LOS ANGELES, CA.- Through concise material abstraction, Lisa Williamson creates artworks that are visually precise, physically resonant, and often attune to the spaces in which they are exhibited. Approaching architecture as a container for individual and collective abstraction, Williamson expresses the resonance or charge of discrete physical spaces while also retaining an energetic and human quality.

For this special viewing room presentation, the artist has painted sections of the gallery walls a warm manila-cream with each panel grounded by the floor and outlined by a thin silver trim. Wrapping around the gallery like an extended envelope, the artist frames this room as an intimate space for abstraction. Modest in scale and reductive in nature, a selection of painted wood relief sculptures are positioned throughout to evoke a concentrated distillation -- of landscape and architecture, figure and object, site and sculpture.

Sir, 2025 stands as a figurative anchor within the exhibition and calls to mind both a tuxedo and a flute. Painted black and cream with a vertical line of pale peach dots running down its face, this animated form seems to emerge from the surrounding walls. In proximity is a series of three Void sculptures, each a rectangular volume with a hollow interior carved out. Painted in thin layers of warm and cool contrasting color, Williamson incorporates glass and metallic particles to achieve subtle, sparkling, and light responsive surfaces. Across the room on another painted field, Landscape (Extract), is installed as a singular, floating form. This narrow vertical slice is an earthy compression as metallic green hills are divided by bands of shimmering copper and rose. Regarding each artwork as both a projector and a container -- Williamson imbues physical space with a language that is at once expressive and resistant, evocative and opaque.

Interested in language and its inevitable abstraction, Lisa Williamson leans into the formal considerations of sculpture to create works that are visually precise, physically resonant, and often attune to the spaces in which they are exhibited. The artist’s idiosyncratic practice follows a logic that is associative; compressing internal experience into forms that are both tangible and resistant at once. While there is a significant level of reduction and abstraction throughout the artist’s work, aspects of architecture, landscape and the figure remain visible throughout.

With a unique approach to scale and proportion, in which the artist uses her own body or the surrounding environment as a measuring device, there is a particular balance and formal terseness integral to each form. This is evident in her recent series, Body Boards, which conveys the body as both a physical and psychological space. Regarding precision as an expressive gesture and calibration as a mode of production, the artist’s distinct approach to color and meticulous attention to surface softens the line between painting and sculpture, landscape and portraiture, language and object.