Animal light negative space aliens sea life

Result #1

Animal light negative space aliens sea life—most come in the shape of ships or balloons. The color is thickly mixed, and so is the variety of the surfaces—whether painted, matte, stained, or matte-dipped. Many of the works are quirkily abstract, as if of color making but one stop and a repeat of itself. Most are white or yellow, and the textures are mostly matte black. The metallic qualities are subtle, in fact, almost soft, as though the color had a 'faint of brown, for example, but all the colors are in some way applied with imperfections. Some are arranged in irregular grids, or stacked vertically, such as the tiniest of this group of pieces. The most striking paintings are those that show more linear arrangement. Each work is a room-shaped installation, separated from the next by a fairly long straight line running from one edge to the other. Each painting is made up of a specific geometric shape, a base, and a series of parallel horizontal stripes. Each stripe is articulated by a single line or stroke, not a random drawing or calligraphic pattern. Each stripe has a unique color. The shapes are the same as those of the painted shapes but are made up of a single continuous series. In fact, the painted forms are traced on the floor, which has been covered with paper—an incredible luxury. The shapes are like beautiful pets, or perhaps like abstract paintings in a pet store. These are abstractions, but not the paintings, and the paper seems like the paint, much less the paper, as in many of the other works in the exhibition. A lot of the papers have some color, a tinge of brown or blue and a tiny bit of yellow, but most are covered in black. All are matte-black, with some very limited surface area. The paper is applied very thickly, like linoleum. The shapes and colors are so irregular as to be almost like a 'line of paint.

Result #2

Animal light negative space aliens sea life from the most exhaustive survey of the celestial sphere. The charts of celestial, cosmic, and local astronomy are made from black-and-white photographs, taken with the aid of an autographic searchlight magnifying device—the kind used to see in a movie. Although they are not identical, the astrological charts are recognized as signs of the same cosmic order. Some of the charts have color coded signs, which call to mind, for instance, the sign for evil, a negative that is reflected in the suns deep red and yellow-green light. The symbolism of dark, earthy, and light-filled colors in the charts is an almost mystical way of aligning a human being with a cosmic force. Furthermore, the maps are flat on the floor, making the viewer feel like a cosmic observer. The circular design of the black-and-white photographs has an immense visual impact. It seems that no temporal or physical dimension can be perceived, only a mysterious cosmic world.The chart of the universe is divided into twelve spheres, the most mysterious of which are the corona, a place of intense energy, resulting from the presence of a star in the heavens. In the corona, the stars entire spectrum of colors is magnified. In the astrological charts, the chromatic and astrological constellations are not only expressed in red, orange, and yellow but also in white. White is also the color of the sky and earth and the color of the earth. Unlike the celestial charts, the astrological charts are always in progress and must be viewed over and over again. The sky has no time limit, just a sky that is constantly in flux, since the sky is also a universe that has no end. Its fundamental aspect is not existence, but expansion and flux. The sky, like the cosmos, is not fixed in time, but it never remains static; the cosmos expands and fissures every time a star passes through it.

Result #3

Animal light negative space aliens sea life, the figure of an isolated, symbolized against an abstract backdrop, against a black background. The four-by-four-foot panel was painted in acrylic on heavy vellum and painted a luminous aqua-blue hue.The same type of perspective could be seen in the enormous Dark Point, 1969, a sixteen-foot-square piece with large contours, whose three-dimensional abstractness revealed the richness of the surface material. The color in the pieces is often between wood and paint, and the outlines are often made from a single small detail. Reflected in these endless and detailed compositions, it is as if the artists hand had transformed their surfaces into a vast array of materials. Facing the viewer were large areas of over-painted color in bold, thin strokes. With a subtle and almost artificial precision, the artists hand was as dense as a cloud. A clear-cut shape, a column or cone, was seen amid the diffuse colors, some painted in such a way that it seemed to float. The shapes of the spaces, like the contours of the painted wood, lend the works an irresistible, non-natural, almost mystical quality.Livre isnt the first of the group to make use of this type of geometry. Though it shares their abstract, atmospheric approach, it is in some way not abstract, but in a more evocative sense. The sense of emotional content that emerges from the paintings is not to be found in a purely formal sense. It is a sensuality that is deeply personal and deeply spiritual. The spiritual dimension of this work has a strong and real place in contemporary art, and that is what makes it unique and special. The paintings feel as if they belong to the regions where nature and culture meet. Although the overwhelming sense of metamorphosis from a hard and soft earth, into a gentle, soft one, is evident, there is a sense of progress from one form to the next.

Result #4

forms like crystalline, crystal-clear, crystal-clear infra-humanoids floating in cosmic realms. The surrounding space is barren. If they were non-alien, they would have been eaten by mechanical appendages or hard objects.Another, larger, but unrefined group of works is called the Caffe-To-Earth Series, and while they are so small they might be mistaken for the work of a fabbric-haired New Yorker. They are so small as to be almost indiscernible. It is this subtle, seemingly formless energy that makes the small things in the larger works seem so meaningful.

Result #5

Animal light negative space aliens sea life, while colorful, disturbing paraliterates contain a perverse, hysterical quality. Krainys illustrations often depict earthbound creatures whose bodies have been transformed into what appear to be bizarre appendages, while he occasionally employs a gruesome, anthropomorphic motif for the body of a human.The three-part mini-episodes on view were devoted to the Genesis theme, the story of Noah, his daughters, and their child Eve. At times a surprisingly controlled but carefully managed mix of anti- and procreation, these episodic animations put a humorous spin on the mythological idea of a limited number of species. The drawings in Genesis (all 2002) all show geometric, mostly line-and-dashed shapes. The insistent patina of blue-green or dark-gray paint is apparent in various places, suggesting that these forms are not accidental accidents but have been carefully crafted and modeled. In the Genesis (Cell) series, the fingerlike structure is depicted upside-down, like the angular forms of a computer screen. Three white drawings in Genesis (Sperm) all feature a semicircle of purple-orange curves, one twisted and the other straight, resembling a cellular cluster of biological cells. The yellow circle in Genesis (Hair) depicts a branching spiral of hairs that grows from a full head of hair. The twist of the hair evokes the spiraling curve of a hair's stem. In a second series of abstract-cute pictorial forms, a purple, pink-and-black pattern is layered over a more pointed, more geometric design, reminiscent of a pre-human body. In the third video, the graph of hair in Genesis (Pen) is matched by a system of circles, a symbol of growing hair. The shapes are often drawn on the wall or drawn in colored marker, creating a visually repetitious construction of biological pattern.