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Lisa Peachey
updated: 08/18/2009
 
 
   
 
 
     
 
Artwork Title
art-medium
art-year
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We tied ourselves to the mast, and set sail
We tied ourselves to the mast, and set sail (detail)
Gravity Drawing No. 1 (Schematic drawing for Newton’s apple tree in the Driftwood or Sharamiki style)
Gravity Drawing No. 3 (Schematic drawing for Newton’s apple tree in the Windswept or Fukinagashi style)
Trying to draw the perfect thing from an impossible angle
Repairation
The surface of our sun as a snub dodecahedron, lit by another sun, and drawn by 118 stars
The surface of our sun as a pentagonale hexacontahedron, lit by another sun, and drawn by 182 stars
The surface of our sun as a dodecicosidodecahedron, lit by another sun, and drawn by 248 stars
Unchartered territories
Unchartered territories (detail)
Twice the speed of sound
Incomplete sublimation cube (when we built our first fire)
Flight (detail)
Blind horizons
 
Portfolio Keywords:  landscape, mapping, meditative, craft, diagrammatic, dreams, geometric, historical, nature, obsessive
 
 
We tied ourselves to the mast, and set sail by Lisa Peachey
We tied ourselves to the mast, and set sail
Silver leaf, lightbox, boiler suits
07
Dimensions variable
We tied ourselves to the mast, and set sail (detail) by Lisa Peachey
We tied ourselves to the mast, and set sail (detail)
Silver leaf, lightbox, boiler suits
2007
Dimensions variable
Gravity Drawing No. 1 (Schematic drawing for Newton’s apple tree in the Driftwood or Sharamiki style) by Lisa Peachey
Gravity Drawing No. 1 (Schematic drawing for Newton’s apple tree in the Driftwood or Sharamiki style)
Digital print on Aquarelle Arches
2006
30" x  22" 
Gravity Drawing No. 3 (Schematic drawing for Newton’s apple tree in the Windswept or Fukinagashi style) by Lisa Peachey
Gravity Drawing No. 3 (Schematic drawing for Newton’s apple tree in the Windswept or Fukinagashi style)
Digital print on Aquarelle Arches paper
2006
30" x  22" 
Trying to draw the perfect thing from an impossible angle by Lisa Peachey
Trying to draw the perfect thing from an impossible angle
Graphite on graph paper
2005
23" x  12" 
Repairation by Lisa Peachey
Repairation
Silver leaf, silverpoint and goache on paper
2008
30 " x  20 " 
The surface of our sun as a snub dodecahedron, lit by another sun, and drawn by 118 stars by Lisa Peachey
The surface of our sun as a snub dodecahedron, lit by another sun, and drawn by 118 stars
Digital print
2007
23.5" x  16.5" 
The surface of our sun as a pentagonale hexacontahedron, lit by another sun, and drawn by 182 stars by Lisa Peachey
The surface of our sun as a pentagonale hexacontahedron, lit by another sun, and drawn by 182 stars
Digital print
2007
16.5" x  11" 
The surface of our sun as a dodecicosidodecahedron, lit by another sun, and drawn by 248 stars by Lisa Peachey
The surface of our sun as a dodecicosidodecahedron, lit by another sun, and drawn by 248 stars
Digital print
2007
23.5" x  16.5" 
Unchartered territories by Lisa Peachey
Unchartered territories
Graphite on graph paper (A4) x 8, set in grid formation
2006
Dimensions variable
Unchartered territories (detail) by Lisa Peachey
Unchartered territories (detail)
Graphite on graph paper (A4) x 8, set in grid formation
2006
Dimensions variable
Twice the speed of sound by Lisa Peachey
Twice the speed of sound
DVD projection 22'
2006
Dimensions variable
Incomplete sublimation cube (when we built our first fire) by Lisa Peachey
Incomplete sublimation cube (when we built our first fire)
Etched glass, mirror, wood and charcoal
2007
53" x  53"  x 57" 
Flight (detail) by Lisa Peachey
Flight (detail)
9 Polaroids framed in a 1m2 frame, that describe a 1m2 drawing that goes from blackboard to white wall via hummingbirds
2006
39.5" x  39.5" 
Blind horizons by Lisa Peachey
Blind horizons
Pantone pens and pencil on watercolour paper, found cupboard and chair, masking tape and oak veneer
2008
Dimensions variable

Artist Statement
It is suggested that someone who has seen and then becomes blind holds images in their mind for the rest of their lives. Unless, however, a thing perpetuates in their lives, in which case the visual information is replaced by current information on sound, touch etc. – the image is lost. On one hand, there is real live experience, which they have access to but cannot reduce to an image. On the other hand, there is an image of something lost, which is only kept alive by forsaking the original. My work considers the mysteries and mythologies of representation and imagemaking. Any kind of representation is an attempt at understanding the world, whether through science, diagram, photograph or myth. If the world itself is a hall of mirrors, (Baudrillard), then my escape is through entering into this pretence, this image; either into a positive engagement with an image as phenomenological material to be worked, or an engagement with the mythical white cube gallery space as sacrasant dream space for ‘image’, which then lends the hall of mirrors a reflected truth, a double negative. The materials I use are related to traditional skills of image making, be it whittling, photography, or silverpoint drawings. The promise of beauty and perfection that an image and its reduction of the world can render is accepted as a perfect dream, and so failure and loss is accepted as part of the process of making. But also accepted are the notions of the desire for perfection, for harnessed reality, and the mythology of those who create images of perfection, both romantically put forward and yet also acknowledged as simply a desire. This back and forth, between immersion and distantiation, dreaming and waking, romanticism and self-reflection, seduction and abstraction are central. Recurrent motifs include the romantic landscape and the storm (in relation to the oceanic), and flight or an escape from gravity (as an extension of the Bataillian/ Freudian notion of verticality as the route of culture and dreams).

Artist Bio / CV
Born Hertfordshire, England 1973 Education MA Fine Art at the Slade School of Art, London, graduated September 2006. BA Hons Visual Arts, at De Montfort University, Leicester, graduated in 1996. Part of this study included a 3 month exchange period at Belles Artes Academy, Seville. Group Exhibitions 2008, London/Centrum, Seattle Art Museum, Seattle, Washington 2008, Centrum Residency, Port Townsend, Washington 2007, Phase Space (curating and exhibiting), Brunswick Gallery, London 2007, Foldback, Reception Space, London 2007, Transformer (curating and exhibiting), Woburn Research Centre, London (www.trans-former.net) 2006, Jerwood Drawing Prize show, Jerwood Space, London 2006, Postgraduate Printmaking in London, Canary Wharf, London 2006, Film screening, Camden Arts Centre, London 2005, dayofdamagedgoods, Whitechapel Gallery, London 2005, performance-scope, Scope-London 2005, Incestuous Beginnings, Bloomsbury Theatre, London 1998, The Changing Face of London, Old Street, London Residencies 2008, Centrum residency, Port Townsend, Washington, USA Collections Ernst and Young Hull LIFT NHS Prizes, Scholarships and Awards 2006, Clare Winsten Memorial Award, Slade School 2005, AHRC 2005, Slade School Prize 2004 & 2005, Slade Project Awards 2004, South Square Trust Award