Sentences with phrase «surface as a stretcher»

Not exact matches

As particular and individual in their use of colour as they are distinctive in composition, James» works interrogate traditional approaches to painting, often actively integrating the physicality of the canvas and stretcher into the composition, as well as incorporating dust, glue or debris into the surfacAs particular and individual in their use of colour as they are distinctive in composition, James» works interrogate traditional approaches to painting, often actively integrating the physicality of the canvas and stretcher into the composition, as well as incorporating dust, glue or debris into the surfacas they are distinctive in composition, James» works interrogate traditional approaches to painting, often actively integrating the physicality of the canvas and stretcher into the composition, as well as incorporating dust, glue or debris into the surfacas well as incorporating dust, glue or debris into the surfacas incorporating dust, glue or debris into the surface.

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

He just buys stuff that he is inspired by as the basic surface material for his stretcher, which gives his work a kind of history, a narrative.

James» works interrogate traditional approaches to painting, often actively integrating the physicality of the canvas and stretcher into the composition, as well as incorporating dust, glue or debris into the surface.

In the transfer to the stretcher, these graphic fragments assume a waxy, spectral quality, alternatively hovering over the surface of the canvas and sinking some inches below it, as the slashes and unwoven sections compete to occupy the foreground.

Since the 1970s, Holland's painting practice has remained distinct and the result of his unique combination of painting off the stretchers and on alternative supports; the use of non-illusionistic and literal additions of lattice, folds, protrusions from and undulations of the painting surface; as well as piercing the surfaces.

His uniquely constructed configurations of stretchers and linen expand, quite literally, the grounds of what can count as a painting, while the curved surfaces of his works confound any stable distinction between three - dimensions and two.

Since the 1970s, Holland's painting practice has been distinct and the result of his unique combination of painting off the stretchers and on alternative supports; the use of non-illusionistic and literal additions of lattice, folds, protrusions from and undulations of the painting surface; as well as piercing the surfaces.

The paintings assume a sculptural presence on the wall as their molded stretchers and torqued surfaces project the thick, flat layers of paint into three - dimensional space.

In 1968, as a means to escape these limitations, Griffa relinquished the stretcher by laying the raw canvas on the floor so as to effectively absorb the applied color while yielding direct contact between body and surface.