There's always something to look at If you open your eyes! By Annie Cabingting Oil on Canvas, December 2013

Result #1

There's always something to look at If you open your eyes! By Annie Cabingting Oil on Canvas, December 2013, acrylic on canvas, 46 × 78". If you open your eyes! By Annie Cabtinggettable advertisement, a kind of photographic self-portrait, was the subject of the artists first solo exhibition in the US. Cabinggettable was born in New York in 1976 and now lives in Toronto. The images are of her own body, taken from a variety of sources: images of her family, friends, and coworkers; of her own teeth; of her own limbs; of her own body, the canvas. The title also evokes a sort of physicality and physicality—the bodies are put together in a way that makes them physical, in a way that makes them distinct. As a result, the works are not merely images, but rather images of something more. The paintings are not only the works of the same artist but also the same artist; the work is not only about the act of painting, but also about the act of seeing.Cabinggettable has long been known for her abstractions of her body and for her use of figure-ground relationships in her work. In the mid-1980s, she was known for her use of the figure-ground relationship in her paintings of the body as a container for the same object: a pencil, a paint stick, a plastic bag, or a toothbrush. Cabinglasses work has been characterized by an obsessive-compulsive use of these objects as a means of organizing the composition of her work. This exhibition included a series of paintings, all from the last two years, in which the figures are formed from the same elements as the objects. In one of these works, a white figure, cut out of white acrylic paint, sits on a white canvas in the middle of a dark-blue field. The figure-ground relationship is emphasized in the way that the figure, which is the most elementary of objects, is the most concrete.

Result #2

There's always something to look at If you open your eyes! By Annie Cabingting Oil on Canvas, December 2013, is a series of black-and-white paintings by an artist who has been making art about the world for more than a decade. In one, for example, the artist wears a tiny, white vest that looks like a hospital gown. The other works in the series, all from 2012, all feature abstract, geometric patterns. In the first, the artist appears to be a human being; in the second, he is a bird. The three paintings in this show are made of canvas and oil on canvas. The paintings are made of two-by-four-foot canvases, and the colors are mainly gray, olive, and brown. The works are hung on canvas or hung on a wall, and the surfaces are painted. The paint on canvas is applied by hand and applied with a brush, while the oil on canvas is applied in the studio. In the works on canvas, the artist uses a simple palette knife to apply paint, then brushes the surface with a brush, adding paint, then brushes the surface again. The colors are applied in a similar way. The works are also painted over, which adds to the sense of density and weight. The paintings are also hung on the wall, which adds to the sense of permanence and permanence. The paintings are painted on the wall, and the paintings are hung on the wall. The paintings are also hung on the wall, and the paintings are hung on the wall. The paintings are also hung on the wall, and the paintings are hung on the wall. The paintings are also hung on the wall, and the paintings are hung on the wall. The paintings are also hung on the wall, and the paintings are hung on the wall. The paintings are also hung on the wall, and the paintings are hung on the wall. In the last works in the series, the colors have been altered to match the colors of the paintings.

Result #3

There's always something to look at If you open your eyes! By Annie Cabingting Oil on Canvas, December 2013, a group of six canvases from the series Untitled, 2013, all made of oil-based paint, were on view at the Museum of Contemporary Art, Los Angeles. A thick, dark, and opaque black finish, the canvases look like a glossy, silvery mirage that has been extracted from a dark-purple oil base. The work is a double entendre for the artists: The paint was applied over a painted canvas, and the result is a kind of effusive, almost garish, painting. The works titles also recall the paintings of the late 90s and early 2000s by artists such as Harry Callahan, Bruce Conner, and Jack Smithson. The paintings, all from the series Untitled, 2013, are built up with a brilliant, sheen-like surface that is less reflective than reflective, but more opaque than opaque. The artist has said that he is interested in the opacity of a thing, and in the way it can be perceived. The colors, particularly the reds and blues of the oil, are more intense than the paint, but still lack the lightest of the paints characteristic sheen. And the lines of the canvas are thicker and more uneven than the paint.The canvases in the show were created in acrylic on canvas, but the paintings in the exhibition were painted on canvas. The paintings are more painterly than the canvases, but not more beautiful than the paintings. The paintings are also more tactile than the paintings. The paint is applied to the canvas in a way that lets you feel how the paint has been applied to your skin, and also lets you see the paint on the surface. The paintings are more decorative than the paintings, but not more so. The paintings are more beautiful than the paintings, but not more so. They are also more tactile than the paintings, but not more so. They are also more decorative than the paintings, but not more so.

Result #4

There's always something to look at If you open your eyes! By Annie Cabingting Oil on Canvas, December 2013, acrylic on canvas, 78 x 73". The late nineteenth century, of course, was not without its share of debased or misleading representations of the arts. In the past, the idea of the painting as a representation of the world was just that, and the painting of a world as a representation of a world was, as a result, an imaginary world, a false world. The metaphor of the painting as an objective reality, as an objective measure of reality, as a measure of reality, was, in the late nineteenth century, not only a popular metaphor but also a widely held one. The notion of the painting as a representation of the world, as a measure of reality, was the template for the great many painting techniques of the day. And the theory of painting as a representation of the world was the very basis for the art world itself.The reason for this is the late nineteenth century, of course, is one of debased or misleading representations of the arts. The late nineteenth century, of course, was not without its share of debased or misleading representations of the arts. In the past, the idea of the painting as a representation of the world was just that, and the painting of a world as representation of a world was, as a result, an imaginary world, a false world. The metaphor of the painting as an objective reality, as an objective measure of reality, as a measure of reality, was the template for the great many painting techniques of the day. And the theory of painting as a representation of the world was the very basis for the art world itself. And the theory of painting as a representation of the world was the very basis for the art world itself. The reason for this is the late nineteenth century, of course, is one of debased or misleading representations of the arts. The late nineteenth century, of course, was not without its share of debased or misleading representations of the arts.

Result #5

There's always something to look at If you open your eyes! By Annie Cabingting Oil on Canvas, December 2013, drypoint on paper, 11 1/4 x 9 1/2". This show included a fascinating selection of oil paintings, most of them from the past two years, and a few from the past decade. The paintings were all from the past two years, all in oil, and all dated 2012. The paintings were mostly small, sharp-edged, and almost imperceptible. Most were done on paper, some on canvas, and some on canvas, but the works on paper were fresher and denser than the paintings on canvas. The paper was often dipped in color, and the colors were applied in a more abstract way than the colors on canvas. The paper was sometimes hand-colored, sometimes hand-me-downs, and sometimes hand-drawn. The papers were sometimes scratched, and some were scraped and painted over, but the paint was applied with a brush, not a sharp-edged tool. The color was applied in a dark-grayish palette and was sometimes applied in thin, circular, or a cone-shaped shape. The shape was sometimes represented by a wavy line or a rectangle. The paper was sometimes wet, sometimes dry, and sometimes wet with water. The paper was often sprayed onto the canvas and sometimes sprayed onto the ground.The paintings on canvas were almost always dark and moody, but not all of the paintings on canvas were moody. The paintings on paper were generally more moody than the paintings on canvas, and the paintings on paper were more moody than the paintings on canvas. The paintings on canvas were almost always more painterly than the paintings on paper. The paintings on paper were more painterly than the paintings on canvas. The paintings on paper were more painterly than the paintings on canvas. The paintings on canvas were more painterly than the paintings on paper. The paintings on paper were more painterly than the paintings on canvas. The paintings on canvas were more painterly than the paintings on paper.