Faux: Friends and Foes, is an ongoing abstractive series of black and white acrylic paintings based off compelling photographs of WW2. The aim of these works is to challenge perspective in viewing relationships adjacent to war. One man's hero is an enemy to another. As war is perpetual, can we change our reality by reframing it?
I create these paintings in my own variation of the impasto technique. Using pastry piping bags and cake decorating tools, I pipe the heavy acrylic medium directly on the surface, building up the work layer by layer, shade by shade. The end result is a painting that appears to be made entirely of frosting. Featuring meticulously applied lace and floral embellishments made of acrylic paint and medium, the surface of each piece is a study of varying tactile experiences.
58”x 48” x 2”
Acrylic and molding paste on panel
2022
58”x 48” x 2”
Acrylic and molding paste on panel
2022
48”x 60”x 2”
Acrylic and Molding Paste on panel
2022
48”x 60”x 2”
Acrylic and Molding Paste on panel
2022
12”x12”x 2”
Acrylic and molding paste on panel
2022
12”x 12”x 2”
Acrylic and Molding Paste on panel
2022
Clown World: Where up is down, war is peace and ignorance is strength. Feeling a need to address the absurdity of the time we are living in, I decided to combine it with a heaping helping of Nostalgia. As a child I adored pink and white Circus Cookies. The pink ones especially- although to be honest, they never tasted as good as the white ones- it must’ve been all the color additives. Regardless, I was a Pink girl through and through.
The combination of current themes and the throwback symbolism of a childhood favorite invites the viewer to comfortably contemplate the state of the world, or maybe just the lyrics of a Lou Reed song.
20”x 16”x 3”
Acrylic, foam, molding paste and glass on panel
2022
8”x 14”x 3”
Acrylic, foam, molding paste and glass on panel
2022
16”x 20” x3”
Acrylic, foam, molding paste and glass on panel
2022
8”x 10”x 2.5”
Acrylic, foam, molding paste and glass on panel
2022
6”x 12”x 3”
Acrylic, foam, molding paste and glass on panel
2022
8”x 8”x 2”
Acrylic, foam, molding paste and glass on panel
2022
4”x 4”x 2.5”
Acrylic, foam, molding paste and glass on panel
2022
4”x 4” 2.25”
Acrylic, foam, molding paste, found material and glass on panel
2022
8”x 14”x 2.5”
Acrylic, foam, molding paste and glass on panel
2022
10”x 10”x 2.5”
Acrylic, foam, molding paste and glass on panel
2022
8.25”x 8.25”x 2.5”
Acrylic, foam, molding paste and glass on panel
2022
A friend of mine returned from Art Basel and commented- Everyone just wants the signature. So, alas, give the people what they want!
As my work is about consumption and illusion, renowned artist signatures are an ideal way to illustrate this concept. Each piece is rendered to be somewhat of a portrait of the artist: Kusama’s trademark polka dot both within the frame and as the shape of the panel, handmade acrylic lace applied behind Frida Kahlo’s penmanship, and the heavily frosted pastel panel paying tribute to the great Wayne Thiebaud.
16”x16”x1.5”
Acrylic, resin, and printed matter on panel
2022
16”x 20”x 2”
Acrylic and Molding Paste on Panel
2022
5”x 15”x 2”
Acrylic and molding paste on panel
2022
5”x 15”x 1.5”
Acrylic and Molding Paste on Panel
2022
8”x 10”x 2”
Acrylic and molding paste on panel
2022
16”x 16”x 1.5”
Acrylic and molding paste on panel
2022
In Triple Blind, I wanted to examine the distortion of information and accompanying illusion. Much like a visual game of “Telephone”, the collection of work in this series is created from images three times removed from their original form. Each photo is sourced from a brief Google search, and then, while on display on the laptop screen (featuring paint, dust and glare), is photographed using a good old fashioned iPhone 5s. Each photo is then downloaded onto photoshop and edited. The result is a highly pixelated image which renders the subject matter unrecognizable and abstract, much like the information we encounter daily.
24”x 24”x 3”
Acrylic and molding paste on panel
2021
24”x 24”x 3”
Acrylic and molding paste on panel
2021
24”x 24”x 3”
Acrylic and molding paste on panel
2021
24”x 24”x 3”
Acrylic and molding paste on panel
2021
18”x 24”x 3”
Acrylic and molding paste on panel
2021
18”x 24”x 3”
Acrylic and molding paste on panel
2021
18”x 24”x 3”
Acrylic and molding paste on panel
2021
18”x 24”x 3”
Acrylic and molding paste on panel
2021
18”x 24”x 3”
Acrylic and molding paste on panel
2021
18”x 24”x 3”
Acrylic and molding paste on panel
2021
The constant threat of war, AI takeover, rising racial tensions, JFK conspiracies, and the consequences of nuclear disasters that have conveniently faded from public discourse. And don’t forget to CONSUME, CONSUME, CONSUME. Are we in a simulation? Welcome to Cool World.
