Sentences with phrase «space as a canvas»

Often during the construction of new Shacks, particularly those in new markets, we reimagine the often uninspiring plywood walls that surround a construction site and use this space as a canvas to begin the process of integrating the Shake Shack brand into the community prior to it even opening.

when photographer alex markow learned that the building of primary projects in miami would be demolished, he found the perfect reason to utilize the space as a canvas for a vibrant, visual series.

Using the gallery's main exhibition space as her canvas, the artist masked the floor with a large foam stencil, painting over it and the surrounding walls in sprayed - on, bright acrylic paints, before lifting the stencil to create large, white, disconcerting voids upon entering the space.

It's a painting program that treats three - dimensional space as a canvas, resulting in pieces that fuse sculpture and illustration.

Not exact matches

Its rigid compositional attempt to define a rational space is undermined by the floating figures and particularly by the raw application of paint, which sits on the surface of the canvas and reminds us of its autonomous nature as scraped pigment.

A painter knows that you can not have red and yellow on a canvas in the same space and have them visible as red and yellow.

It's an awesome space, you've got as great blank canvas to make it your own.

As director, Wells equips Mars with a good sense of timing and comfort in a grand space canvas.

However 90 % of the market space is controlled by some of the major players such as BlackBoard, Canvas by Instructure, Moodle, Pearson Learning Studio, Sakai, and Desire2Learn.

There are online collaborative spaces (such as Google Docs or Canvas) where you can share and publish written ideas.

An approach known as layering — the clever utilization of space through the structuring of lines and surfaces into layers — provides a natural canvas for the hallmark BMW driver focus, but is careful not to exclude the front passenger from the action.

Inside, there's also plenty of space to lounge — the sunken living room features a large, crescent - shaped sofa, as well as white walls that act like a blank canvas for the space's colorful artwork and home accents.

A-cero from Spain and PoD from Russia created these interiors using White furniture and natural wood producing spectacular spaces that act as a wonderful canvas for exquisite Asian art.

Design space is best described as the canvas that the designer can paint on.

«the canvas began to appear to one American painter after another as an arena in which to act - rather than as a space in which to reproduce, redesign, analyse or «express» an object, actual or imagined.

My daughter, Dylan, also showed them a painting with a single figure to the far right edge of the canvas and the rest of the (24 x 30) canvas seemingly contained negative space; but if you held it up to the light, as Dylan explained, you could see another solitary figure that is not visible just by looking at the painting itself.

Müller, like Rothko, embraced the canvas as separate from the world - a meditative space defined by color.

The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel - Henry Kahnweiler as early as 1920, [12] but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.

Among the exhibition's many highlights are bold, groundbreaking paintings by Matisse from his most adventurous years, as well as highlights from nearly every phase of Diebenkorn's oeuvre from the early 1950s to 1980 — including several monumental canvases from his Ocean Park series, a renowned exploration of color, light, and space.

The work was celebrated at the time for the sheer velocity of movement with which the eye roves the canvas, pointing to de Kooning's interest in creating simultaneous foci, what art historian John Elderfield describes as «multiple centers of interest, and therefore a continual distraction, of vision being shuttled about the surface, so that it may rest anywhere but can settle nowhere» (J. Elderfield, «Space to Paint,» de Kooning: a Retrospective, Museum of Modern Art, New York, 2011, p. 25).

In the eighties her paintings on the flat surface moved into space as wooden canvas - covered environments, evolving into paintings into which one could literally walk.

STILLPASS: You call this space opened up by the canvas a mental field, but it seems to me that your paintings invite a physical relationship as much as a mental one, especially the paintings you place in the middle of the room.

«Spire» (1958) stands out for its powerful evocation of space — not just as movements forward and back, but as the resolute locating of forms across the canvas; its airy, angular movement of ochres and bluish tints culminates, along one side, in a clamber of reds, blues, and a final, teetering black.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

The process was documented in Hollis Frampton's tongue - in - cheek photo essay The Secret World of Frank Stella, which showed the artist approaching canvases as he would a house — as a space to be filled by increasingly proximate concentric lines.

The evenly dispersed natural light that fills the exhibition rooms not only presents Still's canvas surfaces in the most compelling and truthful way; the gentleness of the daylight also enlivens the senses as visitors move through the variously proportioned spaces.

The body - proportioned canvases are animated and energized by the viewer — Grotjahn's airy and atmospheric surfaces motivate observers to move their bodies in space from side to side, as well as bending, stooping and stretching, in order to see the play of light on his thick application of paint.

