Sentences with phrase «smooth surfaces of his work»

Sadly, understandably — the smooth surfaces of his work cry out to be touched — notices in each room ask us not to — the exhibition organisers have chosen to display these diminutive works in perspex boxes.

Not exact matches

Transfer dough to lightly floured work surface (you may need the help of a scraper) and knead until smooth and elastic, about 5 minutes.

Take one sheet of phyllo and lay it on a smooth working surface.

Flatten with a back of a spoon or your hands to get a smooth surface (moist your hands with water for easier work with the dough).

Tip the contents of the bowl out onto a clean work surface and knead for about 10 minutes until smooth and firm.

Working on a smooth surface, form each piece of dough into a log that is about 1 to 1 1/4 inches (2.5 to 3.2 cm) thick.

Most palm sander reviews will mention the main advantage of a random orbital sander: they don't leave behind circular marks, but work well for fine detail work as well as smoothing down rough surfaces.

Klairs» tantalizingly named Midnight Blue Youth Activating Drop is formulated with powerful growth factors (EGF and FGF, which are key factors that keep the outer and inner parts of the skin firm and smooth and are crucial to the skin's elasticity, gloss, and skin tone) to work not just on the surface of the skin but deep below to address the causes of fine lines.

Foundation works as a basic type of makeup usually applied to the face to cover any flaws on the skin, thereby creating a smooth and even surface.

The gold standard of anti-agers, retinol is the hero ingredient here: It works to renew the upper layers of skin, revealing a smoother, luminous surface underneath.

Rose Sharp writes that Goodman's oeuvre «is a little bit difficult to sum up, perhaps, because over the course of this long and productive career, her creative output has vacillated between painting and drawing (with forays into three - dimensional constructions); smooth surfaces and chaotic buildup on canvas; and intimate small - scale works and jaw - dropping large paintings that grab your eye from across the room.

In these works the colour was bleached, the paint surface smooth, and the light conceived as a revealer of detail, e.g. Girl with a White Dog, 1951 - 2 (Tate Gallery).

While Stella makes one imagine that he — or the work's own organic logic — created the twisting forms and smooth or roughened surfaces, Rubins lets rust, steel, and fragments of the original paint job speak for themselves.

With its combination of irregular, hand - worked surfaces and smooth, highly finished elements, Spider III is a complex hybrid of menace and emotional vulnerability.

Her «thing» is a little bit difficult to sum up, perhaps, because over the course of this long and productive career, her creative output has vacillated between painting and drawing (with forays into three - dimensional constructions); smooth surfaces and chaotic buildup on canvas; and intimate small - scale works and jaw - dropping large paintings that grab your eye from across the room.

In 1980s, de Kooning changed to working on smooth surfaces, glazing with bright, transparent colors over fragments of gestural drawings.

Both qualities are evident in Knight's Heritage, an important transitional piece in which Truitt still employed a brushy texture to define the paint surface and actual grooves to mark the three divisions (elements she abandoned in her later, smoother work) but began to break out of the somber tones of her earliest work and embrace glowing color.

Indeed her works, which would be characterized abstract art rather than abstract painting, share some common ground, such as the spectacular use of colors, contrasts and shadows, the playful use of diagonals that creates a solid sense of perspective while different levels construct both volume and composition, but also the smooth way she moves from one texture to another, giving her paintings a rough surface by using colors impasto or with a palette knife or simply by incorporating different materials.

For the past decade, Raphaël Zarka's work has prominently featured images of skateboarders taking advantage of the slick surfaces, hard edges, and smooth slopes of monumental public artworks.

She originally hoped to smooth the surface completely, but eventually realized it was a fitting expression of her intention, integrating the digital origins of the work with its final form.

The diversity found between the craggy surface of Madame Noblet (1897) and the smooth sealant - coated working plaster of Ecce Puer (Behold the Child)(1906) is even more apparent in the multiple wax - and - plaster versions of Child in the Sun (1891 — 92) and Jewish Boy (1893) on display.

