My creative work explores the hidden complexities of our natural world. These referential, yet invented spaces frequently blend personal narrative with larger issues of environmental challenge. Much of my work has concentrated on related dichotomies: beauty and threat, health and illness, and microscopic versus macroscopic perspectives. Over the years, the work has specifically addressed issues of unchecked chemical use, migration interruption, and disease; most recently, I have been documenting and researching the health of various bodies of water—with ocean health being central to my current efforts.
 
My practice for many years has explored the painted image, due to its fluidity of process, poetic silences, and its ability to crystalize transition. More recently, I have also been creating video work—but frequently use video footage for my painting process, as well. The concepts of transience and flux are key.

For some time, I have been seeking out studio / project locations that provide content for my work, often in remote places. Increasingly, I have pursued opportunities that put me in direct contact with scientific method and data, as well. In 2014, I assisted in fieldwork assessing coral health in the Cape of Eleuthera (Bahamas). Surveying patch reefs with a video camera and water resistant notepad in hand, my subsequent creative work became translations of these underwater ecologies. 
 
This summer of 2017, I completed an artist residency at the Friday Harbor Labs / University of Washington where a rich intersection of scientific study merged with my process in the studio through fieldwork, participating in lectures, the observation of a seal necropsy, and research trawling for key invertebrates. To complement this experience, I received a grant to purchase a microscope.

I’m an investigator at heart, and obsessively document flora and fauna, rarely leaving home without a camera. Distortion, abstraction, shifting perspectives—these are central to the language of my work. I am interested in how these qualities reflect our ever-evolving sense of knowledge and perception, our confusion about solutions, and the inescapable, teetering balance between the graspable and the ill-defined.
 
In the end, my efforts have become a form of documentation of what we are losing and what we need to fight to preserve. They are simultaneously observed and imagined spaces that speak with celebration, hope and anxiety. The work has become a quiet call to action.
 

--Lisa Tubach

 
 
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