Painting
Liza Clement
The cyclical nature of my practice embodies the paradox
between the enduring, timelessness of art, and ideas of impermanence. It is a
constant negotiation.
My practice embodies states of transition and impermanence and explores the relationship humans have with the natural environment and our desire to control nature. In Darwinian fashion, my fascination with plant and animal ecosystems has to do with the utter sophistication of their functionality. My work deals with the presentation and postulation of the systems that exist in a biological framework and a fabricated one, specifically targeted to reveal the parts of these frameworks that are unseen or not readily revealed to humans. Through the collection and manipulation of these materials, my process entails speeding up certain naturally occurring processes and introducing materials that promote growth. I then utilize plastic, light, and heat to increase or decrease these reactions. They become collections of data reflective of the invisible world. Paintings acting as preservations, records, exaggerations, and reveries are created through observing these collections. They postulate the possibility of hybrid organisms, acting as a framework for interspecies collaborations and an homage to a fascination with ecological phenomena as it progresses in the world’s current Anthropocene state.
My practice embodies states of transition and impermanence and explores the relationship humans have with the natural environment and our desire to control nature. In Darwinian fashion, my fascination with plant and animal ecosystems has to do with the utter sophistication of their functionality. My work deals with the presentation and postulation of the systems that exist in a biological framework and a fabricated one, specifically targeted to reveal the parts of these frameworks that are unseen or not readily revealed to humans. Through the collection and manipulation of these materials, my process entails speeding up certain naturally occurring processes and introducing materials that promote growth. I then utilize plastic, light, and heat to increase or decrease these reactions. They become collections of data reflective of the invisible world. Paintings acting as preservations, records, exaggerations, and reveries are created through observing these collections. They postulate the possibility of hybrid organisms, acting as a framework for interspecies collaborations and an homage to a fascination with ecological phenomena as it progresses in the world’s current Anthropocene state.
