Sentences with phrase «viewer moves around it»

The curvilinear geometries between the roots frame the view creating landscapes in the negative spaces that ebb and flow as the viewer moves around and under the piece.

As the viewer moves around the room, the construction is revealed and the rings disclose themselves as semicircular tubes mounted to a mirror.

The effect harnesses light and causes the painting to shift in depth and contrast as the viewer moves around it.

This color is itself cut with beeswax, at a low enough level not to conjure up associations with well known purveyors of the encaustic technique, like Jasper Johns and Brice Marden; it instead increases the sensation of the paint as dense and saturated, and gives it a subtle, changing play of light over the surface as the viewer moves around the work.

For example, Total Recall (2017) features a patterned velour atop Dault's composition of blue and yellow forms; as the viewer moves around it, like a lenticular print, the fabric changes color and appears to rise from the surface.

As the viewer moves around the work, the light reflected on the surface seems to be active and moving in various states.

The centerpiece of Timothy Nolan's exhibition, a latticed and stacked trapezoidal shaped sculpture shifts, melds and reconfigures as the viewer moves around the work and throughout the gallery, sometimes taking form as the elements of the piece interact with one another, and sometimes confounding viewers» experience of spatial dynamics within the work and the larger gallery space.

Showcasing major loans from the National Portrait Gallery alongside highlights from Birmingham's collection, the display will create a spectacle of turning in the gallery and will mirror the way the viewer moves around the space.

In Kauffman's work, the environment constantly shifts as the viewer moves around each object.

The silhouettes of the sculptural works continue this shifting as the viewer moves around the work, with an amorphous shape suddenly turning into a gaping mouth or a funny bird's head.

Combining the linearity of drawing with the materiality of painting, the surface gains sculptural volume when a viewer moves around the work, revealing the depth inherent to the negative spaces between each of the cards.

She continues to develop their possibilities in monochromatic works which are covered with undulating meshes that seem to fluctuate and dissolve as the viewer moves around them.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

In a return to video, Sze questions how we measure time and space, incorporating elements that shift and dissolve as the viewer moves around the piece.

«The whole idea of putting marks into the Breathing Panels is that as the viewer move around them they change depending on the view you take of them,» adds the sculptor.

The works in that room used a type of paint that could be seen only under such light, which in turn demanded that viewers move around the exhibition space both to accommodate themselves to the darkness and to view the paintings.

Not exact matches

A new 3 - D imaging technique enables viewers to track the life of living cells — how they grow and move around — without disturbing them.

By leveraging the precision, flexibility, reliability, and scalability of Dolby Atmos, you can conjure the story's sounds all around your viewers to make them feel like they're inside the action, and create a powerful, moving entertainment experience.

You can precisely place and move these objects around the viewer, including above and below, to create a complete audio environment with discrete sounds that perfectly follow the onscreen story and fully immerse the viewer in a more realistic, more visceral, and more emotive experience.

Dolby Atmos evolves the premier cinema sound experience for immersive VR audio playback over headphones or home theater systems to create powerful, moving audio that seems to flow all around the viewer.

I didn't like the PDF viewer b / c it came up so dang small, you couldn't see it, and if you enlarged it you were having to move the doc all around to see from side to side, so annoying.

Hey, I'm not sure how much interest there still is around something like this, but here's a hitbox viewer for the Steam ports of AC+R and #Reload: https://github.com/odabugs/kof-combo-hitboxes/releases There are a few issues remaining such as the lack of grab hitboxes, incorrect hitbox scale on a few moves like Millia 236H or May 236236S, and several projectile moves not showing any hitboxes in #Reload (doesn't seem to be an issue in + R), but overall most of the moves I've tested are correct.

His strives to create images that inspire and emotionally move the viewer into looking at the natural world around them.

The energy that imbues these pieces is infectious, and necessarily so: the viewer participates in the work by physically moving around the gallery: circling the glass sculptures to watch them sparkle from all angles; gazing up and peering down; approaching the paintings and inspecting them from sniffing distance, to reveal the secret symbols that construct their artful chaos.

