Sentences with phrase «time of acrylic paint»

Both of these disadvantages are due to the very fast drying time of acrylic paint.

Not exact matches

After painting large - scale, acrylic pieces for a couple of decades, the inspiration, time, and effort required to show up to this particular flavor of creative expression has felt increasingly harder to access lately.

But this time on one of my Christmas orders, I used an acrylic (really flat) paint for my base and the oil for the lettering... then clear wax!

I gave the board two coats of acrylic paint, with about 30 minutes of drying time in between.

-LCB- And if you're using acrylic paint for your project, give the jars 24 hours dry time between coats of paint; otherwise when you apply the second coat it might peel off some of the first coat paint -RCB-

I have a wonderful wife, and plenty of time on my hands, so I am back painting, mostly in watercolour and some acrylic, I have had a short 20 week course in watercolours but that is all, now I have sold a few pieces of my work on EBAY under my name of robertgasser55 but only really for a few pounds at a time.

This came just in time too, where I have invented an incredible 3D crinkled poppy out of thick acrylic paint and can use the technique email one totally, and being part of a flower group's contest gave me incentive to make them.

Terry now spends much of his time travelling up and down the country demonstrating to Art societies and clubs as well as various Art Shows, and has also begun to hold watercolour painting and acrylic painting workshops in the US.

Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic paint, the new plastic paint, came into being.

For his third solo exhibition at CB1 Gallery, we are pleased to present Of Our Time, Osvaldo Trujillo's exhibition of painted and laser cut acryliOf Our Time, Osvaldo Trujillo's exhibition of painted and laser cut acryliof painted and laser cut acrylic.

@TheRealHennessy Tweet Painting, Gold Chain, 2014, 14 × 11 in., acrylic and screenprint on canvas Just in time for the Fall auctions, greg.org is pleased to present more @TheRealHennessy Tweet paintings, inspired by Donelle Woolford's Dick Joke series which debuted at John McWhinnie in the 1990s, and which continue to be a source of brouhaha since Michelle Grabner's 2014 Whitney Biennial.

As you may already know, Helen Frankenthaler was a pioneer of another technique called Color Fielding — a form of non-objective painting, that allowed for thinned - out oil or acrylic pigment to be applied, often times poured and spread, directly onto the unprimed canvas.

Kelly switched to acrylic paint in the early 1970s, changing to a simplified geometric style comparable to some of the minimalist works popular at that time.

For her elegant exhibition «Time Being,» abstract artist Sky Pape created expressive works on paper using a combination of Sumi ink, water, gouache, and Flashe acrylic paint, applied with homemade brushes and palm fronds.

Terry has been painting for many years using watercolour and acrylics and over that time he has amassed a variety of painting techniques and skills.

Since 2004 Muller has also poked fun at identity - definition and categorization in his acrylic star paintings of genre headings as they appear in magazines like The New Yorker, Time Out, and New York Times.

This application gave something of the effect of acrylic paint stained into raw canvas, a method of application that was common at the time.

His painted photographic prints combine airbrushed acrylic paint and abstract photographs while cleverly incorporating external elements such as variations of light, space, and time, with the intention to raise questions about perception and how we relate to various media.

In her wall works, many of which play, sleight - of - hand - style, with the shifts between two - to three - dimensionality — inviting the viewer to enter their world while at the same time sealing themselves off from engagement — Rafferty prints photographic imagery on thin, clear film, often mixed with paint and solvents, and attaches these to irregularly rectangular clear acrylic sheets.

By layering varied imagery through drawing, painting, and collaging sheets of acrylic paint a sense of fragmented time emerges.

Deriving from a traditional practice, Wang produces his Coffin paintings by working with his canvas resting flat on the studio floor, systematically applying layers of acrylic paint in alternating colors — at times monochromatic, at times colorful — resulting in a densely stratified surface.

Her paintings and her works on paper are thus transformed into sensitive witnesses of a time or a moment via acrylic or watercolour painted portraits or scenes bathed in monochromatic bluish gradations, characteristic of the artist's work.

Jessica Wozny (b. 1978), a German - born artist who is a long - time resident of Oaxaca, realized a room - sized installation that combines over 15 individual mixed media sculptures with a group of acrylic paintings on paper.

Charcoal, pastel, acrylic & oils, clay, plaster, wall drawing, and plein air painting have all been investigated over the years with the variety of full time and guest faculty that have participated.

Paris's Matthieu Haberard brings five new pieces — with a dark wood, epoxy, acrylic painting titled «Screen, where the touch, is a real sensation» (2015), a can - and - water sculpture called «Combine painting» (2015), a wood - and - electric cable piece called «Your time is running out» (2015), as well as two sculptural installations made of steel, plexiglas, acrylic on canvas, titled «Marcel; Where the bulbs are?»

Acrylic paint comes in big bottles, which can make getting a lot of colors expensive, but they'll last a long time.

Working with acrylics on un-stretched canvas, and limiting himself to the temporal constraints of quick - to - dry paint, the works function as archives of the physical act of painting, and as tools to record the passing of time.

Galleria Nazionale d'Arte Moderna e Contemporanea, Rome presents the third stage of this major transcontinental tour, Sean Scully: Change and Horizontals, an intensely focused survey comprising of acrylic, ink, graphite and masking - tape drawings from 1974 - 75 - presented together for the first time in over 30 years - as well as two large - scale paintings from the same period and the artist's personal notebooks.

