Combining painting and 3D form depicting landscape and architectural spaces,
creating an environmental autobiography - a sense of self and place intimately connected.
© Video by Julian Winslow and Steve Blamire
Lisa Traxler RWS, MRSS, NAPA - born London
Studied: Croydon Art College and Birmingham Polytechnic. Graduated with a BA Hons degree in Fashion & Textiles. Previously worked in London as a fashion editor (IPC Publications) and costume designer. Member of Royal Watercolour Society (elected 2015, full Member 2017), Royal Society of Sculptors (elected 2017), National Acrylic Painters Association (elected 2009).
Lisa combines painting and 3D form within her art practice.
Recent selected exhibitions include the London Group Open 2017, Royal Watercolour Society Contemporary at Bankside Gallery, ING Discerning Eye at Mall Galleries, Royal College of Art, Cork Street, the Crypt Gallery, St. Ives, the Bath Society of Artists, the London Design Festival 2016 & 2017, Palazzo Ca' Zanardi, Venice, Italy, The Greenhouse, Berlin, 'START18' International Sculpture Network, UK, Southampton City Art Gallery, 2018.
Awards include Adrian Henri Award (2017), ProArte Award (2014), Colart Award (2012) Golden Award (2010) for her paintings at the NAPA National Exhibitions, The Crypt Gallery, St. Ives. Shortlisted and published in Aesthetica Creative Art Award Annual (2012). Her vitreous enamel and steel mural painted on the outside of the house she built architectural designer, Lincoln Miles, was featured on national television (Grand Designs, Channel 4, 2010/12) and was commended at the Architects Journal Awards, London (2011) by the architect Will Alsop. She has collaborated with furniture designer, Steuart Padwick, on the 'Muriel' table, a folding, hand painted enamel on steel table that folds to hang as wall art and shown at the London Design Festival (2016).
Public art commissions include 'Transition' the multi panelled enamel and steel wall mural in the entrance foyer to the new Art & Design College, Stourbridge, West Midlands (2011). 'Take Wing' Enamel and steel triptych situated in the double height space of the entrance foyer of Vestas Technology Centre, IW (2011), and 'When We Were Young' a multi panelled folding wall at Briddlesford Education Centre, IW (2010). A further public art commission surface design was chosen for the ‘Making Waves’ sculpture & tourist trail, the National Marine Aquarium, Plymouth (2013).
A major solo exhibition of her paintings & sculptures, ‘Decade’ toured from the West Gallery, Quay Arts, IW (2014) to the Apthorp Gallery, Artsdepot, London (2015).
A solo exhibition, 'BUILD' of paintings and assemblages was exhibited in the Penwith Gallery, St. Ives, Cornwall in May/June 2017 touring on to Surface Matter Materials Gallery, Hackney, part of London Design Festival, September 2017 and a WWII Radar Bunker, as part of START'18 Sculpture Network, Isle of Wight, UK January 2018. Selected parts of 'BUILD' were exhibited in 'Dazzle: Disguise & Disruption in War & Art' at St. Barbe Museum, Lymington and 'Dazzle: Continuing the Art of Disruption' Southampton City Art Gallery, 2018 - 2019.
Two books have been written by the artist (‘DECADE’ & ‘LIVES OF SPACES’) with essays & foreword by Jonathan Parsons (artist, author & lecturer) & Peter Davies (art critic & artist). Her work can be found in private & public collections throughout the UK, Hong Kong, New York, Australia & Italy.
SUNDAY TIMES HOME : How a wartime bunker inspired a modernist home on the Isle of WightHugh GrahamSeptember 10 2017, The Sunday Times (read more...)
Lisa Traxler at Penwith Galleriesby Peter DaviesThe St. Ives Times & Echo 26.05.2017 (read more...)
Lisa Traxler – from fashion editor to contemporary artist (read more...)
The following article was published in ‘Style of Wight’ magazine, April 2012. (read more...)
Here is one way a painting can be made. A painter makes a gestural mark on a surface. This is reflected upon for a moment, and then another mark is made in reaction to it. This process is elaborated upon until the painter is satisfied in some way. A point is reached where the painter decides to leave off. (read more...)
Throughout the modernist revolution the arts of painting and sculpture have often acted in plastic accord and creative tandem, the one informing or reacting to the other. Nowhere was this more in evidence than in the work of Picasso, the twentieth century’s most astonishingly inventive and restless artist. (read more...)