Process

Lizzie Watson’s work considers the ways in which individuals are formed in relation to their environments.

At a moment when communication increasingly takes place in virtual networks and when our conception of “the social” has begun to exclude the physical body, Lizzie speculates over the remnants of physical connections between one’s individual self and society.

Her work embraces the physicality of painting. Instead of controlling a brush through the wrist, she dips sticks into an elastic paint and instinctively moves her body above and around canvas on the floor, allowing the paint to drizzle in skeins and splatters that traced her gestures. Lines and marks build up without a tool even touching the surface of the painting. Each calligraphic mark is distinctive and unique.

The crowd scenes seem to have have a particular prevalence to our modern interconnected selves. Figures interact in a space with those wild strings disappearing off into the ether, connected to something else, who knows where. 

What are the new visual metaphors of the self when our ability to see and be seen is expanding, as is our desire to manage our self-image and privacy?
— 2015 Triennial: Surround Audience 02/25/15-05/24/15, New Museum of Contemporary Art, New York