My work employs the language of abstraction perhaps in the way medieval painters once used religious iconography as a structure upon which they built the idiosyncrasies of their hand and vantage point. I use the language of abstract painting as a structure upon which I develop a visual investigation of human perception.

My painting vocabulary is mined from years of observational sketches and drawings that continuously shifts with the physical experience of each new piece. The compilation of forms reveals the workings of the mind and translation of life’s collected observations into abstracted vision. The forms reference everyday objects, bodies, architecture, and natural objects. The rough-hewn textures are the record of a body creating a work in moving time. Lines and loops employ the illusion of light and weight but exist impossibly in an unwieldy arena of precarious gravity and hierarchy. The drawing hand leads to a sense of movement that is both playful and destructive as it weaves through the illusion and interrupts any harmony.

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. The relational nature of color fosters experimentation and intuitive work.

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