I explore use as an artform. I use every day objects to bridge the gap between science and spirituality.

Result #1

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. <|startoftext|>The style of painting Ive used in the past is strict, formal, and often seems more like a style of someones already existing painting than an object that is itself a style. My paintings seem to be about a meditation on the world and the people who live in it. They are about the tensions between the order and chaos of things. Ive used painting in this way since the late 70s, but in the 80s I started to express them more explicitly, as in my painting of the artist. This recent show of paintings made between 1990 and 1997 showed that Ive gotten much better at expressing my thoughts in a fluid, nonlinear way. My paintings look less like formal studies than like the work of a painter who has been able to come to grips with the world, and who is able to express it in a way that is both poetic and direct.In the paintings shown here, the artist is depicted in various states of awareness, but all of them are of the same kind: a tense dialogue between the observer and the world. The viewer is shown to be living in a world of suffering and alienation. In a sense, the artist is trying to make a transition from one state of awareness to another, and he does so by focusing his awareness on the world. This is the only way he can move on to another. The world is seen as an awareness of the painters awareness of the world.

Result #2

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. <|startoftext|>In my current exhibition at the Phoenix Art Museum, I use objects that are meaningful and substantial and that, in my mind, can be seen as part of a system of observation. In this piece, I use the Archimedean system of the telescope as an analytical tool. The telescope consists of a telescope, a lens, and a mirror. In its current incarnation, it is meant to be viewed with a telescope, which gives it a certain ability. The telescope is a telescope which gives it the ability to see the stars and planets. The telescope is a telescope which gives it the ability to see the stars and planets. In a sense, the telescope becomes an object and therefore an artwork.The telescope is a reified object, a log and a compass, as much as it is a sign of the scientists accurate perception. In its current incarnation, it is meant to be seen with a telescope, which gives it the ability to see the stars and planets. The telescope becomes an object and therefore an artwork. The telescope becomes an analytic tool. It is a tool of knowledge, and therefore an objective, and therefore subjective, means of perception. The telescope becomes an art-form, and therefore a scientific instrument. It is an object that one can understand as objective, and therefore an objective of the art-form. It is a tool, a tool of the art-form, and therefore a tool of the artist. The telescope is an analytic tool, and it becomes an art-form.The telescope is not merely a scientific instrument, it is an objective that itself is an objective. The telescope is a tool, and an esthetic instrument. It is not an esthetic object, and it is not simply a science object. The telescope is an analytic tool, and it becomes an art-form. It is an esthetic instrument, and it is part of an esthetic system.

Result #3

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. <|startoftext|>In this exhibition, the artist René Malouin creates a new and very personal installation of glass sculptures. Malouin has used glass objects since the early 70s in his ongoing investigations of the natural world. Here, the artist creates a group of objects that allude to nature: plants, trees, rocks, and so on. To create these objects, Malouin takes objects that are already part of his own visual lexicon—books, glass, stones, shells, and so on. He then transforms them by applying new materials and methods, creating a work that becomes a unique, evolving work that also relates to previous installations. The installation consists of four objects: a desk lamp, a book, a mirror, and a picture of a tree.The lamp, which is covered with white plaster, stands at a height that recalls a window, while a mirror, placed on the floor, faces toward a glass pane that faces a glass pane that is part of the glass sculpture. The desk lamp is the most recognizable of the works: a perfectly round lamp whose light functions like a lens, as it refracts the light onto the glass surface, where it is reflected back onto the lamp. The mirror, which is slightly larger than the lamp, is placed on a wall opposite the lamp; it is a white plaster model of the glass sculpture, which is the same size as the lamp. It is an object that, by contrast, is perfect in its reflection, and yet indestructible, which is what gives the mirror its aura of mystery.The mirror that Malouin uses here is a perfect example of a perfect object. Perfect in its reflection, it reveals the identity of an individual, who is reflected in a mirror and who looks back at himself. The work that Malouin has created is a reflection on reflection, on the surface of an individual.

Result #4

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. <|startoftext|>Juan Ramirez is the leader of a group of artists that develops and exploits the potential of their combined artistic powers. This is one of the reasons why, as an artist, Ramirez is a visionary and an inspiration. His work has always been based on the scientific. This is one of the reasons why he is also an artist who explores the possibilities of the body in the course of an extraordinary and fruitful dialogue with biology. This is why he is a source of fascination for a number of people who are very interested in his work. In this exhibition, Ramirez showed that he is still able to create works that are free of all the limitations of the individual, as well as of the individual and his work.The works on view date from 1972 to 1989. In these pieces, he uses a variety of materials and methods that he has developed over the years. These include the use of suspended colored Plexiglas (often called material glass); in the past, he has also used glass and wire. He has developed an unusual technique in which he turns a metal tube into a mirror, and then turns the tube upside down, using a pressurized piston, which forces the tube into a position in which the reflection is like a ray of light. He then uses this ray of light to project a mirage onto the mirage. Ramirez also uses materials that are neither natural nor man-made, such as rubber, rubber, and metal. He has also used rubber, rubber, and rubber bands, which he wraps in different ways so that they can be easily removed, or he has used rubber, rubber, and rubber bands to build up a form which is like a piece of rubber. In one work, he has used rubber bands and rubber bands and rubber bands; in another, he has used rubber bands and rubber bands and rubber.

Result #5

I explore use as an artform. I use every day objects to bridge the gap between science and spirituality. <|startoftext|>Michael Rogan, El Mele Nu-Mele, 1981, color photograph, 18 x 14". From Mädchenkranz. Michael Rogan: A Retrospective is an effort to present works by 20 artists (the artists in the show, all the artists are still living and working in New York) in their studio environments and in their studio settings. To do so, the show is divided into two parts, each consisting of a different room in the artists studio. The first section, which comprises the artists studio, was shown at the Whitney Biennial in 1989. Its elements, including the black walls, the large white walls of the studio, and the self-presentation of the artist, were also seen in the exhibition at the Carnegie Center for Contemporary Art in Pittsburgh. The black walls of the studio have been removed, and replaced by a large white one, with black and white photographs hung on the walls. The white walls, which were painted over the black ones, form a simple, nearly horizontal rectangle. This black wall is topped by a white sheet of paper. The white sheet, in turn, is on top of a black piece of paper, and so on. The white wall is surrounded by a vertical, white, black, and blue wall, with black and white photographs below it, and an enormous white sheet of paper beneath it, and the rest of the white sheet and the black sheet, which is also on top of a white sheet of paper. The white and black sheets of paper are suspended from the ceiling in a graceful, two-dimensional line, and the black and white, one above the other, are suspended from the ceiling by a piece of wood. The presence of the white sheet and the black sheet of paper, their juxtapositions, and the silence of the white and black sheets, giving the space a sculptural presence, is powerful and suggestive.