|
|
|
|
|
|
|
|
|
 |
||
 |
 |
||
 |
|||
|
|
  Lisa Sears I don’t feel comfortable trying to define my art. I have no manifesto; I don’t draw with an agenda, and often I only know halfway through what a piece is “about.” Starting is hard, but once I’m inside it’s easy. If I had to interpret my work in retrospect, I’d say it’s a struggle—and a game—to let the inner life of my subjects emerge and show the Mythic in deeply personal stories. In a way I create my own subjective mythology—but one I believe the viewer can at least in part intuitively apprehend. Thematically I’m often inspired by other women: my mother, sisters and female friends. I am intrigued by how society sometimes views the roles or identities of women more like clothes that are tried on and discarded as they become ill-fitting. I question what women must gain or lose in terms of self-knowledge by following society’s preconceived standards for them. But, more often, I am interested in the heart of my subject—be it male or female or even animal. I try to remove the normal outer layers and reveal something more—be it vulnerability, a gentle beauty, a humorous nature, or a more sinister side. And, not to slip into too much jargon, I think Jung’s writing on archetypes has informed my interpretations of the mythic aspects of their lives. One of my themes is the elusiveness of recapturing or reactualizing one’s own personal past. I am intrigued with the notion of an authentic memory versus ones’ past made up of half-memories coupled with longings and fantasy. My visual vocabulary has been largely shaped by the lyrical symbolism of Chagall and the overwhelming hyper-colors of Van Gogh. I use color symbolically to mirror the emotion of the work; I find that orange and yellow signify change, fear or challenge, while blue and green connote strength, acceptance, or calm. Contact: Lisa L. Sears
|
 |
|
 |