains, fictions, objects and instabilities.

Falke Pisano «s work — articulated in a range of formats such as sculpture, performance - lectures, text, and conversation — circulates and reformulates ideas, language, and forms.

In Jo Addison's sculptures resolute, yet ambiguous forms are navigated around language and singular interpretation.

Sculpture, and the ideas that form it are also evident in many of the works — from the performative actions and films of Antti Laitinen to the language of Atkins many of the works on show probe at the problem of sculpture and our contemporary understanding of thSculpture, and the ideas that form it are also evident in many of the works — from the performative actions and films of Antti Laitinen to the language of Atkins many of the works on show probe at the problem of sculpture and our contemporary understanding of thsculpture and our contemporary understanding of the medium.

These have been of great importance in the making of subsequent sculptures, especially those that develop the possibilities of organic and curved forms, and in his thinking about language and communication.

Sculpture is for Cragg a method to unlock this enormous potential, not just for new forms but the new meanings, dreams, and language that will become associated with them.

Since the 1990s, Judith Hopf (born 1969 in Karlsruhe, DE) has been developing an independent artistic language that has consistently managed to stake out new ground over the years, be it in the form of sculpture, film, drawing, performance or even stage design.

Boshoff's sculptures and dictionaries suggest a relationship with language that extends beyond the simple use of text, to a specific interest in language itself and what constitutes language as a form.

Artists create unique cultural hybrids that include graffiti murals with Haida figures, sculptures carved out of skateboard decks, abstract paintings with form - line design, live video remixes with Hollywood films, and hip hop performances in Aboriginal languages, to name a few.

Phillips uses planar form and geometric abstraction as a visual language, creating both small - scale sculpture and embossed print.

Sculpture is for Cragg a method to unlock this enormous potential not just for new forms but the new meanings, dreams and language that will become associated to them.

Mona Saudi's exhibition «Poetry and Form» assembled the artist's delightfully weird, formalistic abstract stone sculptures and drawings influenced by her personal correspondence with Arab - language poets Adonis and Mahmood Darwaesh.

Sculpture in the form of object, installation, assemblage and ready - made will sit alongside more surprising forms, such as painting, video, photography, language and performance.

Burns» practice explores interpretation and implications of sexuality, power and language, often taking the form of sculpture, video, drawing or social actions.

In the late 1990s Burr embarked on a body of work that remains ongoing; derived from the language and forms of both Tony Smith's sculptures, on the one hand, and closed architectural spaces such as bars, cages and boxes.

However, the artist is also deeply invested in language — other sculptures are made entirely of words that merge to form human shapes — and this strand of his work will be celebrated this month in «Talking Continents,» a show of new sculptures and works on paper at Galerie Lelong.

With an artistic practice that manifests itself variously as image, text, sculpture, and sound, Dages engages language as both form and content, pressing upon and pulling apart the symbolic nature of this familiar system until it buckles and cracks.

This selection help us to understand his progressive concept of «sculpture as form, sculpture as structure, sculpture as place» and, in addition the exhibition focuses on the key role of language in Andre's artistic practices via a large number of visual and concrete poetry series, textual collages and works on paper and, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp's readymades.

In a new series of marble works, Claudia Comte plays with a similar staccato rhythm, along with the language of modernist abstraction, while Michael Dean's concrete sculpture explores the conversion of language from word to form, taking its shape from the artist's own writings remodelled into three - dimensional fonts.

While this «4» shaped sculpture explores the conversion of language from word to form, no dictionary accompanies the work, allowing for an open - ended dialogue between object and interpreter.

By contrast, the abstract Cantate Domino and Ascending Form (Gloria) used a formal language which was integral to the stylistic concerns of her contemporary sculpture.

The exhibition encompasses 3 floors of the gallery forming a similar dialogue with the space of the white cube, Bove's sculpture references a wide range of histories regarding language, including a particularly colourful «Caro-esque» play on colour, and even the occasional Braque-esque leaning, blurring the idea of the plinth — something Caro did everything to remove — now «becomes».

All - media artists, sculptors, and photographers are invited to create visual works that interpret the theme «Figuratively Speaking» in two different ways: by depicting human forms, faces and features in representational or abstract works (portraiture, sculpture and all subject matter including people); or works which depict a broader interpretation of the theme, such as figurative language and figures of speech.

The artist composites the varying histories and languages of sculpture, pushing the work towards elements in installational form, while blurring the definition of assemblage.