Posts by Lisa Norris

Follow our regular updates on events at the gallery, articles about art, interviews with artists and collectors, and notifications on forthcoming exhibitions.






  • LUSTre

    Covetable Ceramics
    by Lisa Norris

      We have brought together a group of ceramicists and a designer to form LUSTre, our current exhibition.  This exhibition celebrates the handmade.  Unique covetable pieces that can easily slot into your home or some else's for Christmas!  These creatives are unified by a passion for their medium and a patience for making  what would surpass most of us, and with prices ranging from £200 upwards, there really is something for everyone.








  • Why You Need An Art Consultation?

    The art of marrying a painting with a space.
    by Lisa Norris
    Why You Need An Art Consultation?

    We spend a lot of time in the gallery with clients on a one to one basis, helping them both to work out their taste and what art work might suit their home.  

  • Terence Donovan : Strokes of the Soul

    by Lisa Norris
    Terence Donovan : Strokes of the Soul

    Unseen paintings come out of storage for the first time in 25 years.



    Picture Number 94, acrylic on paper, 133 x 172cm,  Battersea Warehouse, London


    After over 20 years of being packed away in a warehouse in London, these paintings are now coming to light for the first time since Terence Donovan's death in 1996. 

  • Tim Taylor

    by Lisa Norris

    Tim Taylor is an award-winning fine art photographer and adventurer whose life’s passions take him to  the dramatic snow laden peaks of the high Himalaya and other mountainous regions. Tim has led and participated in expeditions around the globe for over a decade.


  • Dear Santa.....

    all I want for Christmas is art.
    by Lisa Norris
    All I want for Christmas is art.......
    Gifting an art work is a  personalised and thoughtful gesture. Sometimes, it’s easy to buy presents that are disposable and short-lived, but the gift of a painting is enduring and engaging, better for the environment and lasts a lifetime.  Here is a selection of our ideas.
  • The story behind the painting

    In conversation with Arnout Killian
    by Lisa Norris
    The story behind the painting


    Arnout Killian with Ype Koopmans, Director of the Museum More.



    Arnout Killian's second solo show with us opens next Wednesday 13th November.  In anticipation of his talk at the gallery next week, we asked him a few questions about the way he works and the meaning of some of his most recent paintings.



  • Is it a photograph? Or is it a painting?

    Arnout Killian and photorealistic painting.
    by Lisa Norris
    Is it a photograph? Or is it a painting?

    Arnout Killian. Photorealism and Dutch Modern realism.


    In anticipation of our forthcoming solo show on contemporary Dutch realist painter Arnout Killian we take a look at the history of photo-realism.  

  • Prizes, prizes, prizes.

    by Lisa Norris
    Prizes, prizes, prizes.





  • Events at the Lisa Norris Gallery

    our events calendar and what an art gallery party looks like
    by Lisa Norris
    Events at the Lisa Norris Gallery

     Events At Lisa Norris Gallery



    One of the most important things that surrounds any exhibition, and the beating heart of any gallery, is the schedule of events.  Events bring collectors to the gallery and an audience to the artist.  They are something we carefully  plan alongside  our exhibition schedule. Generally they fall into four categories.






    The format of these dinners make for a very special and intimate evening with the artist.  They are designed to be informal and allow our loyal clients to spend an evening getting to ask the artist everything they have wanted to know about their art!  They are also an opportunity to meet other friends and collectors of the gallery.




    When we put on a new exhibition, one of the best ways to open up an informal discussion about the work on the walls is to invite the artist in to give a guided tour around the gallery.  These talks give people a better understanding of the kind of art we  choose to show in the gallery and a deeper understanding of contermporary art in general.








    Sometimes we like to mix it up by partnering with an independent wine or champagne company.  






    And other times we like to collaborate with other creative businesses such as interior designers and host a networking event.


    All these events help to widen the level of engagement with our artists and deepen our relationships with both new and old, local and overseas clients. These are the two founding principles of our business; to support our artists and  bring their art to people who want to have it in their homes.

    We look forward to seeing you at our next event.



  • Woven Art

    Lisa Norris Gallery X Tapis Rouge
    by Lisa Norris

    Our current exhibition, Painting with Thread takes a look at the parallel worlds of contemporary rugs and contemporary art. Just as a painting can fill an empty space on a blank wall, bringing personality and meaning to a room, a rug can have a similar impact. We show three custom made rugs by different designers, alongside a selection of contemporary artists from the gallery. We look at composition, colour, form and line and how traditional boundaries blur and disciplines interconnect.

  • by Lisa Norris



    We process representational art and abstract art quite differently.  Abstract art is often confusing and unsettling, with no subject to hold onto, it makes a lot of people scratch

    their head and comment ‘a five year old could do that’! 




