Cody Davis's figurative oil paintings are

Result #1

Cody Davis's figurative oil paintings are <|startoftext|>The first work one encountered in her exhibition The Painters Studio was the large and sweeping Gagarin, 2009, a twelve-and-a-half-foot-high, wood-and-plaster wall sculpture of a giant, two-hundred-pound-aluminum giantess whose face is carved out of a cup of hot, filtered water. The piece's title, which translates from English as the sound of water falling, is taken from an old-master painting of the same name, which depicts a woman singing a lamentation of love. The woman's face is also carved out of the cup of water, but it is replaced with a head of Zeus. Her head is covered by a large, dark helmet, which bears a small crescent moon and a star that looks like a hammer and sickle. The helmet is covered in a heavy, black cloth that looks like a girdle, and it is attached to the head with a cord, as if the helmet were a blood vessel. In the context of this large-scale piece, the imagery evokes a sense of drama and violence. But what is the point of all this? Is this an allegory for the artists studio?The other work in the gallery was Purity, 2009, a thirty-two-foot-long, twelve-and-a-half-foot-high wooden sculpture of a woman. She is clad in a black dress, her head turned toward the viewer, and a pair of her hands wrapped in a paper bag. Her left hand is painted black, and her right hand is decorated with a bowl of herbs. The sculpture's lightness of scale is offset by the fact that the woman's hands are covered in paper bags, as if she were carrying them out of the studio. The contrast between her blank, blank stare and the wooden sculpture's heavy, concrete quality is striking.

Result #2

Cody Davis's figurative oil paintings are <|startoftext|>Pamela J. Wilsons recent exhibition of paintings and sculptures, her first solo show in New York, is a big one. A recent graduate of the University of California, Berkeley, with a degree in art history and fine arts, Wilson has developed a style that combines a painterly sensibility with an abstract and abstract sense of space. She uses a mixture of oil, acrylic, enamel, and gesso on canvas and silk-screen paper, and uses the artists own body as her subject matter. The work consists of various pieces of paper that Wilson has used to transfer her own figure and her body to the canvas, or to draw with oil paint. The most successful of these were the works in which Wilson seems to have been drawn to her own body, rather than simply to her abstract form. In a series of oils, the artist's body appears to be trapped within the compositions, so that her nude body is trapped within the painting, as if she were a painting within a painting. In other works, the body appears to be used as an abstract sign. For example, in a small oil, a figure appears to be trapped within a square canvas, as if she were some kind of abstract string. In a more successful piece, Wilson has created a set of twelve three-dimensional figures, which combine a body with a string, as if they were the strings of a string instrument. But this string instrument is an abstract string, and the body is no more abstract than the string. The body is a body, not a string.Wilsons body and her body's use are developed through the use of ink and acrylic on canvas. Her figures are often painted over with gesso, and the ink has been applied in various ways, as if it were a crayon drawing.

Result #3

Cody Davis's figurative oil paintings are <|startoftext|>The problem with the notion that a work of art is an object is that it implies that art is something to be valued and valued at the same time. This is a false dichotomy. The problem is that the notion of value is no longer an absolute, but one that requires the artist to be conscious of his or her own value, and to take into account the context in which that value is perceived. This is the only way to deal with the question of value, and art must deal with it. The artists involved in this kind of painting have to deal with it, but they do so in a way that is not overly involved with it. It is not too much to say that they have to do with it, or not to.The question of value is central to all painting, but this is what the work of art does. It creates a context which is of equal importance to that of the work of art. The paintings and objects, in turn, create a context which is relevant, and which is of equal importance to that of the work of art. The context in which the paintings and the objects are perceived is one of contemplation and context. They are of equal importance, and they are perceived simultaneously. In other words, the work of art is something which is seen in a context that is relevant to the work of art. The paintings and the objects, in turn, create a context which is relevant to that of contemplation and context. The context in which the paintings and the objects are perceived is one of contemplation and context. They are of equal importance, and they are perceived simultaneously. In other words, the work of art is something which is seen in a context that is relevant to the work of art. The paintings and the objects, in turn, create a context which is relevant to that of contemplation and context. The context in which the paintings and the objects are perceived is one of contemplation and context.

Result #4

Cody Davis's figurative oil paintings are <|startoftext|>The work of an artist is to be concerned with the interplay of perception and the senses. It is to be concerned with what is perceptually perceptible and what is not. This is the quintessential art of perception, but one that is itself a perception of the senses. In other words, the work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities. It is not the objects perceptual qualities that are important, but the perceptual qualities of the work. The work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities. It is not the objects perceptual qualities that are important, but the perceptual qualities of the work. The work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities. It is not the objects perceptual qualities that are important, but the perceptual qualities of the work. The work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities. It is not the objects perceptual qualities that are important, but the perceptual qualities of the work. The work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities. It is not the objects perceptual qualities that are important, but the perceptual qualities of the work. The work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities. It is not the objects perceptual qualities that are important, but the perceptual qualities of the work. The work of an artist is to be concerned with the perceptual qualities of an object. And what the viewer sees is the works perceptually perceptible qualities.

Result #5

Cody Davis's figurative oil paintings are <|startoftext|>As an introduction to this show, I'm going to give the impression that there are two groups of work in this exhibition, both of which are paintings. The first group consists of works in oil on canvas and the second consists of works in oil on canvas. The paintings, by and large, are done in a kind of airy, dry, almost minimalist manner. The canvases are often made up of a pattern of overlapping, overlapping, overlapping shapes which are almost always connected by a line or an arrow or by an arrow pointing down. In general, the shapes are fairly flat, and the shapes are often interrupted by edges which are made up of a single piece of canvas or canvas covered by a very thin cloth. The shapes are usually somewhat closed in a way that suggests a kind of infinity. The surface is mostly white, and the paintings are painted with a light, almost airy, texture which is both gorgeous and almost inelegant. The brushstrokes are often very delicate and almost cartoonlike, and the paint is applied in a kind of thin, very fine, almost talismanic manner. I think the paintings have something to do with the work of Daniel Buren, and they are quite unlike anything else he has done. They are very much like an impression which has been made on the surface of the canvas by a light in a way that is almost painterly. It is very difficult to say what these paintings are about, but there is a feeling that something is being felt, rather than just being represented. The works seem very familiar, although I never felt that they were; they are an almost formless, almost unrepresentable kind of painting. They are not as interesting as something like Jasper Johns, or as much as a lot of the sculpture that is being done in a lot of the new figurative painting.