This series explores the properties of color and simple shapes to convey transformation

Result #1

This series explores the properties of color and simple shapes to convey transformation in the human body. The artist has created three small canvases, all Untitled, that show a group of women, some nude, dancing in groups. The group is shown from the waist up, and the women have been separated from the camera by a line of formation, as if they were in a dance studio, but with no one present to perform. In another painting, a woman is seen from behind, her arms and legs crossed in a gesture of surrender. The gesture is captured by the camera so that the body is visible only in a kind of awkward shadows. In the third painting, the women are shown from the waist up, but the camera is angled so that the body is seen from the side, so that the body is seen from the back. In the fourth painting, the women are shown from the side, but the camera is tilted so that the body is seen from the front. In the final painting, the women are shown from the back, and the camera is turned toward the body, as if it were a dollhouse. The body appears as a silhouette, a painted form that is perceived as a silhouette, a shape that can be understood only through the camera. The figure has been drawn, but the body is in the process of being painted over. The women are fully clothed, and the canvas is a naked one, but the bodies are blurred, suggesting that the figures are about to be torn apart. The body is being painted over, but not quite. The body is still there, but not quite. The figure is being painted over, but not quite. It is becoming a shape, but not quite a shape yet. It is becoming a shape, but not quite a shape. The shape is becoming a shape, but not quite a shape yet.The point is that the human body has become a shape, and that the transformation is a transformation. The body has become a shape, and not just a figure.

Result #2

This series explores the properties of color and simple shapes to convey transformation or, more generally, the complexity of the human body, and of the social process through which bodies are transformed. The exhibition also demonstrates the way in which the body is marked by the passage of time and death. The recent works that were exhibited here are just those that Gartiz has produced in his studio over the past few years, and are not related to his earlier works. The color is applied to the canvas with a brush that is easily recognizable and gives the appearance of having been used, and the paintings are based on the same principle of abstraction, although the form is not the same as that of the earlier work. Gartiz has abandoned the figurative mode, but he has not abandoned the allusion to human relationships and gestures. The figures and objects that are the subjects of these paintings are the artists own body, and are rendered in an expressive manner that is both personal and universal. They are not abstract figures, however, but bodies. Gartiz has managed to make the two bodies of work of the same type function together in a single and harmonious unity, a unity that is both direct and universal. The paintings have a sculptural quality that is more concrete than abstract; they are not made of painted wood but rather of found materials, such as found wood and iron. The human body, in the paintings, is the center of the canvas, and the body itself becomes a surface that is defined by the paintings. Gartiz has created a new, more visceral, and more concrete expression of the human body, which is also the body of painting.Gartiz paints his canvases with the utmost delicacy, using a brush that is light and airy, with a brush that is easily recognizable. The brush is the most direct tool, and it is used in a way that is intimate, almost at times it is barely visible.

Result #3

This series explores the properties of color and simple shapes to convey transformation or change, and the relationship between the forms and the spaces that surround them. In the context of this exhibition, the change of color from the black to the white of the floor to the yellow of the walls seemed to have been a kind of transformation. The space between the forms and the walls was transformed into a light source, a matrix of shapes that projected and diffused themselves. The white walls and the black floor were transformed into a frame that separated the space in which they were exhibited, and that was illuminated, creating a dialogue between the two forms and the spaces that surround them.The change in color in these works, and in the relationship between the forms and the space that surround them, was reflected in the three drawings that were displayed in the gallery. In one of these drawings, the black and white forms were surrounded by a white rectangle. The white rectangle was also surrounded by a black rectangle. The black rectangle was divided into three sections, each of which contained a series of four drawings. The drawings, like the paintings, were also composed of drawings, but they were all based on the black and white drawings, and they were hung together in a single line that traced the black line across the white line. The black and white drawings were transformed into the white rectangle by means of the white drawing on the black, and the white drawing on the black. In this way, the black and white drawings and the white drawing became the black and white drawings and the black and white drawings. The relationship between the two drawings was that of the black and white drawings and the white drawing on the white, and it was here that the relationship between the two drawings was transformed. In other words, the black and white drawings were transformed into the white drawing on the black and the white drawing on the black, and vice versa.

Result #4

This series explores the properties of color and simple shapes to convey transformation and the illusion of motion. In the first of these cases, the artist used color to convey a sense of momentum, of a horizontal movement of materials. In the second, color is used to convey an illusion of motion and of a change of state. In the third, the artist employs the angular momentum of the wood to convey the idea of a continuous movement. In the fourth, the artist uses color to convey a sense of momentum in a linear sense, but in a piece that is more abstract than it is. The piece is placed at a distance from the wall and the viewer has to move about in order to perceive it. In the fifth, the artist employs a variety of simple shapes in a way that creates a sense of movement in a geometric sense. In the sixth, the artist employs color in a way that implies a change of state. In the seventh, the artist uses color to convey a sense of momentum in a linear sense, but in a way that is more abstract than it is. The piece is placed at a distance from the wall and the viewer has to move about in order to perceive it. In the eighth, the artist uses color in a way that implies a change of state. The piece is placed at a distance from the wall and the viewer has to move about in order to perceive it. In the ninth, the piece employs a variety of simple shapes that are moved about in a way that is more abstract than it is. The piece is placed at a distance from the wall and the viewer has to move about in order to perceive it. The work is a movement of materials. The movement of the wood is conveyed by the speed of the wood as it is moving; the movement of the viewer is conveyed by the speed of the viewer as he or she moves about the piece. In the tenth, the pieces movement is conveyed by a material change in the piece. In the eleventh, the piece is conveyed by a change of state.

Result #5

This series explores the properties of color and simple shapes to convey transformation . . . the illusion of a change in state of matter. The basic forms of the pieces are derived from their respective two-dimensional backgrounds: a rectangular white square, a red square, and a black square. The paintings are simple, with a single stroke of acrylic on the canvas. The shapes are made of one or two elements of wood and canvas, and are overlaid with one or two lines of graphite. These lines are often painted over and over, and the forms are sometimes broken, and sometimes combined with a textural variation of the wood. The colors are always bright, but not so bright as to overwhelm the shapes.The color is applied in broad, circular strokes, and there is no hint of any brushstroke. The shapes are all painted over in a controlled way, but they are not very orderly. In the paintings, the shapes are overlaid with graphite. The shapes are always the same size, and the strokes are applied in a linear pattern. The strokes are not very wide or wide, and the shapes are not very wide. The strokes are so carefully brushed that the paint is not visible. The surface of the canvas is not a good surface, and the paintings are very difficult to work on. The forms, the shapes, and the colors all look very much like paper. The paintings are not very attractive, and one can not say that they are particularly difficult to paint. However, the paintings are not very well executed, and one cannot help but be struck by their abruptness and their lack of a certain clarity. They seem to have been made as an experiment, and they are more experimental than they are. The surfaces are not very clean, and they do not appear to be very refined either. The drawings, paintings, and sculptures are all very refined and calculated, and they are all very clean and calculated. The canvases are thin and pale, and their surface is not very well defined. They are not very refined either.