Sentences with phrase «tactile surfaces of the works»

The subtle evidence of the cardboard and tape used to construct the original model is quietly at play on the tactile surfaces of the works.

Not exact matches

The physicality and tactility of the surfaces of the works — guided by the materials and processes involved in their creation — offer a uniquely visual experience of surfaces that desire to be touched and held, replicating the tactile attraction of their utilitarian predecessors.

In Alison Rossiter's work rich texture of the paper's surface makes this not only a hugely rewarding visual but also a virtually tactile experience.

In a significant departure from her earlier technique of gradually layering sheer washes to develop a delicate skin of color, in the works from 1988 and 1989 Martin employed a palette knife to spread and build a more physically tactile surface of undiluted pigment.

Art historian Lucy Lippard wrote at the time: «Certain elements — a central focus (often «empty,» often circular or oval), parabolic baglike forms, obsessive line and detail, veiled strata, tactile or sensuous surfaces and forms, associative fragmentation, autobiographical emphasis, and so forth — are found far more often in the work of women than of men.»

The thin washes of color that characterized her work from the 1970s make way for soft tactile monochromatic surfaces.

His scrubbed surface textures imbue a tactile touch of energy in the static yet moving qualities in his work, implying an excitement about the actual process that is unmistakable.

He drew inspiration from the large - scale and tactile surfaces of Still's work, including Still's use of black, brown, and other somber colors that Bradford employed for both their symbolic and expressive qualities.

While Dash literally worries her diminutive textile sculptures to pieces, the majority of these works (all Untitled, 2016)-- composed primarily of stacked or beveled arrangements of jute - stretched canvases, quantities of gessoed or hand - painted fabric, and lengths of twine embedded in or hanging from troweled - on adobe grounds — feature tactile surfaces manipulated by the sure hand of composure.

The tactile quality of his surfaces in works like this one stand out and are a testament to the close relationship Johns perceived between painting and sculpture.

Created by spraying paint onto canvas through carefully positioned swathes of gauze, this select series of works develops the innovative technique deployed in Stingel's silver paintings of the early 1990s, and distinguishes itself through striking color, richly variegated tactile texture and intricately detailed surface pattern.

Treat's mixed media work condenses into structured outlines of floating vessels and sensuous, tactile surfaces.

Her work has a huge affinity to Fontana's physical approach to his paintings and Burri's tactile manipulation of the painting's surface.

«For contemporary figurative painter Kent Williams, «the tactile qualities of the painted surface, the mark - making itself, plays as big a role in the resonance of a work» as its narrative aspects.

Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink - jet prints; from the subtle tonalities of gray - scale paintings and drawings to the exuberance of an 111 - color screenprint.

As one critic has pointed out, for Williams «the tactile qualities of the painted surface, the mark - making itself, plays as big a role in the resonance of a work as its narrative aspects.»

In her 1941 text «Handweaving Today: Textile work at Black Mountain College,» she argued that art should grow from «a playful beginning, unresponsive to any demand of usefulness, an enjoyment of colors, forms, surface contrasts and harmonies — a tactile sensuousness.»

MARK BRADFORD, 2009 Mark Bradford's But You Better Not Get Old from 2003 is a monumental work of collaged permanent - wave end paper, «materials with a built - in history,» in the words of the artist, aggregated and distressed to form the ethereal yet tactile surface that has become the artist's unique signature.

Indeed his recent paintings illustrate his propensity to foreground the properties of oil in rich, tactile, densely packed surfaces that nevertheless complement the detailed imagery of his work.

Building up strips of various materials on a single surface — these can be rough, smooth, gestural, flat, reflective, or matte — Wallace's work constantly evokes tactile or natural occurrences like rock outcroppings, seascapes, molecules, or even, on a more macro level, galaxies.

The surfaces of her work — from the waxed, smooth plywood to the subtle fuzziness of brightly colored felt — are engaging and tactile, offering an immediacy, familiarity, and a temptation to touch.

Building up strips of various materials on a single surface — these can be rough, smooth, gestural, flat, reflective, or matte — Wallace's work constantly evokes tactile or natural occurrences...

His body of work is unified by a concern for the tactile qualities of these various materials — the artist often eliminates all surface imperfections so as to highlight the design and geometry of the form in question.

Birchfield is especially effective in his works on rectangular panels of plaster that have been stressed, scuffed, scratched, rubbed and excavated to produce surfaces of enormous textural complexity and tactile appeal.

Created for the exhibition, Rebecca Ward's patchwork painting results in a textured and tactile surface that shifts the rigidity of a systematic abstract work.

Walking into Trudy Benson «s studio, I was struck by the tactile quality in her paintings and how the surface of the paint played a crucial role in reading and understanding her work.

Each of the works embodies tension, movement and gesture, all brought together into a seamlessly perfected, matte surface eliciting the tactile curiosity of all who view them.

Tactile left / right mouse keys are provided for both the touchpad and trackpointer, and multi-touch gestures work well, though the lack of surface area can sometimes make it difficult to pull them off.