Ammunition  We've Got Mail III, Oriel Mostyn

Ammunition We’ve Got Mail III, Oriel Mostyn, 2016


Eloquent Brain, Installation, 2016, Haus of Helfa

Eloquent Brain, Installation


Eloquent Brain, Haus of Helfa/Llawn 2015

“Lastly, but not leastly, in a gabled corner of the house, Lisa Carter is working on another of her installations that responds elegantly and at a deep level to her research findings.  This year Lisa, has developed another idea from her war-related research findings. Again, she has occupied and truly responded to the space, utilising the actual spaces and gaps. White envelopes are placed in a grid pattern, wedged upright using the gaps between the floorboards. Other wooden wedges compress stacks of envelopes along one side of the floor area. The envelopes are arranged so that when the sun slants in through the window, they cast shadows and also reveal their back-lit translucency – they are empty. Envelopes immediately indicate correspondence and their emptiness raises questions. So the emptiness becomes poignant. Are these envelopes representing letters that were never written, or thoughts that could not be put into words?Eloquent brain is the part of brain tissue which is responsible for sense and speech. Her artist’s statement talks about the ‘eloquent brain’ – a region within the cortex that holds language and controls speech. So given this clue, we are led to consider many things… the ability to speak, the difference in languages, and what happens when this area of the brain is damaged. Physical trauma to this part of the brain affects the physical mechanics of speaking, but not writing. The envelopes then hint at a more psychological trauma that affects the ability to speak, to communicate… to remember. This year, Lisa has produced another piece that is deceptively simple, subtle and deep, one that rewards quiet contemplation from the viewer.”   Remy Dean, writer in residence, Haus of Helfa.


Scansion, Projection, Blinc Digital Festival, 2016

Scansion, Projection, Blinc Digital Festival, 2015

The work “‘Scansion” is a ‘glitch’ of one of my paintings, deliberately manipulated by interfering with the mechanism of the printer/scanner during printing.

The resulting image is one of an expressive gestural work interpreted and presented differently, suggestive of the filing and retrieval of information both paper and digital.

Scansion is the act of determining and graphically representing the metrical character of a line of verse.  Systems of scansion, and the assumptions often subconscious that underlie them are numerous and often contradictory. This work was developed into a large scale projection as part of the Blinc Digital Arts Festival, 2015.

Royal Academy Summer Exhibition, 2015

Squall, Royal Academy Summer Exhibition, 2015, painting upper left, black bar, bottom edge.

Squall, Royal Academy Summer Exhibition, 2015, painting upper left, black bar, bottom edge.


Tedder Carpet, installation, 2015,  Haus of Helfa

Tedder Carpet, installation, 2014, Haus of Helfa 

Tedder Carpet, Haus of Helfa/Llawn 02

A room occupied by suspended plumb-weights, hanging from ceiling to almost touch the floor. They referenced the architectural limbo of the site, with the plans to develop the house themselves suspended, but they were arranged in a grid pattern to echo the Tedder ‘low-level marking methods’, used to plan for saturation ‘carpet’ bombing during WThese plum-lines with weights that resembled bombs, took up very little volume within the room, though the installation almost filled it and rendered the heart of the space inaccessible, a very understated comment on the results of such bombing. As the audience moved around the structure, the nylon suspension lines swayed and the weights moved slightly, bringing to mind that instant before impact… serene yet chilling…  Remy Dean, writer in residence, Haus of Helfa.


Lle Celf, 2013, National Eisteddfod

Squall, Lle Celf, 2013, National Eisteddfod


Why We Are Here, Denbigh Arts Space

Why We Are Here, Denbigh Arts Space, 2012