Sentences with phrase «thick paint into»

Not exact matches

Or my mom (who is now almost as into it as I am) cuts it into thick wedges, paints it with olive oil, and bakes it until caramelized and wonderful.

I like it when the paint is thick enough for each dot to turn into a visible fingerprint with an interesting structure and when I can easily see how the flowers made by my younger child are smaller than the ones made by my oldest because of the different sizes of fingers.

The paints can be mixed into delicate glazes, or laid on in thick globs, called impastos, that give an almost sculptural relief to paintings.

You'll need to apply the paint pretty thick so it goes into all the little nooks and crannies.

When you use the plaster or grout recipes and mix it into acrylic paint, it will become thick and unusable.

If you want to use the CCP and PoP recipe since it creates one very hard finish, then you can try it out with any paint brand / formula, but you could run into the paint getting thick, it may not, but it could.

«I've always liked the physicality of paint,» says the artist Angel Otero, who transforms liquid material into thick - yet - elegant layers, or «oil skins,» as he calls them.

Can you tell us about the cuts, those thick layered paintings into which you literarily dig trenches?

I had just started to paint seriously and was struck by Brown's thick, sculptural handling of the paint; the impasto seemed to push the painting into three dimensions.

Over the last decade the underlying drawings beneath the layers of thick paint have evolved into her «inside out» paintings.

The paintings by David Ainley are colour monochromes built up in layers of thick paint, forming a substantial surface into which Ainley scores lines, revealing parts of the underpainting, in a process that is similar to excavation or mining.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

Stella's stripes were made without the aid of masking tape, and often the black paint bleeds into the white gaps, or gets thicker and thinner as Stella applied differing pressure or various numbers of coats.

Another interesting comparison to be drawn is between the Dan Christensen painting of 1968 Serpens, and the 1969 painting of mine Eternal Circle, both paintings exhibit an expansive and high spirited use of drawing in color across huge fields sprayed into the surface by Christensen and poured thick on top of the surface in my case.

Leckey, suave in evening dress, delivers his peroration on images and objects, on Philip Guston's «thick - as - a-brick» paintings, on deformed feet in Georg Baselitz, on cats, on James Cameron's movie Titanic, on Marx's «All that is solid melts into air», and a great deal more.

Radiating lines drawn in oil stick across the canvas both infuse the work with a sense of dynamism and energy and incise layers into the thick oil paint.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

Thicker stripes run diagonally, merging into still broader fields of paint.

Assiff translates the luscious exoticism of Rousseau's original paintings into a thick, almost bas - relief plasticity and removes the figures and animals to create an aestheticized deforestation as visible in «Untitled (Exotic Landscape).»

But as he painstakingly arranges these things and others into thick resin that coats his hybrid collage - paintings, he dematerializes them as well, revealing their potential to become elements of mind and pattern, like the inner - eye of whirligigs captured in his recent Millenium Phosphene Bloom.»

The artist first applies thick layers of oil paint in various colors, including burnt sienna, green, blue, and yellow, onto a white painted background, then uses her body to vigorously mix and sculpt the material until the once - vibrant pigments meld into a rich gray tone.

The brightly - coloured paint, thicker and less controllable than pencil, brings Shrigley's characteristic imaginings into a new dimension.

As de Kooning had mixed his oil paints into a thick, viscous yet airy consistency and applied them in heavy impasto - laden strokes, Wool veers toward the opposite end of the spectrum, creating a barely - there scrim of a surface that's been leached of all color, save for the effects of black and white.

Working in pencil upon a thick layer of still - wet paint, the artist traces a sequence of rhythmic, graphic loops, ploughing grooves and furrows into a monochromatic field.

These architectural monuments are captured against a grand, thick forest, which reveals and hides its part in a dynamic tension that is an integral part of Peter Doig's figurative painting — the artist often delves into moments of tranquillity and contrasts them with uneasy oneiric elements.

Rashid Johnson's voluptuous black paintings, whose thick graffitilike marks are scrawled into a mix of wax and black soap with a broom handle, confront the more delicate and colorful improvisations of Michaela Eichwald, which look impressive but more decorous than usual.

