abstract wide black rough brushstrokes on a textured white canvas

Result #1

abstract wide black rough brushstrokes on a textured white canvas, and a slathered-on, almost transparent, greenish-yellow area with the word KITTY (all works 2018) painted in block letters. Here, the artist placed a thermoplastic polyester resin plate in the middle of a narrow, shallow, flat room, where it was partly submerged in a special-purpose solvent that was then sprayed with acrylic paint. The resulting images were then soaked in a mix of enamel and clear enamels, allowing the paint to dry and become clear. The result was a kind of filmlike sheeting that recalled the effects of filmstriping. This filmlike layer was then sprayed with white enamels and coated with a coat of Tamiya paint to create a kind of glossy, shiny finish. At the center of the painting was a large, rectangular piece of matte black polyester that had been painted to look like a brushed-off, color-saturated surface. The surface was then scraped off with a square saw and stained with a thick, pinkish-purple pigment. The resulting image was then photographed and printed on a canvas. A small white dot of the same paint was also applied to the bottom of the canvas, which was then removed and refabricated. The resulting objects were then installed in the gallery, where the artist placed them on the floor and lit the gallery lights with a small, light-filled incandescent bulb.The show also featured two large-scale works, each titled Porcelain, and two smaller works on paper. The first, a painting based on a real ceramic bowl, was on display in a separate room. The other, a small-scale version of the same work, was on view in the gallerys second room.

Result #2

abstract wide black rough brushstrokes on a textured white canvas, a low-key, even-light palette. A smaller, more abstractish work, Untitled, also titled after the artist, is a nine-foot-long, unpainted canvas in which the abstracted color and the abstracted brushstrokes are joined. The surface of the canvas is a muted, dark, and monochromatic gray.The paintings are hung in a large, open room. The paintings have been polished, painted, and rusted, but the paint is not nearly as thick as it looks. The surface is smooth, glossy, and glossy. The surface is not polished, but stained, smeared, and scratched. The paint has a shiny, glossy, and reflective finish. The paint is smeared on the canvas, but the paint does not smear; the paint does not move. The paint is applied in a continuous, irregular, and uneven manner, with only a few distinct, localized marks. The paint is applied to the surface in a single stroke, sometimes in three or four strokes, sometimes in five or six. The paint is applied with a continuous, overlapping stroke, and the paint is applied on the surface in a continuous, irregular, and uneven manner. The paint is applied with a continuous, overlapping stroke, and the paint is applied on the surface in a continuous, irregular, and uneven manner. The paint is applied to the surface in a continuous, overlapping stroke, and the paint is applied on the surface in a continuous, irregular, and uneven manner. The paint is applied to the surface in a continuous, overlapping stroke, and the paint is applied on the surface in a continuous, irregular, and uneven manner. The paint is applied to the surface in a continuous, overlapping stroke, and the paint is applied on the surface in a continuous, irregular, and uneven manner.

Result #3

abstract wide black rough brushstrokes on a textured white canvas, which alternates between the flat and the geometric, a patterned, unreflective material. The result is a complex, fragmented image. The brushstroke, as a result, appears to be a halo. The same material is used to make the flat-screen monitor, which also appears to be a halo, and in so doing creates a space between painting and screen. This transparent screen, which is also the surface of the painting, is layered with the same material, so that the flat image is seen through a screen of mirrored reflections. In the process, the two surfaces are shown to be one: the flat screen is seen through a mirror, while the painting is seen through a screen. The mirrored image is repeated in the same manner, and the painting is seen through a mirror. The viewer, in this case, is not simply seeing the image on a flat screen but perceiving it through a mirror. This process is repeated until the two surfaces merge, producing a three-dimensional image. The viewer is then able to see the painting through a screen. The mirror, in turn, is used to make the image appear to be a painting.In the new work, the two surfaces are not always seen through a mirror, but the mirror is a non-objective material. The mirror is also a material that affects the image, and the material is not only the mirror but also the surface. The mirror is a physical surface, and the mirror a material that affects the image. The surface is a physical surface, and the mirror a material that affects the surface. The surface is a physical surface, and the mirror a material that affects the surface. The surface is a physical surface, and the mirror a material that affects the surface. The surface is a physical surface, and the mirror a material that affects the surface. The surface is a physical surface, and the mirror a material that affects the surface.

Result #4

abstract wide black rough brushstrokes on a textured white canvas. The brushstrokes are arranged in a pyramid-shaped formation, as if to suggest a grid, but instead they are only parallel and move away from each other at an angle. The result is a fuzzy field of saturated color. In the middle of the painting, the colors are varied by black. A large, irregular, vertical line, in the middle of the painting, forms a triangle. A rectangle of black is drawn around the center of the painting. A rectangular rectangle of black is drawn along the right edge of the painting. A square of black is drawn along the left edge of the painting. A square of black is drawn along the right edge of the painting. The painted areas are painted in the same manner as the brushstrokes, so that the colors are evenly distributed. A blue oval, in the middle of the painting, is a diagonal line. A rectangle of black is drawn around the center of the painting. A square of black is drawn along the right edge of the painting. A rectangle of black is drawn along the left edge of the painting. The painted areas are painted in the same manner as the brushstrokes, so that the colors are evenly distributed. A blue oval, in the middle of the painting, is a diagonal line. A rectangle of black is drawn around the center of the painting. A square of black is drawn along the right edge of the painting. A rectangle of black is drawn along the left edge of the painting. The painted areas are painted in the same manner as the brushstrokes, so that the colors are evenly distributed. The painted areas are painted in the same manner as the brushstrokes, so that the colors are evenly distributed. A blue oval, in the middle of the painting, is a diagonal line. A rectangle of black is drawn around the center of the painting. A square of black is drawn along the right edge of the painting. A rectangle of black is drawn along the left edge of the painting.

Result #5

abstract wide black rough brushstrokes on a textured white canvas; the words from a pamphlet on the topics of pornography, sex, and violence appear. In another work, the work was divided into two parts, each of which was framed by a white sheet of Plexiglas. The first part was comprised of a series of black-and-white images of a naked, gesticulating man with the word PORN (male) written on his back. The second part consisted of a series of abstract, fragmented images of a black-and-white woman, one of which was a photo-graph of her naked body. The latter group was titled CULTURALISTIC REPORTS: The Perils of Ideology and the Irrationality of Power. The latter were made from a series of photographs of black-and-white photographs of the same image, which was also titled CULTURALISTIC REPORTS: The Perils of Ideology and the Irrationality of Power. The black-and-white images of the first two images were collaged together and then combined into a single photograph. In the third work, the black-and-white images of the first two images were collaged together again, but this time into a single photograph. The collages were then displayed in a small window in the gallery. The black-and-white images of the third were then exhibited in a large room. The collages were also displayed in a small window, but the white paper that covered it was not. The works were titled PORN, DIVINE, and IMMATERIAL.A text on the back of the works on the gallery walls, which was printed in black and white on a small piece of Plexiglas, stated that the collages were made to fit together in a particular way, and were made by adding the same material to each other.