Lisa Golightly

Waterline

2021

"I paint the inside and outside of myself that surrounds me. I want to express everything I feel in life, such as my thoughts that are not organized, my image I want, me in relations...

“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel. I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me. I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment. Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...

Acrylic on canvas Maya Abashidze is Georgian artist born in 1984 who lives and works in Tbilisi, Georgia. She was graduated from the Tbilisi State Art Academy in 2010. From May-Jun...

Acrylic paint on paper Hand-signed by the artist Unique work THE THOUSAND AND ONE NIGHTS OF MOHAMMAD ARIYAEI " Gentleness and oriental wisdom follow the supercharged bubbling to which we were accustomed from the previous deliberately art brut exhibition by Mohammad ARIYAEI. The Iranian painter's imagination moves serenely from the wildest frenzy to the meditative calm of great, fabulous stories. The artist then took pleasure in pouring the volcanic torrent of his barbaric figures onto the delicate latticework with which he is accustomed to lining his backgrounds with the patience of an illuminating monk. Already sweetness and paroxysm coexisted. Now gentleness wins. The trained imagination of the painter, yet spontaneously bubbling, by instinct as much as by erudition, has no difficulty in reconnecting with the abundant oriental tradition of the thousand and one nights, which, like a long underground river, resurfaces at the light of his painting. Spring renewal of traditions still alive. Systematic filling of space, a sort of oriental version of the Riches Heures...