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About Lisa
Lisa was born in Timaru, New Zealand in 1973 and graduated with a Bachelor of Visual Arts & Design in 2010 in Nelson, NZ.
After living in Australia, she moved back to her home country 15 years ago to raise her 3 children. Now living in the South Island of New Zealand in rural Glenhope, Lisa’s studio sits high on a hill surrounded by 42 acres of pasture and native forest. She has chosen a more simplistic lifestyle with solar and wind turbine for power and natural streams and rain for water Lisa feels her art is stripped to a more simplistic aesthetic. “I am at the mercy of nature, I now live my art. It is very empowering being so vulnerable, yet so incredibly liberating” Lisa exhibits locally, nationally and internationally. |
With her own personal journey raising children as inspiration, she draws from nostalgic moments in an attempt to alleviate the solace of ‘the empty nest’. Lisa uses imagery of children with flowers, animals and insects questioning young people’s view of the world, seeing a disconnection from nature with modern technology.
“I often wonder what the future holds for following generations. I question whether my grandchildren will ever experience the majestic beauty of nature or will it be an app on the latest iPhone.”
Lisa emphasizes this with her use of large white vacant space, creating a cavity to which her subjects float, this is the artist’s expression of the uncertainty of our future; it cannot be foreseen.
She also likes to involve the viewer into the work via the reflective surface. By looking/reading the gaze is returned, the spectator becomes the narrative and in turn, part of the problem and solution.
“I often wonder what the future holds for following generations. I question whether my grandchildren will ever experience the majestic beauty of nature or will it be an app on the latest iPhone.”
Lisa emphasizes this with her use of large white vacant space, creating a cavity to which her subjects float, this is the artist’s expression of the uncertainty of our future; it cannot be foreseen.
She also likes to involve the viewer into the work via the reflective surface. By looking/reading the gaze is returned, the spectator becomes the narrative and in turn, part of the problem and solution.
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