Fusing the ethereal quality of light with the materiality of paint and form, Larisse Hall uses light as both medium and a time reference, to explore everyday societal nuances within her work. Based in Nelson, New Zealand, Hall became captivated by light and the potential use of it's colour and energy, when she exhibited her first light installation in 2014. A further year of experimentation, enabled Hall to produce her first successful light infused 'painting'. That same year, her light sculpture 'Flirt' was long listed in the Aesthetica Art Prize, England (2015). In 2018, Hall had work selected to exhibit digitally internationally, as a finalist in Art Takes SOHO 2018 (See.Me) and Art Takes Miami 2018 (Scope See.Me). Acknowledging time as one of our most precious commodities, Hall combines traditional techniques of painting and form, with the science and colour of infused physical light to produce works of art that live and breathe, transforming with time.
Hall has been a full time art's practitioner since 2008.
SMELL THE ROSES...
Encapsulating the ethereal quality of light, our most primal time ‘tool’, Hall endorses time as our most precious commodity. Seductively non-existent by day, her her light infused paintings smudge life in a blur of importance. Tugging gently at our awareness they reveal themselves with time. Celebrating the essence of life and asserting the need to make time, for all that is essential.
‘When life hands you lemons, make lemonade.’ Captivated by the power and energy of optimism, Hall creates an almost tangible experience from the intangible expectation of a positive outcome. Combining the ethereal quality of light, with the materiality of paint and form. Hall extends the definition of optimism into the world of the actual. Presenting this elusive emotive state as a tangible experience. The interplay, between the evident and the subliminal, the spoken and the intuitive, is articulated through light and colour and permeates her work. Enticing the audience to step inside 'optimism' and experience it as an actual energy that positively enhances the disposition of the viewer.
'The optimist sees the rose and not its thorns; the pessimist stares at the thorns, oblivious of the rose.' - Kahlil Gibran
Exploring the duality of conversation, Hall contemplates interpretation and assumption. Acknowledging the subtle nuances of language versus body language. Our reaction / interpretation being a respondent to many underlying and often subtle factors. Such as tone of voice and / or body language. By implication we may consider a statement either positive or negative. Acknowledging this, Hall subtly integrates actual physical light into her painted works. Empowering the painted colour. Suggestive of and reflecting the multiple layers / vibrations within conversation.