Lisa Williamson

These first images show two human-scale sculptures that are part of a larger series of rectangular columns now in progress. The works are made of wood and painted with many layers of sanded acrylic, transforming the surface into something more akin to plaster, plastic, or clay. While the size, shape, and finish are in common, the demeanor and personality of each work is distinct. Not Yet Titled (Eggs) is animated by shallow yellow ovals spotting the otherwise smooth, chalky surface while Not Yet Titled (Pinstripes) has a more formal presence as a series of black gutters run up along each side, like the seams of a stocking or the pinstripes of a suit. The additional columns in progress vary greatly, each having carved irregular surfaces and clashing colors palettes. 

From 2011 to the present, I’ve been working on a series of hanging wall sculptures derived from line drawings. These works conflate drawing, painting and sculpture and have a certain physical autonomy or material ambiguity that makes them hard to categorize. The sculptures have a mediative, hovering sensibility that is rather optical; color often casts onto the wall or at times a brightly painted trim will flatten the work back into a line drawing. This series is rooted in language, an expanding alphabet of symbols and forms. Many of the works also connote domestic tools like tweezers, tongs, ribbons or magnets. 

In 2012, I presented a series of works titled Acts of Intermission, specifically made for the Vault Gallery at The Hammer Museum and shown as part of their group exhibition, Made in L.A. 2012. Inspired by the shape and acoustics of the gallery, I created works that were in a state of intermission, objects in pause. I like thinking of artworks as arriving in a room, finding an essential place, relating to each other and the space that exists around them. The shape of a room or the trim that goes around a ceiling helps me to imagine how an object might literally move in. This can be seen in the work, Counting Backwards From Ten, 2012, a handrail sculpture that was made to fit within the curved wall of the gallery. Each of the works in this installation followed this same logic and were intended to rest seamlessly within the subtle architecture of the gallery. 

IMAGES 15-20
These final five images are examples of works that reside somewhere between figuration and abstraction. I imagine artworks as thinking-objects, personalities pressed into a chosen material, individuals basically acting like individuals. For me it is important that the objects I make feel of this world, relating not just to the figure but to more specifically have tangible, human qualities. This can be seen in works like Club Foot and The Towel, 2011, a sculpture saturated in pepto-pink enamel with an arm that extends from the wall and a brick-like foot that makes contact with the ground. Teal Legs, 2011, was measured against the length of my body and sits against the gallery wall. Acting as both a viewer and participant within the context of the gallery, this work is in conversation with the architecture of the space and the artworks or objects that surround.