Update 2022

I am very busy at the moment with my role as Visual Artist in Residence with SCS and looking forward to recommencing my 2022 residency with the BigCi from April 20th. I’m in the studio when not engaged in my role with SCS or sometimes teaching extra-curricular art on a Friday with APGS, Ultimo.

I am entirely enjoying the space and soft daylight of my studio in Balmain and the luxury of being able to work to work! Stay tuned for the posting of new works, explorations and meandering from the Blue Mountains when I commence my one month residency with the BigCi.



November 2021 Update

A new studio!

At the end of yet another long lockdown, and though the state borders are not all open there is more freedom of movement for us all. Over the lockdown I gave notice at my studio in Newtown (will miss the friends and community there) and moved all my art sundries to One Plus 2 Studios in Rozelle to shorten my commute. https://sites.google.com/view/oneplus2

The new studio in Rozelle. Contact me to visit by appointment.

One Plus 2 has proved to be a great community to work in and is a very professional artistic environment. A large warehouse it is divided into individuals work areas and I have been lucky to secure the luxury of a studio space with a door! The advantages are security, i can listen to podcasts and music without headphones and sometimes make long calls while I paint and draw with the phone on speaker. Poet brother Mal (in Melbourne) have burned through many an hour discussing poetry, painting, art and life.

One Plus 2 Studios

Mal has a new book of poetry out that is a wonderful read you can order it here for yourself or a fellow reader on this link. https://www.amazon.com.au/At-Foot-Mountain-Mal-McKimmie/dp/192578097X

OR if , like me, you don’t like to further enrich billionaires you can get it straight from the press Puncher and Wattman on this link. https://puncherandwattmann.com/product/at-the-foot-of-the-mountain/

The book, At The Foot Of The Mountain, is a lovely volume to hold and handle, if you enjoy the frisson of a well made volume it is a joy. The poems are a wonderful read. I am totally objective, of course.

Well! As for me, I continue to teach part time, sadly online rather than in the classroom. I do miss being on site with my secondary students. It is hard for them to work through an art elective with limited creative materials or space to work at home. Some have more than others of course. One student tried to order some supplies from a local Officeworks online only two learn that there was a 4-6 week delivery delay due to demand!

Lessons have had to become creative. Joining an online drawing lesson (thanks to the Lester Prize site and artist Seabastion Toast for this generous free offering). Seabastion Toast offers online classes if you are interested! https://www.lesterprize.com/civicrm/event/info/?reset=1&id=6&fbclid=IwAR21lp3hOGFrguoyULKEGPuqzcchz9VGb44zdi6E5f1nMyVTrMB9lLNXvf0

In online class sketch

Other lessons haves included carving from a cake of soap, from a lesson designed by John Baldessari. Only one student did not have a bar of soap, his family uses liquid soap so he carved a potato and a courgette! If you are not familiar with Baldessari he was a fascinating American artist important to contemporary art education. https://www.google.nl/url?sa=t&rct=j&q=&esrc=s&source=video&cd=&ved=2ahUKEwiK7azn_qX0AhWJsVYBHeVvDs0QtwJ6BAgKEAI&url=https%3A%2F%2Fwww.npr.org%2F2013%2F03%2F11%2F173745543%2Ffor-john-baldessari-conceptual-art-means-serious-mischief&usg=AOvVaw3MZa3Ak8bTn9soZ-g3_QR9

I continue in my art making to explore the remembered landscape and how, internalised, memory has shifted and changed within the year I have spent back in Australia. The work I shipped back from The Hague (that were meant to be shown at Pulchri Studios in April 2020) have been well received here. I have sold a significant number of them, covered the studio rent and some materials, and this all helps me in pushing on to continue with the landscape theme. The urban studio shift, without the immersion in a forest as I had previously, has turned my attention increasingly to the drawing and paint application, the colour relationships and the merging and fading of memories of the landscapes I have dwelt within.

Oil sticks combined with traditional brush and paint and physical attack on the wet or drying surface is how my recent works are created. With oil sticks I can draw under and over the works and be very physically and expressively free, especially across the larger works. Most are painted mon stretched linen but I am starting to work on gesso primed panel which will obviate the risk of pushing a stick, knife, or sharp end of the brush through stretched weave!

Oil stick drawing, work in progress

My 2020 landscape works and these new works are meeting with a pleasing level of critical success which warms my heart cockles. So far I have been short listed for the National Capital Art Prize (Canberra), The Paddington Art Prize (Sydney), The Calleen Art Award (Cowra Regional Art Gallery), The Fisher’s Ghost Art Award (Campbelltown Regional Gallery), ands recently the Blacktown City Art Prize. I’ll add more details links and images of the works on this site for you to see.

