Apropos

BIOGRAPHICAL INFORMATION

Lisa Kimberly Glickman is a Montreal-based artist whose practice integrates material inquiry, environmental ethics, and representational strategies grounded in the natural world. She holds a BFA from the Rhode Island School of Design and graduate degrees in education from McGill University, with a focus on arts-based learning. Exhibiting publicly since 1984, her work is held in private collections across Canada, the United States, Europe, and Australia. Glickman combines painting, craft, and upcycled materials to create symbol-rich works that engage ecology and labour. Her awards include a Hammer and Sky Residency (2025), the King Charles III Coronation Medal (2024).

ARTIST’S STATEMENT

My practice operates through a deliberate and thoughtful combination of new materials and reclaimed scrap fibres, including textiles, thread, and wool. These materials are assembled through labour-intensive processes—stitching, layering, appliqué, and repair—that foreground time, care, and attention. Rather than obscuring the origins of my materials, I allow their histories to remain visible, resulting in works that retain physical and conceptual residue.

Across my body of work, I return to questions of land, use, and responsibility. My material choices and processes draw implicit connections between domestic labour, environmental stewardship, and the often-invisible work historically undertaken by women. In this way, I hope that my practice resonates with the legacies of Canadian female environmentalists and caretakers of place, while translating those concerns into a contemporary visual language.

I aim for coherence between my ethical position and the formal outcome. Sustainability in my practice is not approached as a theme but as a methodology. By integrating of scrap fibres—worn textiles, remnants of thread, and reclaimed wool—alongside new materials I aim to create a productive tension between repair and construction, fragility and endurance.

My engagement with nature is embedded in my process as well as via representation. I am trying to evoke natural systems through accumulation, repetition, and structural logic: layered surfaces that suggest sedimentation, frayed edges that recall erosion, and stitched repairs that speak to resilience and continuity. Process, material behaviour, and sustained inquiry are central.G