a piece of art about nature and humans symbolised by a hand with sprouts of trees from the fingertips

Result #1

a piece of art about nature and humans symbolised by a hand with sprouts of trees from the fingertips. In this case the hand represented the sun, which grew in the trees and shone on the painting; the spray, which blossomed from the tree tops, was called a fruit. In her recent show, titled Untitled, 1992, an enormous slab of clay containing several intertwined wicks, each different, made of broken copper rods, was covered with a green green resin with a shot of red paint. The process of weaving wood into wicks is similar to the process of collecting seeds and providing natural growth in Debs work. In the second painting in the show, Debs hand creates a central figure in the bottom center of the canvas, placed next to a white pool of red paint. It is clear that the hand represents the sky—the sky is a representation of the earth. The hand represents the figure of the person, symbolizing the atmosphere and the light of the world.In a recent show at the same gallery, Debs showed a group of paintings with palm fronds on which form was made of ceramic. In the palm of a painting entitled Sonora Nights, 1992, two of the main figures—a woman in white clothing and a woman in a pink skirt—were rendered with full-bodied, dripping white lumps. On the back, close to the surface of the painting, were palm fronds drawn in pure white. The contours of the fingers are similar to those of the hands of the artists sister, who has also worked with the same hands. In some of the paintings Debs has painted, the hands are bare, or the palms have been stained in various colors. In the work of both these sisters, the hand represents the hand of nature and the body of the mind. The palms, palms are the most sacred of organs and, therefore, are most sacred to women.

Result #2

a piece of art about nature and humans symbolised by a hand with sprouts of trees from the fingertips. These flowers were later sliced by a knife at the centre of the canvas. The broken-down armature that supported the strong floral-floral motif is partly uncovered; the severed tendrils cling to the surface of the canvas, staining the surface and supporting the figural presence. The painting can be viewed at the Via di Corazzani Museum in Rome, where it is on permanent display.The graphic phrase developed organically from Sperone, an antinuclear physicist, who writes on the back of the paintings. He has studied the rhetorical and symbolic implications of nuclear fission, the neutrino, and the nucleus—all on the same page. The paper of plants, he writes, is the same as the structure of the nucleus: the nucleus and the flower, the fruit and the herb. The flower, as the seed, is a phantasm of the atom; the plant is the nucleus of the universe. These words are similar to the statements in the works of the sphinx, the symbol of chaos, who is depicted as a ghostly figure standing on the head of a golden halo. The halo has been inverted by the hands that are linked to the figures knees, and it is also a symbol of the fragility of the plant. In Sperone, the apple, the fanged creature, is torn apart by scissors that twist around its head. The severed nymph and the hand holding it are the same. The apple is the same as the tree in a painting by German existentialist philosopher Ludwig Wittgenstein: plants grow in the same way as trees; in a similar way. By mirroring the apple, Sperone brings into focus the commonalities of the human condition and the plants and fruits that animate it. At the same time, the mangled armature that supports the plant forms a twisted arachnoid.

Result #3

a piece of art about nature and humans symbolised by a hand with sprouts of trees from the fingertips of the tree. In this room the three pieces were installed side by side, like gesticulating an organ, but there were no lines to trace between the three works; the paper and wood surfaces were saturated and ragged. Though the gesture was very clear, it was cut short by a band of tape that stuck to the back of the paper and hung loosely in the air.In addition to the books, the exhibition also included drawings, paintings, and a sculpture from the series Pangoria e.M.N.S.A. (Painting for the Figures), 2003, a small, yet dramatic installation created especially for the exhibition. The drawings are descriptive and descriptive, reminding us that the figures are not images but part of a single structure—a field of figure on ground. In this installation, each figure stood on a single branch and was draped over a thin wood block. The surface of the block was painted black. Each figure had an expression on its face, which could be read from afar or from a few feet away. The figure on the ground—a little more than a foot high, seven feet wide—was more than three times more massive than the first one. A six-sided mass, the mass was divided into two parts and was painted black, like a color television set, a black-and-white photograph, or a tuxedo. The head of the figure lay on a green mat covered in gold thread, with the tips of his fingers covered by white eyelashes. The form of the head was similar to that of a cat. In the background, on a pale background, was a crudely carved headstone. The huge white figure in front of him seemed to be standing up, even if he was clearly dead. In the background, a red light enveloped the entire room. This artist is actually a ghost; he is not dead, but he is living.

Result #4

a piece of art about nature and humans symbolised by a hand with sprouts of trees from the fingertips. To be sure, there is a political undertone to Tinskerss work, as the playful fairy-tale world of this carnival-like fair was punctuated by the scenes of violence and pain. But it is Tinskers response to the theatricality of the performance of his play in the gallery that is the most important element in his production of the original. The drama in the piece—which began with a four-day party in which the main characters were involved—was recorded on video. And not the most unusual thing about this kind of production in this form—theres a lot of action in it, in fact, the shows central text is a battle sequence from the play, in which the scariest of the main characters, as seen from the outside, are pitted against the other, most innocent of members of the cast: a girl from the fourth-floor gallery dressed as a fairy, a monkey who leaps about on a swing, and a girl who breathes, kisses, and caresses her partner. The animators are dressed in costumes that look exactly like those worn by the characters from the play; the props are actually made by the artists himself and, of course, the costumes are designed by the artist, as well as by the Spanish magician, Alberto Giacometti, the first person to hold a work in a museum.The original version of the play, with its famous ballet, The Marriage of Figaro, presented a fictional scenario about the married life of a young girl who grew up with two brothers, one of them an inventor, the other a lawyer. In this play, Figaro is an inventor who seeks to be friends with the boys, but they cant be friends with him. Because they cant be friends, he disguises himself as a woman, and the two boys hide in the woods, where Figaro has an early date with the girl.

Result #5

a piece of art about nature and humans symbolised by a hand with sprouts of trees from the fingertips, like an enchanted forest. In Ealing, the artist put on a crown and adorned the crown with flower stems, elaborately applied a natural-technological process that breaks down the plant stems into tiny components. The crown was shaped into a semicircular form resembling a womb, and its scalloped top was lined with tiny, tiny, delicate buds, some of which had been transplanted to the artist in a lab.The exhibition began with a single painting on a canvas—a striking example of the artists prodigious vision. Untitled (wood, floor, plants, hand), 2006, included two works that reimagined in different ways the basic relationship between painting and nature. In the upper-right-hand corner of the canvas, for example, was a print of a wood carving that the artist had cut from a larger piece of wood. The piece of wood seemed to be the sole source for the carving, and it was painted in pink. The grass on the left-hand side of the wood resembled dandelions; on the right, flowers; on the right, flowering plants. The paintings title evoked the natural world—a figure that was not only present but also infinite. A third work from the series La Formale II (Long, fiber, fiber), 2006, similarly created a parallel dimension between nature and artifice. The artist had cut two beams of fiberglass, each about six-and-a-half feet high and composed of 10,000 strands of grass, which he placed on a shelf. The fiberglass hung like a giant strand of a tree. The fiberglass floor reminded me of the plants in the series La Formale II, but there was nothing artificial about them; they could not be manipulated or manipulated. The grass on the floor became like a root. The blue-green grass became a spiderweb; the plantlike nature was full of life.