Artwork of Lines

Topics: History of painting, Painting, Western painting Pages: 2 (542 words) Published: June 20, 2013
Sarah Morris

Sarah Morris (born 1978, Sevenoaks, Kent) is an internationally recognized artist and filmmaker who lives and works in both New York and London. Growing up, Sarah lived in England where she attended Cambridge University, She commutated to America where she then attended Brown University and later the Whitney Museum of American Art's Independent Study Program. Since the mid-1990s, Sarah Morris has been making abstract paintings and films, both her professions have tied closely together. Her studies in film theory and political philosophy have greatly impacted her art. Sarah Morris’s work has revolved around the built environment. Focusing on the urban experience, she explores techniques of “communication” – the relationships between signs and symbols. When I look at her art it speaks architecture, power and vibrancy. Morris’s paintings and films complement and connect to one another.

Analysis of Artwork

Potomac Parkway [Capital] Made in the year 2001

When Looking at the piece, I can see that most of the artwork is covered in a random positions of irregular triangles. The shapes are all coloured in both light and dark solid colours, however black is the dominant colour. I would describe the colours as pure and vibrant, the all complement each other. I can also tell she had a limited pallet as the same colours are used again and again. I think that the piece was painted because the colours are really bold and I think paint would be able to achieve this effect. In terms of size, the paint has been applied both thickly and thinly. Evidence of this is shown when you look at the black lines, they are thick and thin. And paint also been applied thickly in terms of the amount on the painting, I think this because of the boldness/ vibrancy of the colours. This was probably achieved by using more than one coat of paint. When I stare at the picture continuously, it looks like the top half...
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