Creating art in perpetual paradox, he starved himself of a method customary to creating visually pleasing works in order to focus on the visceral and
tactile application of paint.
From Joan Mitchell's loaded brushwork in Before, Again IV (1985) to Wayne Thiebaud's painting Candy Counter (1962), in which lush pigment seems to frost the images of cakes,
a tactile application of paint energizes both abstract and figurative canvases.
The move towards a more hard - edge style of abstraction, the clear lines, high contrast of color and its various hues, along with the rejection of
the tactile application of paint were seen as the dominant features of such movement [2].
Not exact matches
He continued, «Although Aliriza's extremely
tactile paint application can remind one
of the British painter Frank Auerbach, her brushwork is more fluid in the manner
of de Kooning and her forms have a way
of slipping in and out
of abstraction.»
Each begins with the preparation
of the
painting surface, which itself requires the
application of numerous layers
of medium in order to achieve the characteristically smooth, matte, and
tactile finish that becomes a foundation for the subsequent composition.
His
application of oil
paint is a constructive process; images built into large scale,
tactile landscapes and portraits.