Collection: Lisa Carter Grist

Astudiodd Lisa Carter-Grist (Caerdydd, 1972) yn Central Saint Martins ac mae bellach yn byw ac yn gweithio yng Ngogledd Cymru. Mae hi wedi cyrraedd rhestr fer Arddangosfa Haf 2020 yr Academi Frenhinol ac wedi ei dewis ar gyfer Biennale Peintio Beep 2020. Mae ei gweithiau wedi cael eu harddangos yn Arddangosfa Haf yr Academi Frenhinol 2015, 2019, Somerset House, MOSTYN ac Eisteddfod Genedlaethol Cymru, 2019, 2013 a 2009.

Mae Lisa cael ei chyfareddu gymaint gan y cysylltedd diddiwedd y mae marciau paentio a thynnu yn ei ennyn ag y mae hi gan gysgodion a ffurfiau yn y byd go iawn. Ei phwnc yw ei dychymyg, y manylion sy'n dod i'r amlwg ac yn cilio trwy'r broses o baentio sy'n cysylltu â'i meddyliau. Wrth ddiffinio siapiau a dal darnau o liw neu wead, mae'n mynd ar ôl awgrymiadau o olygfa neu stori sy'n ymddangos. Mae'r cyfan yn agored ac yn eithaf creulon tan eiliad benodol ac yna mae’n gwella marciau, llinellau a lliwiau mewn ymgais i ddal y stori a'r teimlad a awgrymir. Mae'n newid cyn lleied â phosib gan fy mod eisiau i bob paentiad gadw'r ymdeimlad ohono'i hun fel marciau wedi'u paentio. Mae'r teitlau'n rhan o'r broses naratif hon. Dim ond yn rhannol y mae'r golygfeydd, y gwrthrychau neu'r ffigurau a awgrymir yn cael eu ffurfio neu'n symud rhwng newid a theimladau gwrthwynebol.

Lisa Carter-Grist (Cardiff, 1972) studied at Central Saint Martins and now lives and works in North Wales. She has been shortlisted for The Royal Academy Summer Exhibition 2020 and selected for the Beep Painting Biennale 2020. Her works have been exhibited at the Royal Academy Summer Exhibition 2015, 2019, Somerset House, MOSTYN and The National Eisteddfod of Wales, 2019, 2013 and 2009.

Lisa is as fascinated by the endless associativity that painted and drawn marks evoke as she is by shadows and forms in the real world. Her subject is her imagination, the retrieval and suppression of detail that emerge and recede through the process of painting connecting with her thoughts. Whilst defining shapes and capturing patches of colour or texture, she chases suggestions of a scene or story that appears. All is open and quite brutal until a certain moment and it is then that she enhances marks, lines and colours in an attempt to capture the story and feeling suggested. She alters as little as possible as she wants each painting to retain the sense of itself as painted marks. The titles are part of this narrative process. The scenes, objects or figures suggested are only partly formed or shifting between change and opposing feelings.