30”x 30”x 3”
Acrylic, molding paste, resin, nails and string on panel
2019
30”x 30”x 3”
Acrylic, molding paste, resin, nails and string on panel
2019
30”x 30”x 3”
Acrylic, molding paste, resin, nails and string on panel
2019
30”x 30”x 3”
Acrylic, molding paste, resin, nails and string on panel
2019
30”x 40”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2018
30”x 40”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2018
40”x 40”x 2”
Acrylic and molding paste on plexiglass mounted on panel
2018
40”x 40”x 2”
Acrylic and molding paste on plexiglass mounted on panel
2018
40”x 40”x 2”
Acrylic and molding paste on panel
2018
40”x 40”x 2”
Acrylic and molding paste on panel
2018
36”x 24” x2”
Acrylic and Molding paste on plexiglass mounted on panel
2018
36”x 24” x2”
Acrylic and Molding paste on plexiglass mounted on panel
2018
40”x 28” x2”
Acrylic and molding paste on panel
2019
40”x 28” x2”
Acrylic and molding paste on panel
2019
24”x 12”x 2”
Acrylic and molding paste on panel
2019
50”x 40”x3”
Acrylic and molding paste on panel
2019
50”x 40”x3”
Acrylic and molding paste on panel
2019
50”x 40”x3”
Acrylic and molding paste on panel
2019
50”x 40”x3”
Acrylic and molding paste on panel
2019
36”x 36”x 3”
Acrylic, molding paste, resin, tile, string and nails on panel
2019
36”x 36”x 3”
Acrylic, molding paste, resin, tile, string and nails on panel
2019
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18”x 18”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2017
18”x 18”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2017
40”x 60”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2017
40”x 60”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2017
24”x 36”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2017
24”x 36”x 3”
Acrylic and molding paste on plexiglass suspended over panel
2017
40”x 40”x 3”
Acrylic, resin, and molding paste on panel
2016
40”x 40”x 3”
Acrylic, resin, and molding paste on panel
2016
36”x 36”x 3”
Acrylic, resin, and molding paste on panel
2016
36”x 36”x 3”
Acrylic, resin, and molding paste on panel
2016
30”x 30”x 3”
Acrylic, resin, and molding paste on panel
2016
30”x 30”x 3”
Acrylic, resin, and molding paste on panel
2016
34”x 43”x 3”
Acrylic, resin, nails, razor blades, ribbon and molding paste on panel
2016
34”x 43”x 3”
Acrylic, resin, nails, razor blades, ribbon and molding paste on panel
2016
14”x 24”x 3”
Acrylic, resin, nails, string and molding paste on panel
2016
14”x 24”x 3”
Acrylic, resin, nails, string and molding paste on panel
2016
26”x 42”x 3
Acrylic, resin, and molding paste on panel
2016
26”x 42”x 3
Acrylic, resin, and molding paste on panel
2016
16”x 20”x 3
Acrylic and molding paste on plexiglass suspended over panel
2017
16”x 20”x 3
Acrylic and molding paste on plexiglass suspended over panel
2017
45”x 24”x 24”
Acrylic and molding paste on found object
2016
45”x 24”x 24”
Acrylic and molding paste on found object
2016
George Washington knew a thing or two about money. Actually, like most Virginia tobacco farmers, he knew how to borrow it, live lavishly on it on his slave plantation, and not pay it back to his English creditors. The historian who wrote the book ‘Tobacco Culture’ postulated that Washington and other Virginia farmers supported independence so much because it was the only way they knew of to get out from under their debts – nothing like a revolution to cancel the money you owe to your ‘oppressor’. As president he appointed Alexander Hamilton to run the economy and, basically, Al took care of things. When you run a slave plantation, you learn how to delegate jobs well.
But George Washington, along with a number of other dignified looking bozos, is on our money, and, in fact, the people who wind up on money and the reasons they wind up there seems to be the basis of the eye-catching paintings by Lisa Alonzo at the Claire Oliver Gallery. Unlike artists in the past who painted money as a comment on capitalism or consumerism, Alonzo is not as interested in the money per se as she is in the propaganda value of the money and the sneaky validation of ideology we see on it.