Wetlands II

I big thank you goes to those who have purchased, supported my relocation, artwork, exhibiting and family generally over this last year. It has been essential and appreciated. My love to you all.


Also a big thank you to the people out there who world in galleries, art spaces, make studios and other initiatives possible, process entries , stage online exhibitions, deliver and collect works, frame and hang, catalogue, greet and meet and volunteer! Your work is keeping artists hopeful and art alive and also the resources you produce are invaluable to online schooling and bring life and meaning to many people feeling isolated in these times.


Open now! Exhibition in Sydney and virtual tours.

Hello friends, My exhibition of works completed in the Dutch forests are currently on show in Sydney @gaffagallery, 281, Clarence Street, close to QVB/Town Hall.

I will be here all day tomorrow 10-6 and also Saturday! Drop by and say hi. I am more than happy to tour you around or just catch up for a chat.

I can offer Zoom visits (get your friends together perhaps) or WhatApp group or individual tours or Messenger or FaceTime. Just email or message me and we will set up a time.

Ontmoeten in De Bos/A Chance Meeting in the Forest.

http://gaffa gallery

Ontmoeten in De Bos/A Chance Meeting in the Forest.

#gaffa gallery Exhibition opens 21st January 2021 to 1st February. Gaffa Gallery is at Clarence Street, Sydney, one block from the Queen Victoria Building and Town Hall. Covid precautions in place. Drop by or contact me for an appointment.

http://gaffa gallery

In the Dutch summer of 2019 I began sharing a small studio in the forests on the edge of The Hague, The Netherlands. I had been walking into the parks and forests for some time but the cold does make it hard to draw or paint for prolonged periods. I had noticed a small blue and white nineteenth century tea house near the Raadhuis De Pauuw in Wassenaar. Initially the park administration and Gemeente (council) did not want to share the information about the Teahouse built by Prince Frederick for his niece, a sculptor. I suggested to the woman at the Gemeente Wassenaar that perhaps the studio lease was owned by a woman with young children who worked part time, was a professional artist and wondered why she was paying the rent on this small studio she did not have the time to use, but kept it on in the hope that she could resurrect her career someday. I said I did not want to take over the space but share it and perhaps collaborate with the owner. She smiled and said give me your phone number. A few days later Florence rang me and our chance meeting in the forest developed into a friendship as we share the studio through the isolation and stresses of 2020.

In early 2020 Covid19 was found in our community. My family, our colleagues, the EU moved into a lockdown that would extend through to our departure for Australia at the end of August. With my teens and husband working from home and my teaching work cancelled I had more time to spend in the studio, indeed, it became a refuge as well as a safe place to work and isolate.

Before the pandemic I followed the Australian bushfire news from my studio in the forest. The summers of 2019 and 2020 in the Netherlands were unusually long and hot and dry. Having spent almost a decade in The Netherlands I thought I could see the impact of Climate Change around me. There were sudden bird deaths, less nestlings, old moss beds originally laid in the nineteenth century that were drying out and falling away causing dune erosion and algae sat reeking in many canals that usually hosted water birds and their young.

I started drawing and working with gouache on paper in the studio in the summer of 2019 and moved to oil painting in the late summer and autumn. While I originally planned to use the studio as a base and move about the forests and dunes to work, I ultimately ended up working in the one clearing by the Princessetuin garden painting the same view again and again. I had police tape across the gate and a sign in Dutch on the door to discourage members of the public from entering the studio while I worked. “Afstand AUB!” Before the virus it was not uncommon to have someone march up the short stair and pound on the door or even just throw the door open and enter, they would say in Dutch “Is this a cafe?”, “Have you tea and coffee for me?”, “Have you a toilet?” BTW, I did NOT have a toilet or water so I carried in water and a thermos and would either have to meet with a friendly tree or cycle back to the house for relief. With so many more people walking, albeit well distanced, it became easier to cycle home.

The shuttered windows wrapped around the studio allowed natural light and a safe way to communicate, occasionally, with passers by as more and more people found their only way to get out of the house was a walk in nature. The dogs would spend the day with me in the studio and warn me if I was absorbed in my work and their was someone approaching the windows. I placed gel on the stoop outside and would Dettol wipe the park bench in the clearing, often used by children, families and the elderly alike.

Being absorbed in the shifting green landscape was a panacea to the difficulties of negotiating the stress, the sadness and the losses of 2020. Repetition of the same landscape over the seasons was absorbing and inspiring. The changes in depth and complexity, line and colour, while ultimately impossible to catch in their complexity, became my project. Sometimes grand changes in composition became necessary if a summer storm or winter squall took down branches of even an entire trunk. Light changes on the same day might completely change the depth, focus and colours of what I was looking at. It became a year long meditation.

