The hues are very deeply saturated. Her work seems to be "about" the subtleties of perception, about how what initially appears vague and indeterminate has vital design elements, whether geometric or organic. We can find clarity, certainty, and other definitive qualities in the obscure and indeterminate. There's something deeply psychological about her work. Each approach to any of her images becomes an exploration of our subconscious. What appears to be reality is not at all obvious. The more we look, the deeper we are drawn into her imaginary worlds. The more deeply she draws us into her world, the more withdrawn we become from our external reality.

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The hues are very deeply saturated. Her work seems to be "about" the subtleties of perception, about how what initially appears vague and indeterminate has vital design elements, whether geometric or organic. We can find clarity, certainty, and other definitive qualities in the obscure and indeterminate. There's something deeply psychological about her work. Each approach to any of her images becomes an exploration of our subconscious. What appears to be reality is not at all obvious. The more we look, the deeper we are drawn into her imaginary worlds. The more deeply she draws us into her world, the more withdrawn we become from our external reality. <|startoftext|>Maurizio Paolini has a strange, hypnotic sense of time. He is a painter of the past, who makes his way into the present, but then turns around and goes back to the past. He takes us on a journey that is totally personal, in which the past is lost, but the present is present. Paolinis paintings are based on the same visual vocabulary as a childrens book, a picture book, or a book on the subject of time. Paolinis work is about the relationship between the present and the past, and between the present and the past that is never past but always present. These paintings are about the intensity of the present moment, the continuousity of the present moment, the tension between present and past, the time that passes, the timelessness of time. Paolinis paintings are about the way in which we live.Paolinis paintings are based on the idea of time as a continuous flow of events and images. Time is a continuous process, a continuous, infinite flow of images. The images are always contained within a single object, and in most of the paintings the single object is the painting itself. In one picture, the painting is a kind of wall, an image, a memory. The painting itself is a way of life, an image, a manifestation of the world. In another painting, the painting is a place, a space, a time, a place of life. The painting is a representation of the world. In another painting, the painting is a mental image, a way of life, a way of thinking.The paintings are not finished, and the work never completely ends. Paolinis paintings are always evolving. In the past, the painting was always done, and the painting itself was never finished. Paolinis paintings are not finished, and the work never completely ends.

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The hues are very deeply saturated. Her work seems to be "about" the subtleties of perception, about how what initially appears vague and indeterminate has vital design elements, whether geometric or organic. We can find clarity, certainty, and other definitive qualities in the obscure and indeterminate. There's something deeply psychological about her work. Each approach to any of her images becomes an exploration of our subconscious. What appears to be reality is not at all obvious. The more we look, the deeper we are drawn into her imaginary worlds. The more deeply she draws us into her world, the more withdrawn we become from our external reality. <|startoftext|>In the early 80s, Robert Morris began to paint geometric patterns on canvas, similar to those used in the design of airplanes. He had no intention of using them for any other purpose than decoration. His geometric patterns were so popular and so familiar that they were copied by many artists, including, among them, the architect Norman Foster. But Morris did not intend to be a designer. He wanted to paint geometric patterns on canvas and to use them as decorative objects. In the early 80s, he painted geometric patterns on canvas in a series of black and white abstractions. These abstractions were not designed but were meant to be decorative. The patterns are often made up of triangular, rectangular, or rectangular shapes and, as in the designs of airplanes, they are often made up of small, colorful, and often symbolic motifs. The geometric patterns are also not intended to be decorative but are intended to be playful. The patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful. The geometric patterns are meant to be playful in the way that a child can be playful.