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"Hovering above this inventive geography are the most powerfully suggestive features: cartoonish, exoskeletal forms, which—depending on their size, shape, and color—evoke plant tendrils and insect larvae, or free-falling Day-Glo pellets...These paintings seemed to depart from Davis’s earlier visual language, yet they make sense in her trajectory, achieving a strong and distinctive position in the space between abstraction and figuration.
(more) Johanna Ruth Epstein 2007
“These complex paintings are highly successful as abstractions; nevertheless, much can be read into them”. Cynthia Nadelman 2005
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"In paintings resembling multilayered maps with encoded, expansive narratives, New
York-based artist Lisa Corinne Davis displays systemic, documentary and fabulist impulses that recall artists such as Julie Mehretu, Mark Lombardi and Matthew Ritchie...But best of all is the finesse with which the are executed. Davis has given the viewer a visual feast of lines, shapes, colors and textures, with beautifully rendered, accumulating detail that juxtaposes the look of the technical with that of the handmade—" (more) Lilly Wei, 2008
"Lisa Corinne Davis is a New York-based artist who creates mostly gridded works consisting of small increments of painted or drawn imagery, collaged snippets of newspaper or diminutive digital photographs. …Her grids may symbolize pigeonholes but she pays homage to the individuality of people. Her theme and her use of small details to create an imposing composition are quite impressive." Jonathan Goodman July 2003
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"Obsessive as they are beautiful, the paintings and works on paper are elaborately layered and constructed to mask and scramble (society’s) over-simplistic labels. Davis draws on a rich array of sources, from found texts, maps, fingerprints and altered photographic portraits of friends to present a more individualistic view of society’s complexity.” High and Inside Catalogue Judd Tully 2003
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“…written narratives are hand-altered, faces missing from history are inserted, and distinctions of race and ethnicity are subtly confused. Davis demonstrates how pointed information and good-looking painting can co-exist.” Holland Cotter April 2001
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| Lehman College Gallery |
“Existing between collage, painting and drawing, the works provide metaphorical reservoir in which form and content merge and meaning seems embedded in the materials themselves.” Index catalogue Susan Hoeltzel 2001
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| Lehman College Gallery |
“Through the process of working with a repetitive central form, Davis is confronting the dilemma of much recent abstraction by taking her own path, avoiding the burden of modernist purity and the equally limiting postmodern tropes of content specificity to make highly original painting.” Index catalogue Franklin Sirmans 2001
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“Her studies…reflect keen intelligence and depth of feeling”. Frances Riccard May 1998
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“Large, heavily layered, antiqued collages meditating with poetic indirection on race, culture, history, and geography.” Ken Johnson May 1998
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“Once you give Davis’ paintings your undivided attention, they pay you back tenfold in terms of ideas, original solutions and a remarkably innovative use of materials.”
Joy Hakanson Colby Oct. 1994
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“Brilliantly conceived and thought-provoking, these mixed media wall pieces provide strong visual analogies for the quest for individual identity...” Jerry Cullum Aug. 1994
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“Each piece is rough and raw as an object but delicate in its painted imagery, which creates a poignant tension between past and present.” Edward J. Sozanski Nov. 1993
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