Sentences with phrase «spatial relationships into»

Erin O'Keefe invents an unbound architectural language by arranging a network of objects and photographic elements for the camera, rendering unreliable spatial relationships into a single plane.

During the span of her 40 - year career, Thompson drew inspiration from philosophy, mathematics, music, and science, translating ideas of magnetic energy and spatial relationships into bright, saturated linear and circular forms.

Not exact matches

In those, director Paul Greengrass firmly established the geography and spatial relationships in the scene before he launched into his breakneck filming style.

I begin with random marks and colors that over time coalesce into forms and spatial relationships.

Encompassing sculpture, drawing, text, and video, many of Halilaj's works incorporate materials from his native Kosovo and manifest as ambitious spatial installations through which the artist translates personal relationships into sculptural forms.

A Stroll through the Worlds of Animals and Men» Jacob von Uexkull (1957) / EXTRACT:» We are easily deluded into assuming that the relationship between a foreign subject and the objects in his world exists on the same spatial and temporal plane as our own relations with the objects in our human world.

It places works by Rodin and Nauman into unusual spatial relationships, calling attention to the artists» mutual artistic concerns while also focusing a lens on how each sculptor conceives of the body as an emotional instrument, something not always understood by the rational mind.

In her recent body of work, Rossin investigated virtual - reality spatial relationships by translating them into oil paintings where subject matter and medium coalesce in a feedback loop.

You immediately feel drawn into a spatial relationship with the undulating curves.

As our spatial relationship with such works is reconfigured, objects on view in Off the Wall permeate into space and challenge our comprehension of both painting and sculpture.

Albers's artistic career, which bridged European and American Modernism, consisted mainly of a tightly focused investigation into the perceptual properties of color and spatial relationships.

Rist's work invariably turns two dimensions into three, as she uses the placement of video to alter and remap the spatial constraints of our surroundings and the body's perspective and relationship to its environs.

Grosse taps into the potential for two - dimensional, pictorial space to scramble, expand, or otherwise intervene in the spatial relationships of the viewing of art.»

Both emphasized work from observation, with Mercedes coming out of the Hofmann tradition, which took spatial relationships observed from the model into abstraction.

But then, they are so vaguely described that the gestalts quickly rearrange into simply multiple forms, of various colours and shapes, some repeated or reversed, creating shifting spatial links, and indefinite relationships.

Her interventions into existing spaces reconfigure, distort, and reinvigorate visual and spatial relationships in similarly magical ways.

Wyatt Kahn is primarily known for his investigations into the visual and spatial relationship between painting and sculpture.

Objects are separated from their original context, introduced into new settings, re-assembled but always return to the spatial relationship also seen in cubism.

By situating the monochrome in relationship to other codes, the artist allows apparently contradictory impulses to coexist: material and metaphysical, pictorial and spatial issues are brought into a relational context, capable of being read and understood over time.

``... within the multi-faceted graphic work of Serra, we can employ various ways of looking: the heroics and intimacies of scale call us back into the sculptural, while Serra's inventiveness with mark - making and media evoke a linear tracing of spatial relationships commonly found in his drawing.»

With approximately one hundred works, from his paintings of consumer products in the early 1920s to the work left on his easel at his death in 1964, the exhibition will highlight Davis's unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be derived from the color and spatial relationships of everyday things.

Not only that, but spatial relationships come into play too — I have heard it speculated that the genocide in Rwanda happened partially out of sheer population density...