Shuriken was made during a residency with Castlefield Gallery in Manchester. It is part of a series of work that focuses heavily on materiality and the objecthood of painting, using wood, hardboard and plywood. The surfaces of the paintings made during this time are typically pared down with a subtle yet rich colour palette.
Being in Manchester after I finished university was the first time I’d lived in a big city. I began to be influenced by the architectural elements and hard lines of the city in paintings such as Shuriken and I was led towards the pairing of geometric elements with a freer painterly language.
After meticulous experimentation with collage on the surface of the piece, I arrived at a composition which was very simple, and which allowed the focus to remain with the initial gestural marks.
The support is handmade, substantial and weighty. The materials were selected for their textual qualities and their ability to withstand multiple layers of paint. The handling of paint and the interaction between the medium and the raw surface upon which it is applied remains a primary consideration in my practice.
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.