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I made this piece during the two years I spent living and working in Berlin. I had just completed a residency over the summer of my second year and had moved into Studios-ID on Genslerstraße, which is where I made the painting.
While I was in Berlin, I saw a lot of exhibitions looking at digital aesthetics, so those elements and screen imagery began to feed into my own paintings. I also became interested in signs, symbols and logos; aesthetics which came from the graffiti, fashion and design I saw around me. Pushgo is a culmination of visual influences from my time in Berlin.
During my research in the studio, I also looked at the traditional Chinese art form Shan shui which takes landscape as it’s basis. There are three fundamental components in Shan shui, the first being the mountain, the second a winding pathway or stream which connotes the concept of a journey, and the third is the ‘heart’ of the painting, which is the focal point at the end of the journey.
Crucially, this art form is not based on real landscapes but is essentially a collection of specific compositional elements. Pushgo is heavily influenced by these ideas. To me, this is a dynamic painting, cut through and held in place by geometric elements. It examines the contemplative, spiritual connotations of the triangle against it’s contemporary usage in design, logos and branding.
Lisa Denyer is a local award-winning artist based in Manchester. She graduated from Coventry University in 2009 with a BA (Hons) in Fine Art. Much of Lisa’s work is inspired from the time she spent living in Berlin. The vibrancy of the city inspired and adapted her style. She started to introduce bright colours into her work to help her feel warm while working from a freezing cold studio. Lisa’s practice explores the polarities of a slow, considered painting process against the speed and sensory perceptions of daily life. Surfaces are developed using collage in an approach which is both spontaneous and contemplative. The panels she uses are dense and weighty, usually made from heavy plywood, clay, panel, sandpaper, or wood.
My practice explores the polarities of a slow, considered painting process against the speed and sensory perceptions of daily life. The work relates to the body, the spaces we inhabit, and the visuals we are presented with on a day-to-day basis.
Surfaces are developed using collage in an approach that is both spontaneous and contemplative. Geometric elements are tested in variations using paper cut outs before a composition is set, often framing gestural marks.
The supports are dense and weighty and usually handmade. I use heavy plywood, clay, panel, sandpaper, or wood as surfaces on which to work. These are selected for their textual qualities and for the way they assist, and disrupt the application of paint.