Unique Patterns In A Chromatic Field

Terry Winters

Seeing paintings like these in person is SO different than as jpegs. Honestly, I think I like them better as photographs. Not surprisingly, the colors appear brighter and more harmonious as a digital image. In person, the paintings are kind of ugly but not in that good way (cf. Magritte Vache paintings). Whatever the technological, representational conundrum, some details are better than others, particular as it pertains to color/form harmony (see detail shots within this post). Note: I came to the work of Terry Winters about eight years ago, when I, at that time was making paintings that seemed to ask similar questions of computation. How far does one go? How many layers? Basically, how much?, a question of value to be sure. (If one digs deep enough on the internet, one may find my examples).

Gelli Plate art

Seeing paintings like these in person is SO different than as jpegs. Honestly, I think I like them better as photographs. Not surprisingly, the colors appear brighter and more harmonious as a digital image. In person, the paintings are kind of ugly but not in that good way (cf. Magritte Vache paintings). Whatever the technological, representational conundrum, some details are better than others, particular as it pertains to color/form harmony (see detail shots within this post). Note: I came to the wor
k of Terry Winters about eight years ago, when I, at that time was making paintings that seemed to ask similar questions of computation. How far does one go? How many layers? Basically, how much?, a question of value to be sure. (If one digs deep enough on the internet, one may find my examples).

Art

Seeing paintings like these in person is SO different than as jpegs. Honestly, I think I like them better as photographs. Not surprisingly, the colors appear brighter and more harmonious as a digital image. In person, the paintings are kind of ugly but not in that good way (cf. Magritte Vache paintings). Whatever the technological, representational conundrum, some details are better than others, particular as it pertains to color/form harmony (see detail shots within this post). Note: I came to the work of Terry Winters about eight years ago, when I, at that time was making paintings that seemed to ask similar questions of computation. How far does one go? How many layers? Basically, how much?, a question of value to be sure. (If one digs deep enough on the internet, one may find my examples).

Gelli Plate art

Seeing paintings like these in person is SO different than as jpegs. Honestly, I think I like them better as photographs. Not surprisingly, the colors appear brighter and more harmonious as a digital image. In person, the paintings are kind of ugly but not in that good way (cf. Magritte Vache paintings). Whatever the technological, representational conundrum, some details are better than others, particular as it pertains to color/form harmony (see detail shots within this post). Note: I came to the work of Terry Winters about eight years ago, when I, at that time was making paintings that seemed to ask similar questions of computation. How far does one go? How many layers? Basically, how much?, a question of value to be sure. (If one digs deep enough on the internet, one may find my examples).

now

Focus v2 is a set of abstract experimental bokeh effects. These phantasmal formations experiment with glowing chromatic blurring and focal aberrations. The simple play of depth of field gives these formations a minimal look and feel. Using image-editing software, you can easily customize the look and feel by adjusting the hue/saturation, color balance, or invert. All resources are very high resolution, zoom in and explore each piece’s macro details. Perfect for print and web projects.Compatible with: Adobe Photoshop, Adobe Illustrator, Affinity Designer, Affinity Photo, After Effects, Adobe InDesign, Adobe Photoshop Elements, Sketch, Adobe XD Included: 12 ImagesDimensions: 8000x8000Resolution: 300 DPIFile Type: PNG FilesPreview: View

Art

Terry Winters: patterns in a chromatic field @Matthew Marks Gallery, Los Angeles 1062 North Orange Grove Los Angeles, CA 90046 USA April 19 – June 21, 2014 Blue Figure 2013 Oil on linen 80 x 60 inches; 203 x 152 cm Crimson Lake 2013 Oil on linen 80 x 60 inches; 203 x 152 cm patterns in a chromatic field (2) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (3) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (5) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (9) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (10) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (11) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (12) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (13) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm patterns in a chromatic field (14) 2013 Oil on linen 40 x 32 inches; 102 x 81 cm Red Ground 2013 Oil on linen 80 x 60 inches; 203 x 152 cm

Terry Winters

Seeing paintings like these in person is SO different than as jpegs. Honestly, I think I like them better as photographs. Not surprisingly, the colors appear brighter and more harmonious as a digital image. In person, the paintings are kind of ugly but not in that good way (cf. Magritte Vache paintings). Whatever the technological, representational conundrum, some details are better than others, particular as it pertains to color/form harmony (see detail shots within this post). Note: I came to the work of Terry Winters about eight years ago, when I, at that time was making paintings that seemed to ask similar questions of computation. How far does one go? How many layers? Basically, how much?, a question of value to be sure. (If one digs deep enough on the internet, one may find my examples).