Lisa Krannichfeld first caught my eye on instagram. I’m not sure how I stumbled across her work but I was captivated from the moment I saw one of her paintings. The boldness of color, the prints, patterns, and the electricity I felt coming off the subjects. I simply fell in love with each piece. Lisa’s recent bodies of work: Undomesticated Interiors and Girls and Guiseare rebelling against the traditional portrayal of women of the 17th – 19th centuries as demure, decorative objects, belonging to their husbands or fathers and seeks to retell the female narrative.
Lisa’s website states “Girls and Guise references a play on words. In this context guise references both the facade created by men of the female gender, and the heavy emphasis of the patterned clothing in the pieces. Their clothes, or guises, areinfused with feral and aggressive animals, a symbolic rebellion against the historical domesticated depiction of women.The jarring, faceless compositions represent any and all women who desire to define their own perspective and create their own narratives. Intentional hand gestures hint at conviction.”
I had the opportunity to ask Lisa a few questions and share her answers below.
1. I understand you grew up in the south, in Little Rock, AK. At what age did you first discover you loved to create art and paint?
Honestly, there never was a time that I remember where I wasn’t obsessed with art and creating. I remember in elementary school art class being the most magical, fun place (until our state cut out art classes from the curriculum, sadly). It was always a part of my life, however, I didn’t really commit to it being part of my professional life until my senior year in college.
2. Your current body of work is focused on women with deep meaning and purpose behind your intent, refuting historical portraiture of women. Can you share a bit about this? How did this body of work evolve?
The work first started with portraits of women done in a headshot style. I found painting honest facial expressions more interesting than just pretty faces, so I would paint anxious faces, angry faces, confused faces, defiant faces. This led to painting women in general in a more honest way, void of just physical beauty and sexual appeal. I started expanding my compositions to the entire figure and the figure within interior spaces.
3. You describe your work as loose expressive portraiture and use lush colors with many patterns and prints in the mix. What drew you to including prints in your paintings and is there meaning behind them?
There are a few reasons why I include prints and patterns in my work. I love how the order of the patterns and prints juxtapositions itself with the chaotic style of the painted areas. I like to think of it as a metaphor for all the states a woman can be in. Women have to juggle so many roles and be mindful of so much at any one moment that it makes sense to compose them of so many different materials in my paintings. I also use a lot of patterns that have flora and fauna as a part of the prints so there’s a bit of hidden wildness to the overall experience of the painting which I think is also a metaphor for women.
4. What is something fun you can share about yourself that no one knows?
I love a good creaturey sci-fi thriller. I am obsessed with french pastries. I can’t whistle. I tie my shoes bunny-ears style, which apparently no one else does.
Lisa’s work has been featured in numerous exhibitions and publications nationally and internationally including shows across the United States, Asia, Australia, and Europe. Most recently her work was chosen as the grand award winner in the 2018 60th Annual Delta Exhibition. In 2017 she won the grand award at the Fort Worth Community Arts Center Juried Exhibition, and Best in Show at the 2017 Magic City Art Connection Art Fair in Birmingham, AL.
She has had work featured in numerous worldwide publications, was the face of Saatchi Art’s Spring 2019 “Refuse to be the Muse” campaign, and has had work featured in Anthropologie. Her work is included in several private and corporate collections throughout her home state of Arkansas as well as in collections around the world.
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