Published by Galerie Frank Hänel, Frankfurt, 1998, softcover, illustrated, 228 pages, 22.5 cms x 29.7 cms, condition: very good.
For a relatively young artist, Brice has produced an enormous body of work, covering such areas as the double moral standards that allow bar girls and sex workers to be degraded, domestic violence, crime in the suburbs and, most recently, gang violence. Her work is assured, provocative and immaculately finished in materials which are more likely to come from cheap furnishing stores than art supply houses.
Brice has been been showing through the Frankfurt-based Hänel Gallery ever since the gallerists bought her entire first post-graduate show at the Irma Stern Museum in Cape Town introducing her to a German audience which has followed her career ever since.
Lisa Brice is a South African painter and visual artist from Cape Town. She lives in London and cites some of her influences as her experiences growing up in South Africa during a time of political upheaval,
In 2018 Brice exhibited at Tate Britain as part of Art Now, exhibitions for new and emerging artists. The work featured "recast female subjects from art historical paintings, photographs and the media into new environments, imbuing them with a newfound sense of self possession." Many of the paintings show the women rendered in a rich blue paint which echoes Brice's Trinidadian experiences of carnival, in which revellers known as 'blue devils' paint themselves blue for anonymity. Art Now included two new paintings not previously exhibited, one based on John Everett Millais' Ophelia (painting) with Ophelia standing upright holding a cigarette, the other based on Parting at Morning by William Rothenstein with the emaciated model repainted, filled out, also smoking a cigarette. The exhibition was well received by the British press who praised Brice for "an important reclamation of the female body". Brice's work was included in the 2022 exhibition Women Painting Women at the Modern Art Museum of Fort Worth.