So I guess one big question is, do we even notice these political figures on the money? And, is that the point? The government wants us to tacitly accept the legitimacy of a president like Grant by using currency with Grant on it? They want me to buy into the myth that Lincoln was a genius even though he was responsible for 600,000 deaths? They want me to use a bill with a racist and genocidal maniac like Jackson on it without protest? This is some plan somewhere? Actually Alonzo highlights a process that is all around us – the glorification and lionization of utter mediocrities about whom we know little or nothing. This seems to be at the heart of her money paintings – we don’t know them nor their history, but we accept them without a word of protest or questioning. It’s all part of a docility training we have become accustomed to.
-Daniel Gauss: The Proletarian Art Snob
42”x 40”x 3”
Acrylic, molding paste, resin and printed matter on panel
2015
42”x 40”x 3”
Acrylic, molding paste, resin and printed matter on panel
2015
24”x 24”x 3”
Acrylic and molding paste on panel
2015
51”x 60”x 3”
Acrylic, molding paste and printed matter on panel
2015
51”x 60”x 3”
Acrylic, molding paste and printed matter on panel
2015
31”x 40”x 3”
Acrylic, molding paste and printed matter on panel
2015
31”x 40”x 3”
Acrylic, molding paste and printed matter on panel
2015
40”x 24”x 3”
Acrylic, molding paste and printed matter on panel
2015
40”x 24”x 3”
Acrylic, molding paste and printed matter on panel
2015
42”x 40”x 3”
Acrylic, molding paste and printed matter on panel
2015
42”x 40”x 3”
Acrylic, molding paste and printed matter on panel
2015
30”x 40”x 3”
Acrylic, molding paste and glitter on panel
2015
30”x 40”x 3”
Acrylic, molding paste and glitter on panel
2015
12”x 12”x 3”
Acrylic and molding paste on panel
2014
12”x 12”x 3”
Acrylic and molding paste on panel
2014
12”x 12”x 3”
Acrylic and molding paste on panel
2014
40”x 40”x 3”
Acrylic and molding paste on panel
2014
24”x 48”x 3”
Acrylic and molding paste on panel
2014
19”x 43”x 3”
Acrylic and molding paste on panel
2014
12”x 12”x 3”
Acrylic and molding paste on panel
2014
30”x 48”x 3”
Acrylic and molding paste on panel
2014
24”x 36”x 3”
Acrylic and molding paste on panel
2014
Also shown are surveillance cameras by Matthew Sleeth
Guns, grenades and armored vehicles, along with genetically modified foods, dubious energy drinks, a giant donut and a big mac may all be destroyers of humankind, yet some we may not recognize as such. The most visually appealing foods tend to contain the most synthetic and harmful additives, seemingly pristine bottled water contains arsenic, salt and fat are intentionally added to cause food addiction. War and it's accoutrements have long been the fodder of artist's work; Alonzo poses the question to the viewer: which (type of) war is the most deadly and insidious? The world of today is rife with illusions.
-Claire Oliver
48”x 60”x 3”
Acrylic and molding paste on panel
2014
48”x 60”x 3”
Acrylic and molding paste on panel
2014
18”x 24”x 3”
Acrylic and molding paste on panel
2014
12”x 16”x 3”
Acrylic and molding paste on panel
2014
12”x 12”x 3”
Acrylic and molding paste on panel
2014
30”x 40”x 3”
Acrylic and molding paste on panel
2014
14”x 11”x 1.5”
Acrylic and molding paste on panel
2014
11”x 14”x 1.5”
Acrylic and molding paste on panel
2014
11”x 14”x 1.5”
Acrylic and molding paste on panel
2014
16”x 12”x 2.5”
Acrylic and molding paste on panel
2014
19”x 40”x 3”
Acrylic and molding paste on panel
2014
24”x 24”x 2.5”
Acrylic and Molding Paste on Panel
2012
18”x 18”x 2.5”
Acrylic and Molding Paste on Panel
2012
16”x 16”x 2.5”
Acrylic and Molding Paste on Panel
2012
24”x 36”x 2.5”
Acrylic and Molding Paste on Panel
2012
24”x 36”x 2.5”
Acrylic and Molding Paste on Panel
2012
30”x 40”x 2”
Acrylic and Molding Paste on Panel
2012
36”x 72”x 2.5”
Acrylic and Molding Paste on Panel
2012
60”x 40”x 3”
Acrylic and Molding Paste on Panel
2012
9”x 9”x 2”
Acrylic and Molding Paste on Panel
2012
24”x 24”x 2.5”
Acrylic and Molding Paste on Panel
2012
9”x 9”x 2.5”
Acrylic and Molding Paste on Panel
2012
Please visit Artwork Archive to view available works.
18”x24”
Acrylic and molding paste on panel
2023
36”x36”
Acrylic and Molding Paste on Panel
2022
18”x24”
Acrylic and molding paste on panel
2023
48”x36”
Acrylic and molding paste on panel
2023
14”x11”
Acrylic and molding paste on panel
2023
