My work sits inside the translation between observation, memory and drawing. I employ the language of abstraction in the way medieval painters once used religious iconography—as a structure upon which they built the idiosyncrasies of their hand and vantage point. This is my visual investigation into human perception and the relationship between space and color. The process begins with mixing paint on the palette and pushing ugly and appealing colors together. Compositions and textural decisions are derived from outdoor observational drawings. Jumbling and reworking this visual vocabulary, I explore ways color relationships can upend our visual understanding of space.

Interviews with the Artist

Amato, Delphine, And Freedom For, Liz Ainslie, May 1, 2014 -


Calandra, Maria, Pencil in the Studio, “Liz Ainslie” August, 2011

Chapline, Jonathan, #ffffff Walls, “Liz Ainslie-Bushwick” April, 2012

Standard Interview, “Liz Ainslie” March, 2011