John Curran, using Mark Van de Walle as style guide

Result #1

John Curran, using Mark Van de Walle as style guide vernacular, cites the artworks of Edvard Munch, Francis Bacon, and Frank Stellas as influences. While the influence on Currans work is clear, his skill in capturing the nuances of style is not. His choice of works by these artists, and in particular the work of the Munch, is impressive. In fact, his art is the product of an incredible concentration on detail. Currans art is a study of the subtle nuances of the human form, an investigation of the fine details of the human figure. His drawings are brilliant, precise studies in which the details are marked by a fine sense of the line. The drawings are not simply things that hang there, but things that are very specific. His drawings are beautiful. Currans drawings are beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful. His drawings are very beautiful.

Result #2

John Curran, using Mark Van de Walle as style guide  (the artist himself was not on the show), uses the same label in his catalogue essay for the show. Curran points out that the key to the work is the way in which he uses the same label as his artist. The label for the show is the same as that used to be used by the artist, and the way he uses it is the same as that used by his artist. It is not as though the label are an expression of some other entity, as though it were a set of rules that the artist had to follow. It is as if he had found a way to use the label without breaking it.Curran chooses to use the same label in the catalogue, but he also uses the same label as his artist. The way he uses it is the way he uses the same label. It is not as though the label are an expression of some other entity, as though it were a set of rules that the artist had to follow. It is as if he had found a way to use the label without breaking it. It is as though he had found a way to use the label without breaking it. It is not as though the label are an expression of some other entity, as though it were a set of rules that the artist had to follow. It is as though he had found a way to use the label without breaking it. It is not as though the label are an expression of some other entity, as though it were a set of rules that the artist had to follow. It is as though he had found a way to use the label without breaking it. It is not as though the label are an expression of some other entity, as though it were a set of rules that the artist had to follow. It is as though he had found a way to use the label without breaking it. It is not as though the label are an expression of some other entity, as though it were a set of rules that the artist had to follow.

Result #3

John Curran, using Mark Van de Walle as style guide  and establishing a style for his own work, is not a painterly artist, but a sculptor, a kind of industrialist. His work is as different from the other artists in the show as it is different from his own style. His work is more eclectic, more fragmented, and more complicated than that of the others.The pieces in the show, all from the 80s, were made of various types of materials. The most obvious examples were the large, tubular, metal pieces, like the one from the 80s, with their symmetrical, boxlike forms. The most complex pieces were those made of wood and glass, which were more like the surface of a window than like the object they were modeled on. The most subtle pieces were those made of metal and wood, which were more like the surface of a sculpture than like the surface of an object. And the most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood. The most interesting pieces were those made of metal and wood.

Result #4

John Curran, using Mark Van de Walle as style guide vernacular, found himself in a tradition of appropriation that he was unable to reconcile with the artist's own vision. Curran would later describe the material that he created in this context as painting by means of a simple line. This would mark the beginning of a new, independent and self-consciously painterly discipline. In his work, he would spend much of his life altering his own vocabulary of images, even if he would never have realized it.In this exhibition, Curran attempted to take on the power of the Van de Walle style, and to find a way to apply his critical stance to the visual arts. His paintings are based on a series of associations that he has developed with painting. His early work was based on a series of primitive tribal masks and headdresses worn by the natives of his native village, Zebo, in the Indian country of Zara, Botswana. Currins paintings on paper, from the late 50s to the early 60s, are based on the same source material, but his style is far more complex, and his approach is more abstract. Currins paintings are filled with intricate patterns and intricate motifs that recall the decorative arts. He uses paint in a highly personal way, but he also paints with a very abstract sensibility. Currins paintings are filled with imagery, but he also uses it in a very personal way. He is a very sensitive painter, and his work is based on a deep and abiding feeling for the sacred and elemental. Currins paintings are very refined, but his abstract, personal style is very personal.Currins paintings are based on his personal experience with the sacred and elemental. In many of the paintings, Currins imagery is based on images from his tribal culture, but he also incorporates images from his own life, as well as from the world of the natural world. His imagery is often based on the sacred, but it is also based on the elemental.

Result #5

John Curran, using Mark Van de Walle as style guide vernacular, gave his own modernist paintings a vintage look. The paintings are small, unassuming, and not overtly impressive in any conventional sense. The paintings in this show are surprisingly rich in detail, and the depth of the surface and color are so rich that the paint is almost palpable. The depth of the surface is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable. The paint is so rich that the paint is almost palpable.