This intensely focused survey is comprised of acrylic, ink, graphite, and masking - tape drawings from 1974 — 75 — presented together for the first time in over 30 years — as well as two large - scale paintings from the same period and the artist's personal notebooks.

The Aged Paintings are painted with acrylic and oil on burlap with almost photorealistic precision, and then aged and patinated, appearing almost as artefacts of our times to a future civilisation.

Even today as his paintings fade with time the acrylic elements are decaying differently, adding new interpretive dimensions to the ethereal nature of the works.

Popularised in 1950's America, a time when acrylic paint was also developed, viewing this series of works via these methods results in a strange collision of time and place, part 21st century, part historic.

He began by working in traditional landscape oils, dabbled for a short period of time in modern abstracts, spent several years experimenting with acrylics, and then returned to landscape painting in oils.

«Time of Trees,» acrylic paintings by Patti Fox.

Each shape of the image then gets stenciled and painted individually with acrylic, creating densely rich, saturated surfaces constructed one shape and color at a time.

In the transfer of the configuration to painting, Moyer pours acrylic paint in a time - based procedure.

Gaines subsequently tested the limits of representation by dropping the formulas to map tree growth, leaf accumulation, and kinetic motion with pencil - marked gridworks abstracted from portraits («Faces: Men and Women,» 1978) and photos of household objects («Shadows,» 1980), trees («Walnut Tree Orchard,» 1975 — 2014; «Falling Leaves,» 1978 — 79; and the flourescent acrylic paint and sheet series «Numbers and Trees,» 1986 — 89), even timed three - second intervals tracking the graceful turns of the iconic postmodernist choreographer and dancer Trisha Brown («Motion: Trisha Brown Dance,» 1980 — 81).

For this show, the Bristol - based artist created a whole new body of work using oil for the first time, along with acrylic and spray paint.

Although executed in New York, the work in the exhibition, which includes oil and acrylic paintings as well as a series of prints, addresses issues beyond the borders of time and place, taking up the cultural eruptions of the recent past.

Both turquois color paintings are similar, same size, color, distribution of brush strokes etc., but at the same time they possess a completely different character due to different grounds: one the one hand a white primed cotton and on the other hand an uncolored acrylic ground on canvas.

It surprised me that Helen had remained loyal to oil paints as, by the time I was in New York, safe water - based acrylics were available (the new Magna paints had been unsafe, causing the tragic death of artist Morris Louis in 1962).

Working tirelessly for three short years, he was prolifically busy producing a vast and diverse amount of work which included time capsules, minimal sculpture and room constructions, kitch acrylic paintings attributed to another artist (Es Que) to be shown at a Lord & Taylors department store gallery, enigmatic rainbow buttons, half dollars cast in his own blood and acrylic medium, a lip stamp that he used in the subways to humorously deface ads for pantyhose, single - message bronze plaques that only become art when implanted in a sidewalk; graffiti stencils spray painted in unconventional spaces and a series of anonymous advertisements in Artforum magazine encouraging starting rumors, telling lies and perpetrating hoaxes, smoking, tripping and teaching art that collectively he referred to as «micro-manifestos».

Two of the great surprises of the day came in the form of Edward Ruscha's bold Golden Words, 1985, which realized $ 334,600 against a $ 70,000 + pre-auction estimate — one of the highest recent prices paid for a work on paper by the artist — while the bidding on Jack Goldstein's acrylic on canvas Untitled, 1983 exploded much the same as the subject matter of the painting itself, finishing at almost seven times the pre-auction estimate of $ 30,000 + to realize $ 203,150, and establishing a new world record at auction for the painter.

At times the work's imagery, created with oil and acrylic paint with gold leaf, evokes Matisse's botanical cutouts, while their bright, vertical bands of color uncannily call to mind the works of Barnett Newman and Ellsworth Kelly.

From wielding plywood, ink, screws and graphite to house, acrylic and spray paints, Brewer creates his vibrant pieces, this time, incorporating wooden shapes, inspired by his extensive anthology of public works.

Renowned for his bold use of colour, inventive forms and, more latterly, the three - dimensional quality he achieved with thick layers of acrylic paint, Hoyland was strongly influenced by his experience of American Abstract Expressionism in the late 1950s and 1960s and was friends with many of the acclaimed American artists of the time (including Barnett Newman, Mark Rothko, Robert Motherwell and Helen Frankenthaler).

Self Portrait (Freehand 2), 2007 was again produced in acrylic on canvas but this time the artist allowed himself the freedom to paint the I by hand, in three strokes of the brush.

Her recent paintings are aptly described by the review below: New York Times Nov 2, 2003: quoted from the review of the Parrish Art Museum show; «Just plain good abstract painting is represented by SueJin Jo's two acrylic on canvas, which seem to have picked up one of the promising threads dropped by the second - generation Abstract Expressionism.

At the time of the exhibition, titled John Seery, the Garboushian Gallery was still fairly new and while most of Seery's earlier works were done using acrylic paint, the artist took to using oil paint for his new works that featured at the 2010 exhibition.

Whitten's poetic and physically compelling compositions reinvent the medium of painting time and again — from his series of small «ghost» paintings of the 1960s, his smeared test slabs and dragged canvases of the 1970s, and his collaged acrylic «skins» of the 1980s to his more recent tessellated constructions of paint tiles.