Original Acrylic Paint of Two Faces .

Result #1

. . , 1985, an oil on canvas with a picture of two faces on each panel, were painted over the drawings, suggesting a kind of face-to-face. In the last room of the gallery, a single sculpture stood out, its form reflecting the modernist aesthetic of the sculptures. It was an assemblage of twelve small, carefully made bronze figures, all loosely drawn. The figures were created by anointing black bronze with a thin layer of black oil paint, then cast in bronze and painted over with black oil paint. The bronze was then cut into a shape that reflected the forms of the figures, creating an almost image-less abstraction. The presence of this work, which was neither sculptural nor figural, but both, as an exhibition and a work of art, was all but obscured by the painting.

Result #2

. . , 1986–87, and Black and White Acrylic Paint, both 1987–88, which, with their stark juxtapositions of black and white, had the effect of being painted in two different colors. The artists chosen materials, such as the copper and steel from which they were created, and the materials themselves, such as copper and steel, were not much of a challenge to handle. The works were like little easel paintings, the details of which were barely perceptible. A few of the pieces, however, seemed more to have been done with the aid of a brush.In addition to the copper and steel, other materials that the artist used were a variety of earth- and wood-based materials such as sand, mud, and gravel. These materials were placed on the canvas in such a way that they seemed to be made of the same stuff as the copper and steel. This included a sheet of white paper with a row of black lines on it, which served as a sort of ground for the copper and steel. In addition, the artist used black and white acrylic paint, which was applied directly to the paper, creating a surface that seemed to be made of the same stuff as the copper and steel. The black and white paint had a natural, almost oriental, quality to it, and it was also applied to the acrylic in such a way that it looked like an ancient carving.The most interesting aspect of this show was the fact that the artist was able to present his works with such a fresh and confident light.

Result #3

Original Acrylic Paint of Two Faces . . . , 2010–11, is a very good example of the artists first solo exhibition in the UK. A large wall drawing of a young woman in a red dress and white gloves is accompanied by the words: SHE'S BEAUTIFYING YOU, and a drawing of her face. It is not obvious why she is, and it is not clear why shes a good girl. But there is a peculiarly maternal quality to the whole, and the girl is a mother. The image of the young woman with the red dress and the white gloves is itself a portrait of the artist herself, and its the only one in the show that is still in the artists studio. This is an intentional, self-reflexive gesture, and one that is also self-reflective.The exhibition also includes a number of paintings, which were made on a variety of materials—paper, cardboard, cardboard, metal, and wood. Although they are not canvases, they are almost like paintings in their technical simplicity and lack of gestural expression. The works are all small, and the pieces are shown in a group of three, which is probably the artists favorite arrangement. The large-format paintings are full of strokes of blue, red, and green paint, which are applied with a brush and brushed onto the surface of the paper. This allows the artist to be creative with the image, and also allows him to be free with his own marks. The delicate, somewhat painterly marks are also more apparent in the wood-framed paintings, where the horizontal wood frames are connected to the wall, creating a sort of partition, a very literal metaphor for the frame.The exhibition is also an attempt to make a case for the importance of the artist in his own art. The paintings are abstract and usually hang on the wall, but in the two large-format works, one is made up of a wall-mounted image of a woman, standing on a ladder.

Result #4

Original Acrylic Paint of Two Faces . . . , 1987, and the late, late works of Dennis Oppenheimer, Jennifer Bartlett, and Dennis Oppenheimer. Although some of these artists appear to be more representative of their time than others, the show nevertheless provided a refreshing opportunity to examine the range of work that has recently appeared in the U.S. and Canada, and to examine the condition of the practice of Canadian artists. The exhibition was titled We Are All Canadian Artists and included a few notable exceptions to this rule. In addition to Oppenheimers well-known female portraits of the artists friends, the show included a number of images from the artists early years, such as a series of three untitled ink drawings on paper dating from 1972 and 1973; and several recent oil paintings, including a portrait of Oppenheimer in a suit and tie, a portrait of Oppenheimer in his studio, and a portrait of Oppenheimer in the studio, both from 1987.In addition to the portrait of Oppenheimer, a number of works from the series The Three Faces of Oppenheimer, 1985, were on display, including a number of works from his series The Three Faces of Oppenheimer, 1985–86. The series of four paintings, which was also included, depicts the artists face in the three different positions of a headless, inverted head. In one work, the head is inverted, in another inverted, and in the final image, it is standing upright. The series was an obvious, if not obvious, allusion to Oppenheimers death, and it was the inclusion of these images in the show that suggested a connection between Oppenheimers work and his desire to be a two-faced person.

Result #5

Original Acrylic Paint of Two Faces . . . , 2009–, depicts a pair of standing figures with heads tilted in a gesture of ecstasy, as though the erotic-glimpses of the sun are reflected in their faces. The heads, each with its own head, appear as a series of light-sensitive surfaces, which suggest that they are wearing masks of the mask, which appears to be on their heads, and which they have put on. The erotic-glimpses are reflected in the surfaces of the figures, and the heads, which are a representation of their own heads, seem to be gazing at the figures in a mirror. The erotic-glimpses are not only visible but also reflected, which is the case with the figures in the paintings. In one case, a figure is shown from behind, while in another the figure is seen from the front, and so on, until the viewer realizes that it is a mirror image of the reflected figure. Here, the figure becomes a reflection of itself, a reflection of itself and thus a reflection of the self, and so on, through the series of reflections, from which the image of the figure has emerged. In this way, the figure becomes a reflection of itself, a reflection of itself and thus a reflection of itself, a reflection of itself and thus itself, and so on, through the series of reflections, from which the image of the figure has emerged. In this way, the figure becomes a reflection of itself, a reflection of itself and thus itself, and thus itself. It is this reflection of itself that is the subject of the show. The figure is also a reflection of itself, a reflection of itself and thus itself. The erotic-glimpses are not merely a reflection of themselves, but also a reflection of themselves, as though the erotic-glimpses were a reflection of themselves, a reflection of themselves. The erotic-glimpses are not merely a reflection of themselves.