A friend told me that one of my paintings looked like a stage set. I appreciated that idea because a stage is an artificial space that mimics real space without hiding its artifice. Like a stage set shows the audience an abbreviated and specialized version of an environment, I’ve developed environments with skewed perspective and impossible scale particular to my interpretation of landscape and architecture. Works on paper made outdoors, and photographs of architectural peculiarities serve as source material for my oil paintings. From there I use my relationship with the oil paint to form abstractions of my observations.
While paint is my medium I also would claim color as a medium. My process begins with mixing paint on the palette and then pushing unexpected colors together on the canvas. I use temperature and value to counteract the illusion of my compositions. I want the value shifts, the color relationships to be the main activity of the work.
My work employs the language of abstraction perhaps in the way medieval painters once used the religious iconography as a structure upon which they built the idiosyncrasies of their hand and vantage point. I lay my personal interpretation of illusion on top of the vocabulary and history of abstraction in painting.
Interviews with the Artist
Amato, Delphine, And Freedom For, Liz Ainslie, May 1, 2014 - http://andfreedomfor.tumblr.com/post/84487980531/liz-ainslie-is-an-abstract-painter-living-and
Calandra, Maria, Pencil in the Studio, “Liz Ainslie” August, 2011 http://pencilinthestudio.blogspot.com/2011/08/liz-anslie.html
Chapline, Jonathan, #ffffff Walls, “Liz Ainslie-Bushwick” April, 2012 http://ffffffwalls.com/2012/04/liz-ainslie-bushwick/
Standard Interview, “Liz Ainslie” March, 2011