This painting was one of the first pieces I exhibited in Madrid, after which followed a series of exhibitions in Spain. For me, Zap marked the start of a body of work associated with this city.
The piece contrasts spontaneous brushstrokes with ordered line, connoting ideas around balance, perceptions of visual depth, layering and illusionistic qualities of the picture plane.
There is a map-like quality and a feeling of certain elements being pinned in place. The influence of digital aesthetics is heavily evident in this painting, this being reflected through a sense of movement and saturated use of colour.
Zap conveys my interest in signs, symbols, logos and semiotics. This is juxtaposed by the physical attributes of painting; texture, weight and density which emphasise its status as a physical object.
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.