Sentences with phrase «together as a canvas»

He created what he called «combine paintings», where he was using various objects put together as a canvas, painting over it.

Not exact matches

As Abrams relates in this witty and well - researched book, the impulse to leap off a cliff or soar into the sky with homemade wings stitched together from feathers, leather, bones, canvas, or wood stretches far back into history.

When it comes to picking the style for your indoor / outdoor rug, the design you choose should act like a canvas and an anchor to bring all the visual elements, such as the seats and table, together.

Suzanne is one of the organisers of the meet - up, together with Melanie (Bag and a Beret) and Sue (A Colourful Canvas), further referred to as «the girls».

The idea appealed greatly to me as it looks «put together» yet they can be infinitely comfy (given the right size and shape) and, being black, really are a blank canvas to remix in lots of different ways.

As you put together your outfit of the day, think of yourself as an artist, and you, my darlings are the blank canvaAs you put together your outfit of the day, think of yourself as an artist, and you, my darlings are the blank canvaas an artist, and you, my darlings are the blank canvas.

Rosenbrock says the annual conference has been a cornerstone of the regional facility and its PD programs as it brings together a large number of teachers from a wide area, building the foundation for plenty of collaboration and the creation of networks within schools, providing a «canvas» for educators who are keen to share in their areas of passion.

Domenic Brusco, senior manager of industry relations for PPG Automotive Refinish, added, «It has already been a great experience for PPG to be part of the Repairer Driven Education (RDE) program, and the SEMA Show has really given a great canvas for SCRS to use as they put together the educational agenda for the industry.

Against a teeming canvas of Borgia politics, Niccolò Machiavelli and Leonardo da Vinci come together to unmask an enigmatic serial killer, as we learn the secret history behind one of the most controversial works in the western canon, The Prince.

Together, they launched the Rubie Roadie — a round, canvas pet bed — as part of Rappaport's Rescued Me Collection of pet products.

You'll see a huge canvas colored plain green, toilets splotched together with masking tape, and paintings that look like someone splashed together twenty colors over five minutes and displayed it as a joke on artistic snobbery.

KAWS redrew his sketches in Adobe Illustrator — «Frankenstein» - ing them together, as he commented in a recent ARTINFO interview, into deliriously complex, abstract arrangements — and projected the results onto canvas before painting them.

From the «modular» shaped canvases of pristine color fields tapped from the minimal canon, to rudimentary line drawings on found cardboard and post-its, to saturated, unprimed canvases, unceremoniously stitched together, Bradley's evocations of exalted and disposable culture lend equivalency to the discrete elements as they champion the materials of their making.

Their works feature dense accumulations of ink, paint, canvas, and paper which come together to depict bodies caught in the process of deterioration or collapse, as if the pressures of humanness are too great for them.

As before, the canvas was reduced right down to the essential, but the effect was casual and indifferent and works could appear almost spontaneously thrown together or on the brink of collapse.

Tracts of color are dragged across the canvas using a squeegee, so that the various strains of malleable, semi-liquid pigment suspended in oil are fused together and smudged first into the canvas, and then layered on top of each other as the paint strata accumulate to bring color and textural juxtapositions.

As a result, multiple traces of current and historic moments and identities are fused together onto the canvas, producing a hybrid state of uncharted territory.

She wove the ropes together with a technique she learned in summer camp and ended up with a large flexible pad as her working canvas.

A member of the so - called Mission School in San Francisco together with such artists as Barry McGee and Chris Johanson, Alicia McCarthy makes paintings that blur the line between street art and gallery work, using found wood as canvases and often imprinting them with the same intricate rainbow motif that she graffitis on her city's walls.

Decidedly literary and personal, Aldrich's paintings are deeply interconnected, as he draws together elements of the studio, the cosmos of canvas scraps and books that fill it.

Fiona Rae's colourful paintings have stewed together sources as broad as clip - art, Chinese scroll painting and Abstract Expressionism, synthesising them into a personal aesthetic, always creating challenging but cogent canvases.

It kind of comes off, as if — I think — from the back, as if the string is actually holding the canvas together.

«Blue Thicket,» for example, starts from the top of the canvas with a splendid array of wild untamed gestures followed by a mass of colors huddled together in active conference coming to a serene close as blue streaks seep down drawing one's eyes to rest in just the manner Carol is so proud of.

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

This collecting of memories is also relayed to his canvases which depict moments intertwined together as a stream of thoughts and images.

Jennifer Bartlett: History of the Universe (Works 1970 — 2011) brings together major works on steel plates and canvas, as well as sculptural installations, from the 1970s until now.

However, this camera, while recognisable as a very specific object, is pieced together from terracotta shapes reminiscent of children's building blocks, inviting other forms to materialise on the canvas.

