Lisa Blas, tåtan bihu, Hagåtña | Acrylic, ink and interference paint on canvas over panel, 30.5 x 23 centimeters, 2024
Lisa Blas, First(s), Monday’s image, v. 4, 2021, Dye sublimation print on silk, 40” x 30”, unique.
A work produced in parallel to my RSS feed, Monday's image, presented in the online exhibition, Fit to Print, at The Print Center, Philadelphia, curated by Dr. Ksenia Nouril.
"Lisa Blas is a multidisciplinary artist celebrated for her syndicated RSS feed Monday's image, which has presented a new pairing of a front page and a work of art from an international museum collection each week since 2015. This ongoing project serves as the impetus for her newest work: ten hand-assembled ephemeral still lives that Blas transposes through photography into dye-sublimation prints on silk. Each mise-en-scène comprises twelve parts, including the front page of The New York Times from August 12, 2020 announcing Kamala Harris as Joe Biden’s pick for Vice President; a number of photographic reproductions of artworks, including a bust of a Ptolemaic queen from the Hellenistic period, an etching by Louise-Magdeleine Horthemels and a 19th century drawing by Margaretta Angelica Peale -- a founding member of the Pennsylvania Academy of the Fine Arts -- long misattributed to her cousin Raphaelle Peale; a recent painting from Blas’ series “Dawn Studio”; as well as an assortmentof colorfully painted enlarged punctuation marks scattered across the composition. The latter two elements -- interruptions by Blas’ painting practice -- change from work to work, creating unique multiples in which the works are similar yet subtly different. Blas describes them as the “afterlives of images, of the working process of ‘Dawn Studio.’” Begun during the COVID-19 pandemic, “Dawn Studio” is yet another ritual-based exercise in Blas' practice. Every morning, she paints not in her studio but in her home, looking out onto the Hudson River, where the sky meets the earth, and the earth meets the water. The resulting watercolor and gouache paintings take the form of a lacuna or aperture that is at once a void and a portal. This serves as a metaphor for Blas’ Firsts. The overall effect of the coming together of its disparate parts honors the pioneering women who are trailblazers in their respective fields." K.N.
Lisa Blas | Amber waves of grain, Shadow writer(s), v. 8 | 2023
Watercolor, gouache, metallic ink, dye-based ink, acrylic ink, acrylic and interference paint on canvas, 20 x 16 inches (50.8 x 40.6 centimeters).
“In a talk that is more fly fishing than academic history, I shall (re)visit abstraction in painting and some of its origin stories in order to navigate past interpretations and pose new questions relevant to the practice of painting today.”
This program is presented in conjunction with the current exhibition In Quiet Motion, with Kerri Ammirata, Lisa Blas, Elise Thompson on view in the gallery through May 17, 2024.
132 Bowery - 3rd Fl
New York, NY 10013
Photo courtesy of @guammuseum
Lisa Blas, Routes to Oceania, ta lave, ma mer (Your Lava, My Sea), 2022
New CHamoru Literature | University of Hawai'i Press
Editor: Craig Santos Perez
This anthology will introduce readers to the Mariana archipelago and the vibrancy of CHamoru literature, culture, histories, migrations, politics, memories, traumas, and dreams.
Cover image: © Lisa Blas 2022
Blink, solar dawn * 2020 -2023
Watercolor, gouache, pigment, metallic ink on watercolor paper, 7 x 10 inches (Framed: 12 x 15 inches),
Private collection, New York
“Seeing Is Realizing There Is Always More to See”
EFA Studios
323 West 39th St., New York, NY
January 24 – February 23, 2024
Opening Reception, January 24, 6 – 8 p.m.
Hours: Tue – Fri 12 – 5 pm
You are cordially invited to an artist organized, pre-holiday celebration and open studio — a grassroots event that sprung from conversation on our shared 4th floor. Please join us to view available works, hear about our future projects/work-in-progress and share in discussion!
