Sentences with phrase «surface of the works become»

The layered surfaces of her works become a kind of reckoning, evoking, in the artist's words, «the way sailors mark their location at sea, determined by return.

The slowly layered surfaces of her work become a kind of reckoning, the way sailors mark their locations at sea, determined to return.

Not exact matches

Transfer the ball of dough to a floured work surface and knead the dough for five minutes, adding additional flour if the dough becomes too sticky to handle.

If the dough becomes sticky, lightly flour the work surface and the top of the dough.

Sherwood worked with the forward during his brief tenure at White Hart Lane and, speaking before news of Adebayor's Spurs exit surfaced, admitted that he would be keen to reignite his interest in the striker if Adebayor became available.

He had worked hard to become Ghana's Chief Justice but had no eye on the titular Presidency, even if he had earlier surfaced as one of the «Big Six».

It was left to others to work through the details of these curious compact objects, the surfaces of which became known as Schwarzschild singularities.

And the oceanic crust has what appears to be a thick underplating of rock formed when magma that was working its way toward the surface became trapped under the crust and cooled — very much like the processes that occur under the Hawaiian Islands.

Frequent hand washing and sterilizing surfaces at work and home can become as much a part of managing the disease as taking medications.

This causes the mixture to become very hot so keep that in mind for protecting the surface of your work area.

An impromptu addition of a cake stand becomes an invaluable work surface.

Cohen and West's approach is so adulatory that the documentary becomes a surface - level work of hagiography.

After reports that weasels and rats were moving around in broad daylight, unafraid of humans, and that natural spring water had become muddy — signs to some that forces were at work below the earth's surface — officials evacuated 60 percent of the population.

But once students receive that small glimmer of hope / confidence / pride about themselves, they become motivated to work harder and a truly remarkable difference in attitude about learning, in most instances, does eventually surface.

Before Cardiff became sick with his cancer reoccurrence, a plan to address several superficial skin masses that had gradually developed on the surface of Cardiff's skin was in the works.

Ruth's fascination with layering — of placing transparent glazes over the surface of a painting — has become a signature of her work.

What was always a private practice of creating work on a multitude of surfaces, including show invitations, sketchbooks, and ceramics, has recently become an important part of the artist's public exhibitions.

Deeply inspired by Matisse, his work is a negotiation of the flat surface of the canvas in which figuration becomes form and deeply intimate things become neutral.

This type of work, known as his Superfici — or «Surfaces» in English — became Castellani's trademark.

Perez, whose work celebrates the metaphorical and cultural significance of the International Style of architecture, has recently become interested in the reflective surfaces that characterize these icons of Modernism.

By the late 1970s, he had begun to build the surface of his paintings with foam, rubber, rope, and typewriter paper, causing the works to become increasingly heavy and extending dramatically into space.

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

As Robert Smithson stated «A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world».

By working with a reflective surface, Pistoletto enables the viewer to become an integral part of the piece while the subject of the work is drawn into the activity of the gallery space.

There are no traditional canvases in Gomes's work: painting instead becomes sculpture, object, an act of mark making upon a surface, or an arrangement on a wall.

Mystery lies beneath the surface of each work: «The image becomes a second - generation image as soon as I transfer the new image onto the prepared surface».

I was instantly consumed by the work's grandeur and scale, but became drawn in more and more by his keen attention to details and the subtleties of fabrics, skin, surfaces in his paintings.

In works such as this, Newman himself became deeply moved by the stunning velocity of his «zip» flowing across the surface of the canvas.

With mirrored elements along the surface of each work, the reflected image of the exhibition environment then becomes, temporarily, integrated with the work itself.

During the making of the works the glossy words disappear into the black ground surface until they become saturated to such an extent the words slip from tangibility into abstraction.

The oily shine, the wet cream of Hume's surfaces, rippled with road - lines and ridges, the violence of greys, greens and pinks, the ugly in the lovely - Beautiful has a shocking black skull's nose hole - and the slightly grotesque quotation of modern painting prevent these works from ever becoming pretty.

In the works, architecture becomes a symbol of the connections between our spatial and mental universe and behind the architectural surface something unknown is lurking.

His exquisitely rendered drawings and paintings draw on dream imagery, where the surface of his work relates to both the mind and the body, and becomes a skin on which to create layers of marks, volumes of text, leading the viewer into another world.

In Newsom's 2015 catalog of work from the past 10 years to the present exhibition, critic Barry Schwabsky writes in his essay, «what keeps «strong painting» from becoming merely muscle bound — is Newsom's secret weapon: the discipline that comes from considering himself, not a painter of images, but rather an abstractionist... to appreciate his paintings is... to engage with their surfaces of purely sensual incident.»

His first painting of that kind Onement I introduced this vertical stripe of color that divided the painted surface and became a trademark of his work.

A painter before he became a filmmaker, Jacobs was a student of Hans Hofmann, and Hofmann's injunction to «manifest a three - dimensional event on a two - dimensional surface» has been, formally, the point of departure for all of Jacobs's moving - image work.

Emerging from her use of objects in her paintings and her inclusion of found objects in her ephemeral site - specific works, these new painting - sculpture hybrids contrast monochromatic white and black areas with brightly - hued squiggles, splashes, stripes, and mazes and investigate what happens when a canvas and an object become a simultaneous and continuous surface for painting.

Exploring the possibilities of the grid since the late 1960's, Willis became a member of the Third Generation of Abstract Expressionists, with his «Wall» paintings where he worked in a unique wet - on - wet method creating linear colored bands across the surface plane.

In each work, White has intentionally left strips of surface area completely blank, emphasizing the arbitrary cutting, cropping, and breaking of images — a regular feature in contemporary visual language, and one to which we have become increasingly inured.

As the artist explains in his statement, some of the works have been rendered as 3D images, adding an element of the absurd where deep textures on the surface of another planet become visible through cheap 3D glasses.

With their powerful ribbon - like configurations, and shimmering allover surface effects, these works won the attention of Greenberg, who became an enthusiastic supporter of Christensen's art.

Those who revile Koons often do so on the basis of his later works, like Balloon Dog (or, more recently, Balloon Venus of Willendorf), the production and sale values of which have soared while their meaning has seemingly become ever more surface - deep.

Constructed with layers of cut plain paper, the miniature relief images become visible when light casts shadows across the surface, demarcating and defining space to complete the work.»

The work of 15 internationally renown contemporary African photographers juxtaposed with missionary photography presents a starting point to trace the prevailing stereotypes that percolate beneath the surface; thereby tackling the notion that — framing a culture from without the meaning of that culture becomes distorted.

Mark making, usually an additive process, becomes reductive in another new work, in which Yamahira has punctured the canvas surface in a pattern of seemingly spontaneous swirls and curlicues.

The Paris Paintings at Nathalie Karg are richly dark works with ripples of white, blue, green, rust, and red running horizontally across their heavily worked surfaces; one exception — a mosaic - like patchwork of earth tones, dark greens, and reds from 1953 — provides a bridge to Held's approach after he returned to NewYork.As the debut works of a major American artist, Held's sensual, mysterious, and dynamic Parisian nocturnes are emblematic of the restlessness and audacity that would become hallmarks of his career.

In it, Hancock notably explains: «These works show evidence that the painted surface can become a mirror, revealers of mystic truths, exposers of hidden existential binders.»

The painted fields of some works become a delicate surface of exquisitely rendered brush strokes, with all of the shimmering complexity of a silk tapestry.

But as his mark - making has become more expressionistic and his surfaces more thickly worked, he tests the limits of his self - imposed constraints.

The surface I work with becomes a «wearing down» of time, a form of weathering an articulation of memory.