Lizzie Gill is a multimedia artist whose work explores themes of domesticity in a contemporary context. Through a variety of mediums she illustrates a time warp, composed of everyday life, human agency and “post feminist” contemporary society.
Her work is a nostalgic look at the past and innocence with a twist, prompting one to question their sense of time and culture. Gill has had solo exhibitions in New York, Miami and San Francisco.
Her work has been featured in The New York Times, Elle, Wired & Vogue. She lives and works in Sharon, CT.
Gill’s work explores the surreal moments between dusk and dawn that occur as we slip into a dreamlike state. Her compositions encompass ornate objects with dynamic loops that flicker across their fragile surfaces, creating an enchanting visual rhythm. Inspired by the inheritance of heirlooms passed down through matriarchy, these works reconcile the artist’s relationship and stewardship of these objects in contemporary society. Elements of psychedelic culture combined with surrealist assemblage, invite us to imagine an alternative reality where the perceptual reversal between object and place creates new, imagined landscapes.
Her delicate transferware vessels are archeological explorations, geographic and cultural, actual and mythical, that the artist has seen and re imagined, or imagined without having seen. Gill’s large-scale mixed media paintings are layered investigations of found imagery. Sourcing references from museum archives, vintage magazines & geotags, she utilizes collage as a metaphor for material improvisation & escapism. Inspired by mise en scene, objects are placed with careful purpose, a restricted color palette sets the tone, objects appearing like apparitions insist on being looked at anew.
Wedgwood (Night Drive), 2022
acrylic, image transfer + marble dust emulsion on panel
40 x 60 in
101.6 x 152.4 cm
“So shadows so beguile, and here we are, still, taking an empty vessel and filling it with our roots
supposed, the ones from the pictures, the ones that they propagated that any new growth might look
like their growth, a tea party in training, proper, precisely a mise en scene in a language assimilated,
and what more to say in a quest to find our own shadow”
– Joanna Glum
Untitled Ekphrasis