Sometimes I would receive feedback from others using the forests. “I can see the influence of Dutch painters yet there is something in all of these that is not at all Dutch. Is that Australian?” Or “You have a different way of looking at our landscape, it makes me see it differently”. I was please when a local woman said she had been running in the woods for many years but the paintings had made her realise there was so much colour and change that she hadn’t noticed and now she would slow down, stop, and just look. I took this as a great compliment.

The observations by strangers that I brought something of my culture, my Australian eye, to painting in The Netherlands, led me to think on the early European landscape painters in Australia and how it took artists such as John Glover and Arthur Streeton to translate their experience of the antipodean landscape and how they and other artists laid the foundations for a recognisable Australian landscape tradition. I mused on the persistence of the Australian landscape in the mind of a painter and thought perhaps it is like the lens of spoken and written language, where it is said a culture cannot really be understood unless you become fluent in the language. Art is often considered a visual language.

I could have very happily spent another year, or a few, in the Teahouse of De Pauuw. I was becoming fascinated with the flowers, thistles, nettles and grasses of the canal banks and with individual trees, with the shifting light. I would have loved to paint there with snow on the ground, leaves and boughs, with ice on the canals.

I do miss seeing Myriam, my kids maths teacher, jog by and the goedemorgen of the many locals. The distanced, cautious chats with friends in the open air, the trees and canals. With travel, conferences, teaching, school, celebrations closed down for the foreseeable future the Kleine Atelier was my haven and the hub of many a zoom and conversation with friends and family around the world. I am grateful to the lovely Florence Fernhout and the Wassenaar Gemeente for the opportunity and to the staff at the Raadhuis De Pauuw for the use of their toilets and kitchen prior to the pandemic shut down. I am also grateful to the lovely council worker who cleared up the area and the local police who would come by on their fiets to check on the security of the site.

Over 2021 I am looking forward to painting the Australian landscape with its unique light and colour and forms. I have been doing some drawing and small paintings from my memories of the clearing. It is like trying to capture an image by closing your eyes, but it inevitably fades. And so we move on. Happier New Year folks. I hope it brings you colour, light and joy.

From Australia.

I cleared quarantine with my family mid-September and then we moved into a temporary apartment for two months. We used that time in the city centre to navigate the bureaucracy of settling in and re-establishing residency after a long absence. Covid19 delays and protocols slowed the process and there were a few road blocks to navigate but it is mostly done! The dogs arrived safely which was a great relief and an even more complicated process than our relocation from Europe. We are now settling into our shabby and sweet terrace house and planning renovation. Almost all of my artworks, with the rest of our belongings, sit in a sea container at Botany. I am hoping the effort of scrubbing every shoe sole and boot, thoroughly cleaning the tent and carefully sorting through every item to remove any stray leaves or shells has paid off and they will soon release our goods.

I have a new studio in Newtown, Sydney where I am starting to draw and paint from memory the clearing in De Pauuw. I’ve started photographing sites around Sydney which I would like to draw in plein air. And I am actively seeking work as well! Art or education, or art education, something active and challenging and perhaps social.

I have the possibility of an exhibition in late January in a Sydney city gallery space so stay tuned! I will be showing the works that were meant to hang in May at Pulchri in The Hague.

There is a wonderful and breathtaking Streeton exhibition at the AGNSW. It is very exciting to see these works hanging together. It must have been a mammoth effort to negotiate and curate. Look closely at the works and you will see the beginnings of so many great Australian painters from the twentieth century, Boyd, Blackman, Olsen, Whitely, Williams. Get in among the brush marks and have a close look!


Starting to sketch up new works.

Sharing a Readings recorded interview and a new book from Philip Salom.

Link below only active for download this week!!!

Since the tyranny of distance (and now we have the tyranny of distancing to compound matters) has put to bed the prospect of live zooming with you all I hope sharing some art and literature I have deeply enjoyed will be of value my friends.
I attended a fascinating Zoom conversation/book launch for Philip Salom’s new book. I love his fraction and poetry though his writing often seems to defy and cross genres. I’ve been absorbed into Philip’s books and read them cover to cover or enjoyed picking them up and reading them in ,short bursts because the text is so often elegantly layered despite seemingly easy to read at first. It is exciting that there is a new book out!

There is some fascinating discussion on writing poetry vs fiction and the nature of fiction and its relationship to experience, leaving things out, shadows, and narrative.

Philip Salom in conversation with James Ley, regarding Philip’s recently published novel, The Fifth Season (Transit Lounge).


Here’s the link to purchase the book, from Christine Gordon at Readings who organised and introduced the interview.

The Fifth Season demands that we confront ideas about art, about life and about who we are. You can purchase it here: https://www.readings.com.au/products/32919071/the-fifth-season

Friday visit to Berlin perhaps?

