Sentences with phrase «shapes and colour fields»

These free - style, smooth, vector - based motifs of angular scribbles, slicing zig zags, looping lines, biomorphic shapes and colour fields are then exactingly transferred onto large scale canvas with paint and tape as well as digital printing.

Like his American counterparts, Law's canvases strip back painting to monochrome stripes, blocky shapes and colour fields.

Not exact matches

In addition to the instrument dials under the dome - shaped cowl behind the steering wheel and a central LCD colour display integrated between them, the MMI also supplies information via its swivelling flat screen, well positioned within the driver's field of vision in the upper section of the centre console.

By simplifying images into shapes, flat fields of colour and areas of mark making, an image is pushed towards the unrecognizable.

Shaping Forms (2007) is a collection of three videos that brings Edmunds» data - centric concerns back into the environs of colour - field painting and Abstract Expressionism.

But on it went, altering and transforming through op - art, lyrical abstraction, colour field painting, minimalism and so on, to the point where nobody now would imagine that this once curious obsession with shapes and colours and non-descriptive marks is likely to come to an end.

Focusing on multiple colours, sharp lines, three dimensional shapes and multi layered optical illusions, I prepare my visions digitally, using colour fields and multiple layers, before transferring these creations to «one - off» original pieces.

It focuses on the experimental transformation of shapes and surfaces that make up the urban landscape, from which the three artists draw their inspiration from; Fabio Petani with his refined balance between organic forms and geometry, Nelio through a dense texture of colour fields that he uses to compose his name, and Heiko Zahlmann, with a long and vaunted past as a graffiti writer, evolves his style in three - dimensional works, in which painting, drawing and architecture interact with one another.

He has organized numerous retrospectives and traveling exhibitions, including Jonathan Lasker: Selective Identity (2000) and Radcliffe Bailey: The Magic City (2001), both at the Birmingham Museum of Art, and then, at the Art Gallery of Ontario, The Shape of Colour: Excursions in Colour Field Art, 1950 - 2005 (2005), and Julian Schnabel: Art and Film (2010).

By the end of the decade, the artist's ongoing exploration of figure - ground tensions is expressed in works such as «Große Flächenteilung / Spiegel» (Large field - division / mirror)(1989) and «Unterbrechung» (Interruption)(1989), in which simple shapes are painted over horizontal swaths of intense and even acrid contrasting colour fields.

That spirit is kept alive also via the incorporation of other techniques: airy, expressive fields of stained painting evoking his light - filled colour fields, stencilled patterns and outlined shapes recalling the seminal Map Paintings, an underlying geometric rigour and structural complexity which has encompassed his career in the interplay between rectangular and circular forms.

Tillmans makes colour and line appear as one indistinguishable substance; instead of colour being confined by and filling in drawn profile, here colour seems to thicken and extend into its own tendriled shapes, arriving at forms and fields that look organically spawned» — L. RELYEA «What connects all my work is finding the right balance between intention and chance, doing as much as I can and knowing when to let go, allowing fluidity and avoiding anything being forced» — W. TILLMANS Immersing the viewer in a mesmeric expanse of deep blue, Wolfgang Tillmans» Freischwimmer 186 lyrically transcends the boundaries between photography, painting and drawing.

Exhibition: SELECTED EXHIBITIONS 2012 Robert McLaughlin Gallery, Oshawa, Canada 2011 Nikola Rukaj Gallery, Toronto, ON, Canada 2011 Kamploops Art Gallery, British Columbia, Canada 2011 Art Chicago, Chicago, Illinois, USA 2010 Mendel Art Gallery - Saskatoon, Sask, Canada 2008 Poussin Gallery, London, England 2007 Nikola Rukaj Gallery, Toronto, ON, Canada 2005 Art Gallery of Ontario, Toronto, ON, The Shape of Colour 2005 Excursions in Colour Field Art, 1950-2005 2006 Canada House, London, England, William Perehudoff, Colour Chording 2002 Post Painterly Abstraction of the Canadian Prairies 2002 Mendel Art Gallery, Saskatoon, SK, William Perehudoff, Now and Then 2001 - 04 Portland Art Museum, Portland, Oregon 2004 Clement Greenburg, A Critic's Collection 2001 Palm Springs Desert Museum, Palm Springs 1994 Art Gallery, Edmonton, AB 1994 Glenbow Museum, Calgary, AB 1993 The Mendel Art Gallery, Saskatoon, SK., William Perehudoff, Edmonton 1990 Waddington Gorce Inc., Montreal, PQ 1988 Eva Cohon Gallery, Chicago, Illinois 1982 Waddington Galleries, New York, N.Y. 1980/78 Meridith Long Contemporary Gallery, New York, NY 1976 Waddington - Tooth Gallery, London, UK 1977 Hirshhorn Museum and Sculpture Garden, Washington, DC.

2012 Robert McLaughlin Gallery, Oshawa, Canada 2011 Nikola Rukaj Gallery, Toronto, ON, Canada 2011 Kamploops Art Gallery, British Columbia, Canada 2011 Art Chicago, Chicago, Illinois, USA 2010 Mendel Art Gallery - Saskatoon, Sask, Canada 2008 Poussin Gallery, London, England 2007 Nikola Rukaj Gallery, Toronto, ON, Canada 2005 Art Gallery of Ontario, Toronto, ON, The Shape of Colour 2005 Excursions in Colour Field Art, 1950-2005 2006 Canada House, London, England, William Perehudoff, Colour Chording 2002 Post Painterly Abstraction of the Canadian Prairies 2002 Mendel Art Gallery, Saskatoon, SK, William Perehudoff, Now and Then 2001 - 04 Portland Art Museum, Portland, Oregon 2004 Clement Greenburg, A Critic's Collection 2001 Palm Springs Desert Museum, Palm Springs 1994 Art Gallery, Edmonton, AB 1994 Glenbow Museum, Calgary, AB 1993 The Mendel Art Gallery, Saskatoon, SK., William Perehudoff, Edmonton 1990 Waddington Gorce Inc., Montreal, PQ 1988 Eva Cohon Gallery, Chicago, Illinois 1982 Waddington Galleries, New York, N.Y. 1980/78 Meridith Long Contemporary Gallery, New York, NY 1976 Waddington - Tooth Gallery, London, UK 1977 Hirshhorn Museum and Sculpture Garden, Washington, DC.

Furthermore, despite some formalist success stories like Frank Stella's Shaped Canvas genre, which proclaimed the «objecthood» of the picture, by 1973, the formalism of such styles as Colour Field Painting was soon replaced by the Anti-Formalism of movements like Pop Art and Minimalism.