Lisa Kimberly Glickman 54sc

Lisa Kimberly Glickman

Lisa Kimberly Glickman is a native Montrealer, contemporary figure and landscape painter. She has been mark-making since she could hold an implement. Glickman earned her BFA from Rhode Island School of Design in 1981; and a Diploma of Education in 1995 followed by a Masters in Education in 1998 from McGill University. Her work can be found in private collections in both the U.S. and in Canada. She exhibits her work professionally and has taught art for many years in Montreal-area schools.

 

Aside from human figures, her work frequently depicts animals — the other great love of her life. But whatever the subject, the chief characteristic of her work is rich layers of colour. The artist believes that colour should speak, appear to move and have a life of its own independent of — while at the same time related to — the subject portrayed.

 

She is particularly entranced with the effect of light on colour, and aspires to get a sense of light and shadow, a feeling of the time of day or season, and evoke the mood colours can create. She loves the subtleties and nuances she can create with brushwork and drips. She generally works from a combination of life, memory and photographs that she has taken herself.

 

Her recent achievements include the “Dreamers” series, which are mostly large acrylic portraits of people in repose surrounded by animal symbols.

 

The artist is currently working on a series entitled “Nature’s Refuge’; primarily acrylic and multimedia works anchored in the love of nature, animals and plants.

 

In the 1980s, Glickman played with painting and drawing on cyanotypes of her own photography. When she shared the imagery with her son Jonah Migicovsky, a Montreal photographer who works exclusively in analog (print) film, it sparked a conversation about the collaboration. It became the first series “Abandoned ReImagined,” displayed at the Toronto Outdoor Art Exhibit in 2016. They had such a wonderful time that they collaborated on the current series “Mexico.” They feel that the mash up of their two styles is fresh, intriguing and beautiful. Forming the self-decided term “paintograph,” they call their collective vision “The Paintographers.”

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