Dear all,

It’s been a complicated couple of months and a long journey, including quarantine, for our family. I am now in Sydney.

Laura contacted me from Berlin to see if we would like to visit the gallery for the current exhibition by Belinda Fox. Perhaps you came on the Zoom Bus visit to San Francisco’s Maybaum Gallery?

Belinda has had the unfortunate circumstance of having her first exhibition this year shut down by the first wave and her second coincides with the US election and a second wave in the EU. Perhaps it would be a great distraction to drop by virtually!

Contact me via this site or by other means ASAP to express interest in joining us Friday (8pm Sydney time/10am Berlin).

Apologies to people in time zones where this is inconvenient. But if you can’t sleep…?

Best wishes, stay safe. Lisa

19th June Billy Gruner, Welcome to the Flat Platform

On Friday we visited with Billy Gruner in the Blue Mountains. Guests joined us from Denmark, Germany, Greece, Australia, The Netherlands and the US. Thank you all for joining us! Some were new audience members to the Art Zoom Bus and receiving the positive feedback from you all was lovely. (:

We heard about the Australian bushfires, it was only a few months ago, that impacted Billy and Sarah’s home and community. The fires impacted many artists, their families, their work, studios and communities. Many are still working hard at bushfire recovery and dealing with loss of work and income during the global pandemic.


Billy and Sarah’s bushfire recovery work. Using a damaged water tank to isolate a dead tree stump for burning. Photo courtesy of Billy Gruner.

Sadly many beautiful rare tree gardens were destroyed along with the national parks flora and fauna and with loss of homes and lives. At the time I thought the bushfires would perhaps be the defining event of 2020. Wow, was I wrong. Now, as we approach midsummer in the Northern Hemisphere and Australian’s have a chance to regroup over the winter, let’s not forget that soon another summer is approaching. We discussed how annual bushfires are becoming a global crisis and the sharing of knowledge, fire fighters and aircraft is becoming difficult with the longer, hotter, summers.

Billy and Sarah’s Blue Mountains rare tree garden at the top of a cliff adjacent to national park. Photo courtesy of Billy Gruner.

We listened to Billy describe his past projects, collaborations and his and Sarah’s participation in arts events and organisations, such as Sydney Nonobjective (SNO), Modern Arts Projects (MAP). We enjoyed his hilarious reminiscences on being a gigging musician and gaining his PhD at the University of Sydney.

Look and read: https://static1.squarespace.com/static/5226b113e4b0defa8ef0b0ad/t/54cf6955e4b0bdddd221509b/1422879061851/sno_catalogue.pdf


Billy connected us with the history of nonobjective art and its connections to De Stijl, the Bauhaus, architecture, the concrete, abstraction, punk, music and more! There were so many wonderful ideas we could explore but we only had an hour! I hope you enjoy exploring some of Billy and Sarah Keighery’s work here and online. Billy said he welcomes you connecting with him on social media. https://www.facebook.com/westproject/

We learnt about Nino Sydney, the Australian architect, and the iconic Beachcomber houses of Australia’s east coast. We also explored the preservation and restoration of Modernist architecture that is so threatened by demolition and development.

Read: https://www.smh.com.au/entertainment/art-and-design/big-box-on-steel-legs-ushered-in-modernist-aesthetic-20121019-27wqv.html

The event that really caught my eye over the last couple of years from my roost in The Hague was when Billy and Sarah took to the road and campsites across the US and the EU with the RNOP, Reductive Nonobjective Project. Billy described a colourful journey that included bringing together new and established artists in exhibitions and collaborative spaces and even lecturing to German tourists in summer campsites, late into the night around the campfire! It was wonderful to follow online and in addition to seeing the RNOP works and exhibitions Billy also took us along digitally on many visits to great modernist works a of architecture.

Read: http://fivewalls.com.au/wp-content/uploads/2019/05/RNOP-Melbourne-_-The-Road-Paintings.pdf

Finally I challenged Billy to show us a Nonobjective work from his house in Mount Tomah. And he rose to the challenge!

Billy brings the art to the Zoom.

And finally folks, a message from Billy himself. Thank you Billy for your tremendous generosity and for making the world a little kinder and the breaking the isolation in the best possible way!

Hi everyone, it was good to talk, to break into the great silence in art. And I really enjoyed meeting old friends and new people. Thanks to all it made a great change from clearing burned trees, if people want to look into our world there’s a few of the pages.
Billy Gruner
Reductive Non Objective Project RNOP
West Projects
The Stores Building Projects
Kno Kyiv Non Objective. The artwork was from the Collective Polychrome series, works made with two other artists, including myself. Seen is the Matthew Deleget and Mark Titmarsh and Billy Gruner work, a monochrome bound in a perspex box.