Lisa Blas, Routes to Oceania (tåno’, tåsi)
Acrylic and interference paint on canvas, 60 x 48 inches, 2023
Lisa Blas “Pause (Play), Horizon”
April 23 - June 30, 2023
24 rue de Bosnie, 1060 Saint-Gilles, Bruxelles
Photo: Philippe De Gobert
On view now: @ 76,4
Lisa Blas “Pause (Play), Horizon”
April 23 - May 28, 2023
24 rue de Bosnie, 1060 Saint-Gilles, Bruxelles
Lisa Blas, Routes to Oceania, after Marthe W, Acrylic and interference paint on canvas, 57 x 45.5 inches, 2020-2022
Installation view: Lisa Blas | Fighte fuaighte > inafa’maolek | @_regroup “Fragments in Constellation” | Skibbereen, Ireland
Lisa Blas | Fighte fuaighte > inafa’maolek | @_regroup “Fragments in Constellation” | Skibbereen Arts Festival 2022, Ireland
Fighte fuaighte > inafa’maolek
Acrylic, metallic ink, dye-based ink, and watercolor on canvas 4 x 2 meters, 2022
06 | 05 | 21, 6:02 am
Watercolor, metallic ink, dye-based ink and gouache on watercolor paper, 12 x 12 inches, 2021
Dawn’s vroom
Watercolor, ink, gouache and pigment on panel, 12 x 12 inches, 2022, Private collection, Belgium
Dawn studio
Installation of paintings on paper and canvas
Elizabeth Foundation for the Arts, New York, 2021
Lacuna(e), v. 1, 2019
Lacuna(e), v. 2, Acrylic, watercolor pencil and interference paint on canvas, 30 x 24 inches, 2019
Color key, When Bram met Pieter, Metallic ink, acrylic and interference paint on Japanese card stock, 5 x 5 inches, 2020
Infinite fold, v. 1
Diptych: Acrylic, watercolor pencil and interference paint on canvas
30 x 48 inches, 2019
Infinite fold, v. 6, Acrylic, watercolor pencil and interference paint on canvas, 30 x 24 inches, 2019
Infinite fold, v. 2
Acrylic, watercolor pencil and interference paint on canvas
30 x 24 inches, 2019
Autoportrait, v. 3, Postcard stock and color chips on A4 music paper, 11.7 x 8.3 inches, 2011, Private Collection, Virginia
Flooded, v. 1, after Anna Atkins
Acrylic on watercolor paper on two sheets of Opalux vellum
19.5 x 25.5 inches
2017
Headline, v. 7 (New York)
Acrylic, watercolor pencil, pigment ink and interference paint on Arches paper, 50 x 38 inches, 2019
Figure Ground, Fautrier
Acrylic, pigment ink and interference paint on two sheets of Opalux vellum on Silver Momi paper | 19.5 x 25.5 inches | 2019
Headline, v. 6 (Florida), Acrylic, watercolor pencil, pigment ink and interference paint on Arches paper, 40.5 x 43.5 inches, 2019
Detail : Headline, v. 4 (Baton Rouge)
2017
Headline, v. 4 (Baton Rouge), 2017
Approximating, proximity (v. 1), American flag postcard stock on two sheets of Opalux vellum, over gold Momi paper, 22.25 x 28 x 2.25 inches, framed, 2020
Approximating, proximity (v. 2), American flag postcard stock on two sheets of Opalux vellum, over gold Momi paper, 22.25 x 28 x 2.25 inches, framed, 2020
Installation view: Lisa Blas, Four Corners, 2017
Bellingham National Exhibition : Curator / Catharina Manchanda
Whatcom Museum, Bellingham, Washington
Enter Stage Left (Monday’s image, v. 1)
Dye-Sublimation on silk
55 x 41.5 inches
2018
Porcupine Studio, March - July 2020, during the Covid-19 quarantine, NYC
Lisa Blas
Manifesto (at the onset of the Covid-19 lockdown)
March 25, 2020
Happy New Year * 2023
