Sentences with phrase «which pictorial space»

Confirming the particularly visual contingency of her paintings and prints, the non-perspectival experience of the sea front panorama referenced above was echoed and confirmed in Bridget Riley's own words: «Pictorial space has to be about something on a two - dimensional surface, in which pictorial space happens by pictorial thinking... perspective is by no means the only way.»

Not exact matches

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

One of the namesake founders of the legendary if short - lived BMPT collective — named for its constituent members Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni — Buren has since built his reputation on his instantly recognizable leitmotif that runs through his oeuvre: a set of vertical stripe, which serve to unite pictorial space with the surrounding architectural space, and meld composition with construction.

Through the use of materials such as nylon flocking, which is a material commonly found in wallpaper, sand, resin and acrylic paint, the highly physical surfaces create a sense of deep pictorial space.

In my view this response is prompted by the way in which you present and transform the body as such: as an erotic, a geometrical, an architectural entity in a pictorial space.

In contrast to the traditional verticality of the renaissance picture plane, which is dependent on head - to - toe correspondence with the viewer, with his combines Rauschenberg introduced the «flat - bed» plane and in doing so completely reoriented the pictorial surface so that it was no longer representative of a world space, but an analogue of operational processes.

Alongside this three - dimensional structure, highly delicate pencil lines suggest two - dimensional cartographic views, which are then themselves again complemented in the pictorial space by photography and painting.

(«Hopper bets everything on composition, which, in his work, is almost as tautly considered as in a Mondrian,» Schjeldahl wrote in his 2007 review, in which he also advised viewers to sketch Hopper's paintings in order to better grasp them: «Just get the main shapes, including those of empty space, and how they nest together in the pictorial rectangle.»)

A degree of mannerism is apparent in his later paintings, in which wraithlike figures «float in a watery netherworld» in a deeper pictorial space than that of his compositions of the 1930s.

Since taking up landscape painting in the early 1970s, Rackstraw Downes has devised and refined a quirky brand of realism in which close attention to visual fact vies with an idiosyncratic conception of pictorial space.

Without a visual anchor, viewers can only drift within the spaces in which grid and cross intermingle, uncomfortably caught between two - and three - dimensional spaces where boundaries between pictorial depth and surface flatness begin to get fuzzy.

Even so, there is a special quality about these California abstract painters that carries not only a classical context in terms of pictorial space but also a certain unpredictable eccentricity, which the Hammersley exhibition at Ameringer McEnery Yohe expresses paradoxically on both a modest and heroic level.

To this end, the vastness of Gagosian's 21st Street gallery is a fitting space in which to encounter the work of an artist deeply influenced by the storytelling richness of ancient epic and myth, and to be swept along on Twombly's own odyssey of pictorial exploration.

«I am trying to create something that embodies or dramatizes the kind of psychic space that exaggerates certain ideas and experiences,» Casebere says, describing his pictorial method, a strategy in which the models exemplify what might be characterized as the architectural unconscious of a given spatial system.

What sets Voigt apart from the legacy left by this generation of artists is her ability to present moments during which her inner world (experiences, emotions, memories) engages with the outside world, rendered as complex pictorial spaces that come together in a marvelous symphony of forms and ideas.

Digesting this in the studio, Cooke made one of the first paintings from this body of work «No Holidays,» in which the space is entirely sucked up by paint, where each mark quite literally becomes both a support and a threat to the pictorial space.

And initially tapestry was really good for me because it has very little pictorial depth - things float in space, and nothing recedes; it's all on the same plane - which is how I paint.

From a reservoir of largely vintage ephemera, Letscher creates a dense pictorial space in which words, images, colors and shapes tell a story about the world we imagined for ourselves as children and the often - painful real world we experience as adults.

One of the more stylistically influential members of the so - called «Pictures Generation» — with which, like Cindy Sherman, she was grouped despite not being included in Douglas Crimp's 1977 «Pictures» show at Artists Space — she devised a signature pictorial approach that married intellectual concepts with utterly refined, elegantly minimal presentation.