As soon as I moved into Sam's space, I did four large canvases — still representation but much flatteAs soon as I moved into Sam's space, I did four large canvases — still representation but much flatteas I moved into Sam's space, I did four large canvases — still representation but much flatter.

Curvilinear and circular shapes became another one of Valledor's many tools in his kit of economical means, along with color and shaped canvases, for exploring an expansive topic such as space and cueing viewers to look beyond the literalness of his compositions and see another world beyond.

In this overdue exhibition, Toroni has cunningly hung twenty - five square paintings from 1987, each one marked with fourteen orange strokes, at the height of the gallery's mezzanine: in the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the floor.

From the lyric, dark grisaille of Gorky's inner landscapes it grew to epic stature: In 1952 art critic Harold Rosenberg observed that «at a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than as a space in which to... «express» an object, actual or imagined.

As one can expect to see from Abelow, there is a lot to look at — paintings on canvas and burlap, as well as framed pencil drawings fill out the space in his signature, serial manneAs one can expect to see from Abelow, there is a lot to look at — paintings on canvas and burlap, as well as framed pencil drawings fill out the space in his signature, serial manneas well as framed pencil drawings fill out the space in his signature, serial manneas framed pencil drawings fill out the space in his signature, serial manner.

At the same time, they pull the whole canvas forward, marking its space as anything but a stage set.

The canvases were accompanied by a group of 11 wonderful works on paper, such as Untitled (Robots), ca. 1967, in which a hand outlined in bright orange dots seems to be saluting an exodus of identical humanoids, their arms tight against their bodies, streaming into planetary space.

In 1960, inspired by Pollock as much as by Matisse, Hantaï hit upon his technique of pliage - painting on crumpled canvases that, when stretched, resolved into celestial abstractions that collapsed distinctions between positive and negative space.

Dana Miller, the show's curator, describes the effect as being less like paint on canvas than «like cuts in space,» an innovation Ms. Herrera shares with painters like Frank Stella and Ellsworth Kelly (though they became famous for their versions 40 years before hers began to enter important public collections).

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

On an easel in the garage studio sits an elongated portrait - format canvas that Christanto has placed as a landscape; it would be too tall for the space if turned upright.

Within these patterns, sections of raw canvas remain exposed and function as negative space, alongside contrasting clouded or darkened areas of oil paint and metal leaf.

Along with other works painted during the same period, such as Field for Skyes, in the collection of the Hirshhorn Museum and Sculpture Garden, and Clearing, at the Whitney Museum of American Art, Blueberry demonstrates Mitchell's ability to depict space on canvas.

«By the early 1980s, Brodsky's approach involved an exploration of flattened pictorial space built up from layers of pigment that create an overall surface pattern of light and shade, the whole animated by energetic ribbons of color that dance across the canvas as a record of the artist's spontaneous gesture, attesting to his engagement with the process of painting itself,» wrote Chalif.

She often cited natural elements as inspiration, and her signature style reflects the influences of Henri Matisse, Josef Albers, and Wassily Kandinsky — featuring loosely painted yet meticulously constructed canvases, filled with latticework of bright color creating patterns from negative space.

As we toured the space — spotting rabbits in the garden outside — we talked about Brian Eno, the history of Bermuda, and the relative qualities of acrylic on denim and canvas.

And then there are hard - edged paintings in which space and colour are flat, flat, flat and the canvas plays tricks on your eyes, forming faces made from collections of interchangeable symbols such as smoke, fire, alligators, matches, razor blades, cigarettes and the letter «z».

In this canvas the flutist appears twice: as an object inhabiting the creative space of the classroom and as a nearly complete representation on an easel.

That terrain lies equidistantly between painting and sculpture, trading in frames and thresholds, extending out in to space with media as various as paint on canvas, on metal, copper wire, mirror and glass.

Lim's «canvas activity» as he calls it, addresses both two - dimensional and sculptural space, utilizing a semi-transparent screen stretched on a shaped support that results in interspatial mark making.

He had noticed, however, that «at a certain moment in time, the canvas began to appear to one American painter after another as an arena in which to act — rather than a space in which to reproduce, re-design, or «express» an object.»

Transitioning from the sparer, more graphic works of 1960 — 61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the «total color image» that would become a hallmark of her later work.

Woodman stages the other side of the space like a walled garden or interior courtyard with paintings on canvas and ceramic hung on the walls framed as «windows.»