Each piece begins sculpturally
through traditional canvas - building techniques to emphasize form and shape.
Not exact matches
Final Pieces may include: •
Canvas studies • Sketchbook work • Prints • Photographs • Photoshop outcomes You will develop an understanding
through exploration, of a variety of
traditional studio media and materials, computer aided media, photographic materials focusing on both 2D AND 3D.
The
canvases move like the background of a
traditional animation and suggest factory automation
through their hardware and stripped down construction.
Through his investigational approach, Otero combines the
traditional act of painting with his innovative creation of «oil skins,» produced by layering oil paint on glass and then peeling it off in «sheets» before transferring it to
canvas.
At the opening reception of his latest exhibit, The World of Line, Ink, and Nude by Chang - Woo Seok, now on display at the Korean Cultural Center Washington DC
through June 8, the artist demonstrated his very personal technique, making use of his prosthetic limbs to grasp a brush and his torso movement to paint across a room - sized
canvas of
traditional Korean paper, spread across the gallery floor.
Embracing the
traditional form of story - telling
through portraiture, he infuses the work with relevant and contemporary motifs that resonate beyond the
canvas.
In his paintings Moffett extends the
traditional two - dimensional frame in a number of ways, including converting the ordinariness of the flat plane into highly textured reliefs, making paintings that are opened up and turned inside out, or presenting intricate illuminations
through the use of video projections on the
canvas.
Eschewing
traditional methods of painting, in one of his critically acclaimed series Estep used an industrial kiln to sterilize soil before he sifted it in careful patterns
through a metal screen onto the glue coated
canvases, smearing them when he removed the screen.
Jansen employs abstraction to explore psychic chaos and conflict, in
traditional AbEx style, but in his hands, improvisation opens the valves of feeling (to paraphrase Francis Bacon) and experience; he re-enacts or works
through (his words) memories of war in the arena of the
canvas, creating enthralling panoramas that pit the terrible beauty of destruction against our conflicting moral sentiments.
A virtuoso painter, he employs a hyper - realist technique, working the
canvas through the
traditional chiaroscuro and utilising a single light source to both shape and highlight his figures on the
canvas.
Using experimental colours and an unmistakeable playful approach to the
traditional method of painting, Paricio has always set out to solve conceptual problems, to pay homage to great artistic figures of the past and to examine and question the role of the artist
through his bright and dynamic
canvases, layered with meaning.
He transforms handpainted lettering into wood sculptures and wood collages on
canvas through an elaborate production process including calligraphy, 3D - modeling, digital fabrication, and
traditional wood finishing techniques.
The artist then creates digital studies on his computer in order to experiment with color, turning them into acrylic paintings on
canvas through air - brushing and
traditional brushwork.
The raggedy talismans, made from
canvas and nails and shirts and hair, resemble the abject cousins of the
traditional totems, not so much imparting moral lessons but busking
through gritty New York streets imparting frenzied and sometimes wildly intuitive tidbits.
Through executing what is most important to my practice, I encourage the viewer to focus on the structure, where I use
traditional canvas - building techniques.