Sentences with phrase «white surface seems»

Not exact matches

On the surface, decreasing our reliance on imports from Saudi Arabia and the rest of OPEC might seem like a resounding win, but a closer look shows a situation that's not nearly that black and white.

Once it was when from the summit of a high mountain I looked over a gashed and corrugated landscape extending to a long convex of ocean that ascended to the horizon, and again from the same point when I could see nothing beneath me but a boundless expanse of white cloud, on the blown surface of which a few high peaks, including the one I was on, seemed plunging about as if they were dragging their anchors.

Strangely it seemed, that is, until the fish rolled on the surface and we could see Judge's red and white swimming plug hanging behind one of the tarpon's gill plates — a foul - hooked fish.

Dr. Benestad states: «From regression analysis cited by the authors (Douglass and Clader 2002, White et al. 1997), it seems possible that the sensitivity of global surface temperature to variations of total solar irradiance might be about 0.1 K / Wm -2.

Whether it's telling a little white lie on an online dating profile or being a full - blown Pinocchio, lies seem to have a way of rising to the surface.

Amid the white walls and slick surfaces of this film, the characters seem more like lab rats than human beings.

The answer thirteen years down the road seems obvious, although the Lewinsky scandal in Bill's White House didn't surface until 1998.

On the surface these beautiful white sand beaches, located 4 miles from Lihue and 2 miles from Mahaulepu, seem within easy reach.

Shallow shipwrecks at White House Bay can seem from the surface.

It allows you to inhabit the body of a villain, and shows that evil acts are rarely as black and white as they seem on the surface.

In dappled curves that seem to dance upon their white surface, I remembered the joy of stargazing and finding amazement in the vastness of the unknown.

He still works with hard edges and geometry here and there, but the white circles, diamonds, triangles, and tapered rectangles seem to float more freely above the surface.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

A damaged face floats in black watercolour on white paper, puckering the surface so that the pain seems redoubled.

Shapes seem to advance and recede from the surface, coming back to the study of contrasts present in her early black - and - white paintings.

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.

Such a brass - tacks perspective would seem to make Forge's pointillist abstractions strange bedfellows with the all - white paintings of the American pragmatist Robert Ryman — both artists approach each new work as tabula rasa, an unpremeditated engagement with the empty surface (in a 1985 interview, Forge cites Monet's claim that he painted «as though he were a blind man who had just recovered his sight»)-- but there is an experiential connection as well.

Wheeler's RM 669 (1969) comprises curved white walls encased by a floor and ceiling that seem to recede with every step one takes toward the square of light positioned on the far wall, rendering viewers unable to fix their eyes on any surface.

The mottled, gray - and - white, Styrofoam bricks seem almost made of stone, and it is possible to momentarily believe we are instead before the face of a mountain watching water cascade from its craggy surface.

Coupled with white shapes that could seem either solid or transparent, laying flat on the surface or implying a geometric solid, Held used these ambiguities to reintroduce the idea of imaginary space back into painting.

The textures and surfaces of the materials seem like abstract conglomerations of flesh and blood, only enhanced by the white cube space of the Lisson Gallery, London.

When paired with white marble and mirrored surfaces the trio creates a fluid design that makes the room seems as if it has increased in space.