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 explores the relationship between people, nature, memory, and a sense of belonging. I work primarily in painting, creating landscapes, portraits, and other representations drawn from observation, personal experience, photographs, and memory. I am interested in the emotional connection we form with people and places, and in the ways images can evoke a feeling of being home.

Colour, light, and texture are central to my work. I use layered paint, glazes, drips, and expressive brushwork to create surfaces that shift between representation and abstraction. Light can reveal or obscure a subject, while texture gives the surface a physical presence and encourages a slower, more attentive way of looking. I am interested in the balance between detailed observation and looser, more intuitive marks.

My paintings often begin with the natural world, particularly the landscapes, animals, and plants that surround us. Nature provides both subject matter and a way to consider ideas of change, fragility, resilience, and connection. In portraits, I am similarly interested in more than physical likeness. I look for the qualities that suggest presence, memory, personality, and relationship.

Reclaimed and found materials are also part of my practice, particularly when I work with fibre, thread, and other remnants. I incorporate these materials selectively, allowing their colour, texture, history, and imperfections to contribute to the surface of the work. Their presence connects my interest in making with ideas of care, repair, reuse, and responsibility.

At the centre of my current work is a growing interest in belonging: what makes a place feel like home, how relationships shape our sense of identity, and how memories of people and places remain with us. Through colour, light, texture, and layered imagery, I seek to create work that feels both observed and remembered—grounded in the natural world while reflecting the personal experiences that connect us to one another and to the places we call home.

Upcycled, foraged and repurposed WOOD PIECES