    Michael Luther, Brushlines, oil on canvas


    Often the subject of abstract art is actually the artist's practice and the application of paint to the canvas as we see above with Michael Luther's Brushlines of 2016. It is a form of self-reflection, self-criticism and analysis of one's own works. Brushstrokes, the colour palette and the organization of forms become the subject, otherwise known as the formal elements of art.



    What many people don't realize is that abstract artists have worked figuratively in the past and their representational skills are technically advanced.  These artists favour expressing their creativity by making a visual experience that is more free and unencumbered by the weight of objects.   To help you get to grips with abstraction we have put together a short explanation. 


    Since the early 1900s, abstract art has figured substantially in the
    development of Modern and Contemporary art. We only have to think of the
    Bauhaus, the Cubists, the Suprematists, through to Abstract Expressionists
    and the Hard edge painting of the 1960s for example.   


    Most credit Wassily Kandinsky's abstract watercolour of 1910 as the first
    abstract painting and the birth of abstraction. Western art had been, from
    the Renaissance up to the middle of the 19th century, underpinned by the
    logic of perspective and an attempt to reproduce an illusion of visible
    reality. Total abstraction (other terms include pure abstraction,
    non-objective art and Concrete art) bears no trace of any reference to
    anything recognizable. Other forms of abstraction take an object or
    landscape and depict a certain aspect of it in simplified form, or distort
    it from its original form so it is not readily recognisable.


    Why have abstract art in your home?
    Abstract artists are capturing how they experience the world and there
    paintings in turn trigger an experience or sensation in us, the viewer. It
    is a scientific fact that beautiful artworks activate the pleasure centres
    of the brain.   The idea that the highest form of beauty lies in geometry is
    the basis of abstraction. This idea originated as far back as Plato and his
    discourse on the Form of Beauty.


    Abstract painting, because of its universal forms, has often been
    characterised as having a moral dimension and appealing to such virtues as
    order, purity, simplicity and spirituality.  This is reflective in some part
    of the reasons why people choose to buy abstract paintings and photography
    over realistic, representational work.  Living with abstract art can open up
    a new meditative and contemplative spot for your home.  There are no
    distracting images or objects, just colour and form resonating off your
    walls.  Many people find that once equipped with the language to express
    their feelings about abstract painting, they are able to develop an ongoing
    and  fulfilling dialogue with the pieces as they become a focal conversation
    piece for an entertaining/ living space or calming presence in a bedroom.


    Often all that is needed is  'a way-in' to the work.  'A way-in', is finding
    something about the painting or its title that you can start from.  Perhaps
    it is the information about how the artist works, perhaps it is the
    relationship of colours or the forms that hint at a clue.  Just like music
    is patterns of sound that can uplift us or transport us to another mood or
    place, so too can abstract art.  Patterns of form colour and line can take
    us somewhere else profound and spiritually rewarding over and over again.















  • by Lisa Norris
    Bernd Mechler Installation View. Floating Frequencies. 2018. Dusseldorf.
    Bernd Mechler Installation View. Floating Frequencies. 2018. Dusseldorf.

    One of the most frequent questions we get asked in the gallery is where do you find your artists.  Quite often the second question that follows, is how do you know they are good?



    Sonja Weber's work installed at the the Kunsthaus in Nuremberg, for the Nuremberger Art Prize.


    When it comes to sourcing them and separating great abstract art out from the rest, we rely on the following criteria.


    NUMBER 1
    We have to love it!  And when we say love, we mean the kind of love that makes you want to stare at it for hours, and come back to it and live with it for the rest of your life and feel you love it just as much as  when you first caught sight of it.


    Frank Hinrichs, Skripturen series, exhibition installation.


    NUMBER 2
    Visiting art fairs, art prizes, judging, attending degree shows and visiting the studios of emerging  and mid-career artists all means you are getting an idea of the work out there and the work being practised and filtering through mentally what appeals and what doesn't.  Or in the case of the gallery, what fits in with our agenda and identity and what doesn't.



    NUMBER 3
    If you have worked in the same sector for so many years you are certainly going to develop an expertise in that area.  It works the same in the art world.   Having spent the last 50 years+ combined between the two of us looking at  copious amounts of paintings and sculpture and design, we have an inner radar for what we like and for what is quality.  Our eyes have seen a lot and you learn to filter.  That is principally why people consult your expertise as a gallerist and trust you to place artwork in their homes.


    Daniel Mullen's solo show in Sao Paulo.



    NUMBER 4
    The sealing deal is often an artist's education and C.V.  An artist who has been to an established art school or academy and has subsequently exhibited consistently over the years, is generally someone we feel we can have a good working collaboration with. A lot of our artists have been bought for museum collections or have exhibited in museum exhibitions. There are of course always exceptions, and decisions are never clear cut, but then that is when we weigh up all the criteria and listen to our gut instincts.


    An installation view of OSTER+KOEZLE's latest exhibition raum+storung in Jena as part of the official program celebrating 100 years of the Bauhaus.  Some of their pieces will be in our forthcoming show, Legacy of the Bauhaus.


