Filipino artists who are at least 18 years old may submit one entry in each of the following categories: representational, nonrepresentational
(abstract), and sculpture.
Norberto 'Lito' Carating has been presence in the world of Philippine nonrepresentational
art, a distinction he enjoys for more than four decades now.
While Stella, for instance, has remained resolutely nonrepresentational
, the Hungarian's brand of abstraction retains a hint of representation.
Much of the recent engagement with atmosphere has drawn inspiration from nonrepresentational
and more-than-human perspectives (Anderson and Harrison, 2010; Thrift, 2008) where the effects and actions of the non-human world take on important explanatory roles (either alongside or in place of language and subjectivity).
sculptures composed of clean and harmonious forms appear weightless though fabricated from heavy metals such as steel, aluminum, and bronze.
This notion of experiential background is central to Caracciolo's argument, and I will return to it later, but first, let us note the paradox of relying on a theory that insists on the nonrepresentational
nature of experience in order to capture our experience of narrative, a form of communication widely conceived as the representations of characters, setting, and events.
Beattie's output is nonrepresentational
, but it has a distinct existential character.
The show includes abstract landscape paintings and nonrepresentational
pieces that explore "the mystery and science of life" using color, line and shape to produce diverse moods and interpretations.
As an artist, Wardlaw has been active in and responsive to the major developments in painting since the appearance of Abstract Expressionism in the 1950s to the hardedge, Color Field and Minimalist painting of the '60s and '70s to the nonrepresentational
art of the 21st century; today, his art is intensely personal and highly expressive in a very exciting way.
To examine the implications of developing a sensory approach to analysing media, in what follows I create a dialogue between how the relationship between media and the senses has been conceptualised in literatures that take representational and nonrepresentational
approaches to culture and the senses.
It also explores how focusing on abstract painting's nonrepresentational
content or "meaning made visible" can expand that common ground and help resolve the "why" of religious disunity.
As in Contributions, Heidegger attempts to think historical beyng originarily and in a nonrepresentational
way in a saying that (similarly to poetry) speaks out of the happening of truth (appropriated by the event) such that in the saying the event occurs.