Lisa Milroy
Travel Paintings
28 June 1995 – 6 August 1995
Opening: Wednesday 28 June

Lisa Milroy’s solo exhibition consists entirely of new paintings by the Canadian/British artist, and the show represents a consolidation of various recent developments in her work. With views of Rome, Tokyo, Kyoto, Vancouver and London, Milroy combines a characteristically keen analysis of objects and a conceptual rigour with broader poetic themes.

In the UK, Milroy is best known for her early paintings that depict types of objects, such as light bulbs, shoes and car tyres, isolated and ordered against a white ground. These assert the desire for an apprehension of material and suggest quality in banal phenomena, through the process of painting. In her more recent paintings her interest shifts from describing objects, to their placement in overall compositions.

Lisa Milroy was born in Vancouver, Canada, in 1959. She moved to London in 1977, where she studied at St Martin's School of Art (1977-9) and Goldsmiths' College (1979-82).

Click here for the accompaning publication to this exhibtion in the shop.

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Lisa Milroy

Published by the Chisenhale Gallery, London, The Fruitmarket Gallery
Paperback, colour illustrations
Text by Max Wechsler

On my first encounter with Lisa Milroy’s Travel Paintings, I found them instantly fascinating but also somewhat disconcerting. In the meantime, the paintings have become more familiar, and the initial unease has given way to abiding perplexity. The content of these pictures is obviously a realistically reproduced reality that refers beyond itself in a very curious manner. This in itself is not surprising for it is - apart from a certain avant-gardistic concepts of modernism - a self-evident quality of any good painting. But it is nonetheless surprising inasmuch as the motifs must speak entirely for themselves. Milroy’s pictorial landscape is virtually unpeopled, devoid of anecdotal or narrative dimensions, and the casual character of the motifs hardly encourages metaphorical interpretation: carefully selected, they obviously target a certain neutrality, or, to put it differently, a casual normality.  Behind the mask of commonplace motifs, representations of buildings in Kyoto, an interior in Vancouver or street scenes in Rome, London and Tokyo decidedly and patently pursue basic questions as to the essence of painting and the essence of the picture.

For more information about the exhibition please click here.

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