The images are flat on the pictorial plane yet shift at angles and points of entry, allowing the viewer eye to move around yet denies total access into the work.

The less ridged and fixed shapes allow the viewer's eye to move around freely and flow outside of the fixed confines of a conventional picture plane.

The highly reflective surfaces of the Smith grouping and the multiple sound channels encourage viewers to move around the work, altering their relationship to the array of sound.

Shields challenges the viewer to move around his work as one does a sculpture, and color always stimulates my tendency to guess the theoretical underpinnings of the use of a spectrum.

The viewer is invited to move the chairs around, thus transforming both the sculpture and the projection.

These works, when standing idle or when activated by a performer six times a week (Fridays and Saturdays at 2 and 4 pm and 5 pm either by actor / performer Austin Purnell or performer Lollo Romanski), set the tone for the way in which all of the works in the exhibition change subtly as the viewer — or the sculpture itself — moves around the gallery space.

The stretchers that are normally hidden from sight and allow the canvas to become a picture exhibited on a wall, now become the physical object around which the viewer can move and look through.

Here a toy train hauls carts of tiny blue counter gadgets as it moves around the installation, which, according to Kent, serves to remind the viewer of Germany's enormous «railway system, which was built for coal but also took a vast number of humans to their death.»

The initial performance ended Saturday, but glo artists will appear in several of what Stallings calls, «Movement Choirs,» inviting viewers to participate in simple movements — walking, running, skipping, etc. — while moving around the museum's grounds.

Like Minimalism, she calls attention to the space around traditional sculpture, the space in which the viewer may move as well.

Rare as it is for the selfie generation to not snap and move on, the young viewers around me were leaning in, holding their mobile phones behind them, to ponder each line.

Stella's goal was to «keep the viewer from reading a painting» or «moving around in the painting.»

For her part, Goel says she wants viewers of her work to slow down and really look, «especially with so many screens and moving images around us.

They reveal their secrets only by forcing the viewer to move around their irregular faces and overlapping vertices.

In other words, although the whole space is filled with flowers, a hemispherical space is constantly being created with the viewer at its centre and the viewer is free to move around wherever they want.

As viewers stared into the images and moved around them, a radiant and flickering glow emanated through the mica and created a visual corollary to the mercurial quality of memory itself.

Because an installation usually allows the viewer to enter and move around the configured space and / or interact with some of its elements, it offers the viewer a very different experience from (say) a traditional painting or sculpture which is normally seen from a single reference point.

The works will range from wraithlike sculptural works like Ground Control (2008), a black helium balloon that moves around slowly and freely in one of the gallery spaces, to video works like Dream Machine (2006), in which the three primary colors alternate frame by frame at 24 frames per second, producing a jarring, disorienting effect on the viewer.

Another aspect that comes out in the retrospective is that I want the viewer to move around to interact with the forms.

This emptiness created by means of reserved enactments, minimal interventions and reduced gestures makes space for the relationship between the separate works, mutually charged by their interaction, and thus opens up the interpretative impetus for the viewer's perception that is driven not only by seeing, but also by moving around, feeling and hearing.

Fitzgerald's work structures the works around it, allowing the viewer to move between the art and the gallery space.

As the viewer walks around the table, they become conscious of the delicacy of the glass standing on its edge, the rocks that could easily be moved, and of the manifold compositional possibilities of the work.

The cones fill the gallery space while allowing the viewer to move around and through them.

In its move to Atlanta, the exhibition opens up a new strand of conversation around the history of the Black subject in the United States and asks viewers to make connections between the British and American formations of empire, racism, and colonialism.

They are composed of large aluminum spheres, fiberboard ellipses, hydrastone cubes and wooden ramps that were installed around rooms as though to intentionally obstruct the viewer from moving around them.

And, as intensely personal as his work was, there was something human and inclusive about the way he wished viewers to participate in his works — by moving around them, or passing through the spaces he created under and within them.