    Ultimately it is about developing a long-term relationship with our artists and supporting their careers as their work evolves over the years.  


    Our next exhibition Legacy of the Bauhaus opens June 13th 2019.  Damian Brenninkmeyer will be presenting a talk on the contemporary legacy of the Bauhaus in the context of four of the gallery's artists.  This talk will be taking place during the Kensington and Chelsea art weekend at 12 noon on Sunday June 30th.









  • by Lisa Norris
    Frank Hinrichs, Private Residence, London
    Frank Hinrichs, Private Residence, London

    If you find you have thought of everything in your home design wise but are still sat staring at blank walls, let us give you a few tips on where to start and which walls or spaces are the most important.  So you are able to find a place for some art, so it sits in happy conversation with the surrounding furnishings and so it gives your home-new sight lines, new depth and dynamism, and of course, satisfying colors.


    Installation shot - Lydia Mammes

    Number 1.  Above the fireplace

    This spot is a key space to hang a painting.  It is normally a prime wall of the reception room and often central to the room.  The hanging of this painting brought a new dimension to the living space-and a horizon-line of soft color coming in from which ever direction you look.




    Installation shot. Gwenyth Fugard.


    Number 2.  Above the sofa.
    This is another prime spot we often get asked for advice and consultation on. In living rooms, people are usually sitting, so artwork should be lower.You want the picture to be part of the whole ensemble. Hanging over a sofa is a way of opening up the room and gives you a central focal point.


    Installation shot. Lydia Mammes.


    Number 3.  Main entrance
    Many of our clients like to have something in their main hallway or landing.  An artwork that is first glimpsed as the door opens and you walk in. The eye is drawn to it and spaces are linked that way. It is the first sign of being home and it makes a statement. Plus you get closer to the art in these spaces.



    Installation shot.  Jane Goodwin.


    No. 4 The dinning room

    Always the focal point for guests and entertaining and even when you have no walls, this creative client has found a way of having art for her guest to contemplate when seated at dinner.

    Installation shot.  Sonja Weber.


    Number 5.  The bedroom.  
    Above the bed or above a dressing table is another popular request from our clients.  Often these works are softer in nature or in palette and add a much needed sense of calm and tranquilty to what is supposed to be one of the most relaxing rooms of the house.



  • by Lisa Norris
    Op Art And Why Its So Beguiling.

    Viktor Vasarely,  Méh , 1967,  acrylic on canvas,  179 x 179cm



    ROY OSBORNE, Emblem Study 27 (Cube), 2013, signed and dated,  oil on canvas, 61cm x 61cm




  • Minimalist Art

    What is Minimalist Art?
    by Lisa Norris


    A selection of works by Gwenyth Fugard from our 2018 exhibition Accidental Beauty.


    Minimalism or Minimalist art can be seen as extending the abstract  idea that art should have its own reality and not be an imitation of some other thing. We usually think of art as representing an aspect of the real world (a landscape or a person for instance), or reflecting an experience such as an emotion or feeling. With Minimalism, no attempt is made to represent an outside reality, the artist wants the viewer to respond only to what is in front of them. The medium (paint for example) and the form of the work is the reality.








  • by Lisa Norris
    Covetable Ceramics

    A selection of work by Matt Sherratt.

    Foreground: Triumph, Hand sculpted in clay, black terra-sigillata and platinum lustre,        £900
    Celebration, Hand sculpted in clay. Finish red terra-sigillata and platinum lustre interior,     £800


  • Floating Fields of Colour

    Lydia Mammes: Iridescence January 23rd - 9th March 2019
    by Lisa Norris
    Floating Fields of Colour

    The gallery is awash with floating fields of colour on the occasion of Lydia Mammes's second solo show, Iridescence, which opened last week.



    Installation shot of Iridescence at the Lisa Norris Gallery.


    Generally when a painter chooses to focus solely on colour, be it layering, its structure or its relationships, we look historically to colour field painting.  Colour Field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism. Below is an example by one of the movements most famous painters, Mark Rothko.



    Mark Rothko Orange and Yellow, oil on canvas 1956, Albright-Knox Art Gallery, Buffalo, NY, USA 

    In a similar vein to Mark Rothko and other painters of the 1950s and 60s, Lydia uses  mid to large scale MDF panels which are  covered in flat expanses of colour, minimizing any surface detail. She uses many thin washes to help give her paintings a lightness and brightness, as if they glow from within.

    When stood in front of them in the gallery, you can feel visually surrounded by the colors. The perfect antidote to the dark hues generally found in the depths of Winter!  Iridescencecontinues through to March 9th.  



    LYDIA MAMMES, Untitled (Oil Slick), 2018, signed and dated, 2018, acrylic on MDF, 150 x 150cm       £5600



  • by Lisa Norris