Since earning her MFA from the School of the Art Institute of Chicago in 2009, Lauren's work has developed into oil paint stop - motion animations - moving paintings in which thick impasto strokes appear to move before the viewer's eyes - and music videos for international acts.

The show will explore the entire scope of the artist's career, including early cartoons and drawings; his macabre, emotionally - charged paintings of the early 1960s; his epic rock and postcard paintings of the late 1960s and early 1970s; his «bloody head» series of mutilated figures from the late 1970s through the present; and his social commentary paintings targeting corporate America, which include his narrative tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste, seamlessly blended into the painted surface to create a remarkable illusion of depth.

«Billboard» (1957), with its large gestures and thick paint, organizes a roiling Abstract Expressionist composition into an irregular grid of color patches enclosing figures, faces, fruit and hints of objects alive somewhere in the depths of paint.

In his paintings in particular he plays with these familiar shapes and renders his works into patchworks of color blocks and thick lines.

The method begins by applying thick layers of oil paint, or carving acrylic paint, into the canvas.

Although linked by a web of thick paint, each object's color gradually blends into its neighbor, enhancing the unified web of ropey paint.

At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.

Aware of her work and its relationship to space and the spectator, Heilmann transformed her paintings into three - dimensional objects by using extra thick stretchers and painting the sides of the canvases.

Highlights from the show include Royal College of Art graduate Jodie Carey's eight foot chandeliers made out of fluff from a hoover, Tom Price's animated, small scale sculpted plaster heads, Emma Puntis's mesmerizing miniature portraits, Tatsuya Kimata's ironic sculptures of everyday objects sculpted using traditional marble and stone carving skills, Doug White's majestic palm trees crafted from thousands of abandoned car tyres retrieved from road sides in Belize, Michael Lisle - Taylor's army uniforms crossed with straight jackets, which play to his 19 years in the Navy, and Boo Ritson's large - scale photographs of people she transforms into characters caked in thick paint, which have sold out in her second solo show only a year after graduating.

Yli - Mayry's dynamic work is distinguished by her deft use of the pallet knife which she employs to achieve multiple effects, from a thin, even coat to thick lines, to a three - dimensional quality made by scraping lines into the painted canvass.

Ranging from thick paint to airbrush, from Color Field abstraction to a joking (possibly Hairy Who) representation, she forces everything into carefully orchestrated collisions, taking considerable joy in celebrating her medium's potential for visual artifice.

Copiously applied oil paint forms the thick, textural layers of Jason Martin's new works at Lisson Gallery, London, pushing boundaries into sculpture.

Her fireplace was, then, fairly typical, and her collaboration with native Belgian Laurent Dupont made it into the display for vessels, in which his quotidian found originals (here from the Czech republic) are transformed by the simple means of covering them with a thick layer of paint.

Pairing his bae - ap - bub technique with the utilization of a palette knife to lay down thick impasto lines, Ha Chong - Hyun transforms each painting into a visceral three - dimensional surface.

Several wall - mounted assemblages feature items of clothing mounted on cardboard, while other canvases evidence a trail of coins sunk into thick surfaces of foam and spray paint.

His canvasses are stretched into the realm 3D, his paint is applied thick, and his composition involves a sense of optical illusion.

Surface and subject are finally sculpted into relief using thick layers of paint.

This metallic luminosity combined with thick layers of enamel paint that expand beyond the canvas and transform the edges into expressive ripples creates an inescapable sense of preciousness that usually seems to be reserved for ornate objects.

Built up into a thick impasto of rich colors, Pollock's brushwork is typical of Abstract Expressionist gestural painting, in which visible brushstrokes are seen as physical traces of the creative act.

With her oil works, she resists the urge to dunk her canvas directly into the paint, and makes up for it instead with her thick and supple strokes layer upon layer.

The colors build and subside across the heavy downpours of paint, which often erupt in thick patches of splashes and splatters, or dissipate into exposed bits of canvas.»

It's the canvas surface painted all over, thick and thin paint distributed up from under, floating, brushing pats of colour stacked up on the surface painted wet into wet, nimbly describing the surface, tight as a drum.

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.

Oil Cons: To work with thick paint you need to take into account the drying time of oils.