Works - Photos
Izzy Lawrence
'Untitled' 2021
Acrylic, Lino Print and Fine liner Pen on wooden board. 2021.
Acrylic paint permits me to craft texture, thick layers, and textured brush marks. I generate visceral images of skin that feel surreal and hint at the uncanny. This is strengthened by the plastic-like feel and longevity to acrylic, grounding my chronic disabilities in a comparable permanence. Lino cutting requires a large element of manual dexterity from my hands, causing me a lot of pain. By using these detailed mediums, I experiment with creating art while pushing myself to be in additional physical pain; the finished artwork now immortalises the endurance of pain I experienced to craft it.
Acrylic paint permits me to craft texture, thick layers, and textured brush marks. I generate visceral images of skin that feel surreal and hint at the uncanny. This is strengthened by the plastic-like feel and longevity to acrylic, grounding my chronic disabilities in a comparable permanence. Lino cutting requires a large element of manual dexterity from my hands, causing me a lot of pain. By using these detailed mediums, I experiment with creating art while pushing myself to be in additional physical pain; the finished artwork now immortalises the endurance of pain I experienced to craft it.
Izzy Lawrence
'Untitled' 2021
Acrylic Paint on Wooden Board. 2021.
Exploring my own chronic illness through extreme self portraiture, laced with elements of distortion and horror to emphasise the physical and mental pain that I experience. This artwork is inspired by themes of disassociation – feeling detached from my own body, as seen in the literal beheading of the figure in this piece, and my general lack of control over my physical state. The white lines I included represent the pulsating pain that radiates out from my body. I also chose to paint the piece in red tones to represent inflammation and a close relationship with blood, gore and horror. I’m very inspired by concepts of horror, using it as an emphasis for the physical and mental ‘horrors’ I endure. Furthermore, the visualisation of horror, a theme that the majority of people are very familiar with, helps me to confer my intimate feelings to the viewer of my invisible struggles.
Exploring my own chronic illness through extreme self portraiture, laced with elements of distortion and horror to emphasise the physical and mental pain that I experience. This artwork is inspired by themes of disassociation – feeling detached from my own body, as seen in the literal beheading of the figure in this piece, and my general lack of control over my physical state. The white lines I included represent the pulsating pain that radiates out from my body. I also chose to paint the piece in red tones to represent inflammation and a close relationship with blood, gore and horror. I’m very inspired by concepts of horror, using it as an emphasis for the physical and mental ‘horrors’ I endure. Furthermore, the visualisation of horror, a theme that the majority of people are very familiar with, helps me to confer my intimate feelings to the viewer of my invisible struggles.
Izzy Lawrence
'Intestines' 2022
Stuffed tights, Hot glue and Acrylic Paint. 2022.
Wrapped tightly to form a soft sculpture that resembles a pile of human intestines, this piece is both visceral and beautiful. The pretty shade of pink pulls the viewer in while its contorting form repulses them as they realise what it is. You will want to reach forward and touch it but perhaps also run from it.
Wrapped tightly to form a soft sculpture that resembles a pile of human intestines, this piece is both visceral and beautiful. The pretty shade of pink pulls the viewer in while its contorting form repulses them as they realise what it is. You will want to reach forward and touch it but perhaps also run from it.
Izzy Lawrence
'Fresh Bruises' 2022
Pink Fabric and Gouache. 2022
The broken body, hurt and in pain. This skin is alive, it reacts to stimuli… or at least this piece does. Skin is no longer being just seen as a material… this skin is closer to human than ever, and yet it is still pinned to wood and nailed to a wall. It's haunting in its vulnerability and yet holds an unnervingly inhuman quality.
The broken body, hurt and in pain. This skin is alive, it reacts to stimuli… or at least this piece does. Skin is no longer being just seen as a material… this skin is closer to human than ever, and yet it is still pinned to wood and nailed to a wall. It's haunting in its vulnerability and yet holds an unnervingly inhuman quality.