Discovering what lies behind a facade, or beneath our feet beyond the smooth surface of the pavement, is a central motif in Weismann's work.

Sara Cwynar presents three works, each consisting of images assembled through collage and re-photography from objects and found photographs, a process of intervention and manipulation that ultimately disrupts the smooth surface and the perspective of the stock image.

With its combination of irregular, hand - worked surfaces and smooth, highly finished elements, the spider form is a complex mix of menace and emotion.

In Davenport's work the viewer is placed in front of these paintings, there can often seem to be very little on the surface of his work, especially the minimalist glossy pieces which are almost like a painted Donald Judd: smooth, clean and restrained.

Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.

Schanck work is bold, architectural pieces that are coated in a super fine foil that reveals every nook and cranny of their original surfaces (the table is cheap OSB wood), now smooth to the touch thanks to a glossy finish.

A «show within a show» platform of the commercial interface of large - scale lightboxes featuring «the smooth surface of a «communicative» capitalism» and the work of Dora Budor, Hood by Air, Martine Syms, Stewart Uoo and others.

Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink - jet prints; from the subtle tonalities of gray - scale paintings and drawings to the exuberance of an 111 - color screenprint.

In addition to using the traditional framework of oil on canvas, Van Deventer works on stretched silk, a material she describes as «both a traditional painting surface and a fabric that is in between opaque and transparent, in between a fabric for the body and a smooth surface for painting.»

The new works have a visceral effect that blends the effects of color field painting with offhanded gestural movement and the paint's own organic movement on the smooth matte surface to ethereal effect.

The title of the exhibition is borrowed from a poem by Mei - Mei Berssenbrugge, a poet who refers to her works as «collages,» inasmuch as they're composed by culling a collection of texts, images and physical objects to form a map, which she eventually smooths out grammatically to create a «linguistic surface.»

Shapiro's most complex artistic practices are illustrated by his ephemeral works, where smooth surfaces show no trace of human intervention.

His canvas works are primed with five layers of acrylic mat gel, which prevents the ink from invading the canvas and, instead, allows the ink to pool into a smooth wash on the surface, gradually obliterating some of the pen strokes.

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.

The surfaces of her work — from the waxed, smooth plywood to the subtle fuzziness of brightly colored felt — are engaging and tactile, offering an immediacy, familiarity, and a temptation to touch.

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...

Through a variety of application methods Edwards works the surface of his paintings to set static backdrops through combinations of gestural abstraction, smooth gradients, and flat color.

His smooth surfaces, however, are not completely uniform; the complex and subtle interaction between transparency and opacity, as determined by the density of his paint, works to activate a dynamic and constantly fluctuating visual field.

«In Udomsak's earliest works, meaning slips and skitters across their smooth monochromatic surfaces or sinks between the pin pricks of light in a blanket of black.

• Track record of efficiently preparing worksites by removing hazardous materials and debris • Proven ability to fashion track lengths according to set standards and specifications • Hands - on experience in inspecting tracks to determine need for repair and maintenance • Familiar with replace, remove and repair tracks and related components to ensure smooth railroad operations • Effectively able to handle drilling duties to insert bolts and joints and perform preventative maintenance on tracks and components • Highly skilled in gauging deviations in track surfaces and performing related repair work to ensure train safety • Exceptionally well - versed in operating picks, shovels, bulldozers and spike - driving machines to meet rail track repair, maintenance and installation needs • Deep insight into inspecting tracks for defects and reporting and clearing potential obstacles, especially after bad weather • First - hand experience in performing lookout and hand signaling duties during track operations such as installation and maintenance • Competent in laying and fixing foundations and sleepers for tracks, cutting tracks to lengths and installing railway switches • Qualified to remove damaged rail track parts and examine and maintain switch lamps and wheel bearings