Not exact matches
Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible
layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these
paintings did not take long to make... The works in the exhibition raise the question, for me,
of what it is that we value about
painting right now —
where we locate meaning and value in
paintings made quickly.»
Of central focus to his oeuvre are his monochrome works where — using layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movement
Of central focus to his oeuvre are his monochrome works
where — using
layers of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the paint across the surface in continuous rhythmic movement
of oil or acrylic gel on hard reflective stainless steel, aluminum or Perspex — he combs the
paint across the surface in continuous rhythmic movements.
Liat Yossifor's gestural
paintings are the result
of three - day sessions
where she approaches each canvas with one thick
layer of oil paint.
Sounds like your
painting has «sunk in'this is
where different amounts
of oil have soaked into the support (your canvas) and made the
painting look dull and «dead» this is exactly what you want to have if you are building up the
painting in
layers, if you have finding it hard o judge the colours you can «
oil out» the canvas.
The
paintings are executed in
oil, built up with many
layers of luminous color, including bright yellow, red, and several different blues, in addition to black and white, pale gray and subtle white - on - white works,
where shadows are an integral part
of the image.