Identifying points of origin is “an intentional act” that “authorizes” the construction of a synthetic account of a temporal sequence of events. To relate two moments means not only recognizing established connections, but also forging such relations between the periods, thereby recuperating aspects of the past visible only in light of the present and revealing aspects of the present visible only in relation to the past.
— Robert Slifkin / Out of Time: Philip Guston and the Reconfiguration of Postwar American Art

Each of my collage works on vellum or on large sheets of Arches paper begins with research in art history, nature and current events. I search for relationships between these sources and notions of time. This intersection acts as a window onto the fragility of our environment and social crises, past and present. Constellations of this sort allude to Walter Benjamin’s dialectical image or the image sequencing found within Aby Warburg’s Mnemosyne Atlas. This approach is also demonstrated in the weekly "Monday's image" posting of the News section of my website, where I pair a work of art with the front page of the local newspaper, addressing the printed image on that day with another image found within museum collections. Within these temporal spaces of juxtaposition, patterns of repetition and incidents of déjà-vu may occur.

LISA BLAS, Jardin, v. 1,  Lightjet print, 33 x 50 centimeters, 2011

LISA BLAS, detail (Dialectical travel (v. 2.15.13), Acrylic on watercolor paper on Arches, 2014

At present, the majority of my production is in collage beginning at a scale of 8.3 x 11.7 inches and expanding out to wall-size images. In 2010, I began collecting postcard stock from art institutions and paint swatches from hardware stores, as a means to build a palette with found material. I searched for areas of processed color, without image or text, to cut and re-use and have come to define this material as "color refuse". Initially, I used only color refuse in the collages and later began to incorporate large sheets of watercolor paper that I paint in varying tonalities and subtle gradations of pigment, so as to have more control over the color and size of my material. The process of cutting the material into fragments and its subsequent (re)composition into images is emblematic of my research endeavors. My supports are A4 music paper, Opalux vellum and Arches paper. The music paper, in particular, provides a structural system (via the score lines) that I work with and against to construct images or notations in sequence. Out of this process, abstractions and text works emerge that carry the residue of their referent.

Lisa Blas, Watercolor paper, card stock and acrylic paint on Arturo Toscanini "Pictures at an Exhibition" record cover, 12 x 12 inches, 2015, part of "RIEN NE VA PLUS ! Pictures at an exhibition. Juan d'Oultremont", Musée d'Ixelles, Brussels