Sentences with phrase «with illusory spaces»

The Flat Side of the Knife combines physical spaces with illusory spaces that appear only in mirrors, reflecting what the artist refers to as «layers of consciousness,» akin to psychological and hallucinatory spaces in the mind.

Not exact matches

If we allow Blake's apocalyptic vision to stand witness to a radical Christian faith, there are at least seven points from within this perspective at which we can discern the uniqueness of Christianity: (1) a realization of the centrality of the fall and of the totality of fallenness throughout the cosmos; (2) the fall in this sense can not be known as a negative or finally illusory reality, for it is a process or movement that is absolutely real while yet being paradoxically identical with the process of redemption; and this because (3) faith, in its Christian expression, must finally know the cosmos as a kenotic and historical process of the Godhead's becoming incarnate in the concrete contingency of time and space; (4) insofar as this kenotic process becomes consummated in death, Christianity must celebrate death as the path to regeneration; (5) so likewise the ultimate salvation that will be effected by the triumph of the Kingdom of God can take place only through a final cosmic reversal; (6) nevertheless, the future Eschaton that is promised by Christianity is not a repetition of the primordial beginning, but is a new and final paradise in which God will have become all in all; and (7) faith, in this apocalyptic sense, knows that God's Kingdom is already dawning, that it is present in the words and person of Jesus, and that only Jesus is the «Universal Humanity,» the final coming together of God and man.

Time - space existence, therefore, as the arena of man's contact with the divine, is not a deficient mode of being, it is not illusory.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s that included illusory and optical constructs exploring space and creating a tension between the two - dimensional and three - dimensional worlds.

Neto's work is not suggestive of an illusory attachment to some invented past utopia, but is rather concerned with the contemporary negotiation of space, place, social relations and the role of the local in the global.

With a sustained interest in geographic and atmospheric phenomena, her practice seeks to examine the changing possibilities and conditions of perception and light, tracing the illusory spaces that can both imitate and invert the natural world.

Through recent installations that include filmed performances, where projections of the «ghosted» human body wash over sculptural elements, the artist attempts to create an alienating / disorienting illusory effect that reflects an increasing loss of the corporeal gesture in the every day, the infinite attempt at calibrating the body to technology, as well as the entrapment of the human psyche within it; manipulating and playing with memory, space and time.

What I'm trying to say is that the «triggers» (good word) of the space illusion are only going to work because they are associated with a particular type of spatial sensation in the real world, so that the illusory space that is evoked is actually tied to that particular spatial sensation, making the pictorial space at least in this sense figurative.

Inspired by the contour of a favorite chair from her childhood, in combination with a sand painting she recently found in a garage sale, the sculptures explore positioning in space, and real vs. illusory depth, as well as pictorial language in general.

This series of paintings is fresh and exciting with novel compositions and illusory effects that create a tension between the two - dimensional picture plane and three - dimensional space.

Employing both digital and manual processes in the different stages of his work, Elrod's practice explores the currency of twentieth century abstract expressionism in the context of a computer dominated, digital culture characterised by our engagement with the screen and its illusory space.

As the press release states, the work seeks to «invite the beholder to enter into a corporeal relationship with [the paintings], to push off from them, to plunge into them, and so to explore the often enigmatic - seeming illusory space that painterly means have created.»