Paul Corio posts the second part of painter George Hofmann's theory of a «new kind of pictorial space beginning to crystallize in painting which he refers to as «Fractured Space.»&rspace beginning to crystallize in painting which he refers to as «Fractured Space.»&rSpace.»»

I allow the paint to bleed, smudge, peel back at times, which disrupts the illusory or pictorial space, emphasizing the materials and surface instead... the way in which I construct illusions of depth and space, where certain patterns seem to float in front of others, screens of lines that you are looking through, into another internal space.

These developments, Greenberg argued, freed color and pictorial flatness and non-depictive space for a sort of self - display toward which he believed modern painting had long striven.

It unfolds in three parts: the first is arranged around DOB, a character invented by the artist and considered to be his alter ego; the second around a pictorial fresco which references the story of the «EIGHT IMMORTALS» of the Taoist religion; completing the display is a «KAWAII» space of sculptures and animated films.

I was thinking about the soul, or a sense of space in which something shimmers, in which light shifts and re-appears, a sort of haunted space, which is Callum's pictorial space for me.

We can now see his earlier pieces in a new way; if each brush stroke is both abstract (in form and idea) and representational (of a stroke, of «painting»), could there be a space of «pictorial abstraction» in which the duality can persist?

The drawings, which seem to breathe into the pictorial space and capture the tension between chance and intentionality like the philosophical action of the Zen «ensō.»

Ever since then I've been thinking about ways in which I can stretch the space in a sequential frame that would embrace ruptures in my own pictorial application while being receptive to the surrounding architecture.

To enter the pictorial and psychic space of one of Patterson's images is to tumble into a fantastical realm in which distinctions between form and symbol, surface and depth, and the sublime and the absurd are lovingly blurred.

In his quest to transcend the idea of easel painting, the pictorial space is enlarged across expanded canvas fields, on which calligraphic signs reach maximum intensity through minimum resources, reflecting the artist's attempt to reach a square one of painting through simplicity and emptiness.

Because of his working method, with the paper flat on a table, he could never really see how the picture turned out until it was framed, which makes his vertiginous, highly expressive use of pictorial space all the more impressive.

It is a changing portrait of society, pictorial space animated by the moving backdrop of the room as well as the coloured ink image which since 1973 has been directly silkscreened onto the surface.

These pictorial ideas are the basis of her artistic work, which investigates material and performative qualities of spaces in different contexts.

Joanne Mattera utilises a diagonally skewed grid as a structuring mechanism in her Chromatic Geometry series of paintings, enabling her to realise a set of diamonds intrinsically linked to the edges of the support, truncated by coloured triangles and held in a pictorial space by the addition of a central horizon line that divides the painting into two different coloured grounds before which the triangles appear to float.

To enter the pictorial and psychic space of one of Patterson's paintings is to tumble into a fantastically overdetermined realm in which distinctions between form and symbol, surface and depth, and sublime and profound are lovingly blurred.

Ultimately, Guston's Rome paintings tell us what he'd been so sorely missing during the period in which he worked as an abstract painter: pictorial space, historical ties, and a feeling of mattering, of addressing life in the artist's present moment.

One conceivable contrast in the quality of pictorial space, which interests me at the moment is the difference between stable, specific space and unstable, ambiguous space.

Her evocative use of pictorial space and her juxtapositions of thick paint and textured washes have a unique and timeless quality, which is further enhanced by a conspicuous absence of contemporary signifiers.

If Stella's call for a new sense of space tends too quickly towards a literal - minded interpretation, the problem with Peter Halley's Neo-Geo abstraction was that it moved painting into a philosophical, theoretical, and technological / conceptual space which was literal or literalizing in its very own way (e.g., as geometric abstractions came to serve as the pictorial ««models» of intellectual concepts»).