Sydney Ball, Azriaxis, 2007 Acrylic on canvas, 118.5 x 137.5 cm November 3 - 29, 2009 Curated by David Hagger Participating Artists: Justin Andrews, Sydney Ball, Cathy Blanchflower, Louise Blyton, Col Jordan, Emma Langridge, David Milne, Giles Ryder, Alex Spremberg, Wilma Tabacco & PJ Hickman Reductive brings together a selection of prominent artists whose practices are concerned as much with the methodology of conception as they are with the production of the resulting work.

In Kusama's hands, the irreducibly basic elements of art - the dot, the line - assume poetic urgency, gathering together strands of the sensory, sensual and personal as they traverse the canvas.

Together, these late paintings demonstrate what Richard Marshall describes in the exhibition's accompanying catalogue as the artist's «pure joy of putting paint to canvas».

Everyday events such as a picnic in the park, supermarket shopping or drinking at an inner - city bar are transformed into grand, sometimes humorously epic scenes where the artists» cartoon - like figures fuse together with the trails and currents of energy that animate the canvas.

Sometimes Wood also experiments with the idea of collage, superimposing objects over others or simply playing with the distortion of images by creating the illusion of separate or fragmented painted canvas surfaces brought together in one, such as in Still Life Collage, 2015.

In the 1970s, attempting to free himself from what had become a signature style, Loving began destroying his hard - edged cube paintings and stitching the torn strips of canvas together to create large - scale, brightly colored geometric compositions, an action that echoed the quilting he had studied as a child.

Just as you would expect from 18th and 19th century depictions of great battles, his oil paintings feature various characters thrown together on a single canvas, each involved in his or her own activity and reacting to the chosen situation in different ways.

As with the Corporate Logo Paintings, which feature abstracted and blurred logos printed on canvas, the new series of Aged Paintings appropriates corporate signage in various stages of decay, clustering many together on one canvas to create new contexts and meanings.

Many of the canvases were slanted and bolted together to create diamond shapes that were combined with rounder shapes that Mangold himself has described as looking like heads, or egg shapes.

Sewing together canvases, which had previously been part of Pindell's artistic practice, took on new meaning for her after the accident; while still making use of paint, glitter, and chads in these pieces, she also includes images of body parts, houses, and diners, as if she is stitching herself back together through canvases.

In this print, she represents her modus operandi by depicting stacked recursive canvases and titling the work «Proclitic,» an adjective used to describe words that are so closely connected in pronunciation that they are pronounced together, such as, «t» was.»

As a painter, she reinvented the modern figure (mostly female, in her case) together with a handful of other 1990s brush - and - canvas radicals (including Neo Rauch, Chris Ofili, and John Currin).

Alan Shields deconstructs the very concept of a painting on canvas in Devil, Devil Love, as does Kim MacConnel in Jingle, where unprimed fabric is painted, cut into strips and sewn together.

Taken together, the exhibitions illuminate the ways modern and contemporary artists have embraced creative processes and a variety of materials that move beyond traditional media — such as paint on canvas or charcoal or pencil on paper — to create their art.

New palette knife and paint flow techniques, together with the use of multiple canvases as a means of creating visual interaction, provided her with a most stimulating and experimental medium.

The tendency toward unpolished geometric abstraction — which Powhida refers to as «D.I.Y. Informalism» — is represented by three white, silver and pink canvases hammered together in bulky, asymmetrical shapes.

Taken together, the totems and monochromes self - reflexively distill the constitutive elements of painting — canvas, stretcher, paint — even as they insist on their relationship to the everyday, on their grounding in the world.

While in New York the artist's ideas of space, time, energy, the cosmos and how Matta brought them together on canvas gave birth to the New York School of Painting, the Abstract Expressionist Movement and influenced artists such as Robert Motherwell and Arshille Gorky.

When taken together, the works stridently emphasize the paper itself as object (as it is curled, crumpled and distressed, floating on a field of white gessoed canvas) as much as the implicit condition of easy dissemination and reproducibility critical to propaganda and the explicit message of class and power contained in the imagery.

Inside, visitors will find Planned Obsolescence, the inaugural exhibition curated by Khorasheh and Herget — who studied together at the Sotheby's Institute of Art — featuring Horowitz's most recent works on paper and canvas, as well as his pieces from a year - long project to create one drawing a day for 365 consecutive days.

He's made multiple casts of his rectangular cardboard «masks» in bronze and then used them as canvases for some energetically messy abstract painting that's often woven together with a lot more subtlety than it seems.

The survey will bring together the artist's key bodies of work — including her early shaped canvases, freestanding sculptures, and light encasements that she engineered in the mid-1960s, as well as her breakthrough White Light paintings, begun in 1968, and the Black Earth series that she initiated after moving in 1970 from downtown Los Angeles to Topanga Canyon, where she lives and works today.

«We were watching the same landscape and started painting together what we saw,» says Sone, who works side by side with Weissman on the same canvas as they try to crystallize their experience at the end of a day of skiing.