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Liza Wimbish (she/her)
www.lizawimbish.com 

Wimbish’s work celebrates the vitality and rigor of blue-collar labor by musing on materials and methods of working that are often dispensed as unheroic. Informed by her personal proximity to blue-collar work, Wimbish’s paintings harken to her recollections of watching dirt being moved, bricks being laid, and concrete being poured. She makes artwork that values construction materials and repetitive labor, in response to the fond narratives that have been passed down to her, which positively characterize blue-collar work as something that is contingent on form.



Liza Wimbish, The Disadvantage Is that Pingrabbers Are Required to Mate up, 2021. Concrete, hardware, acrylic paint, gelatin silver print on wood panel, 11x3x4 in. Alt text: A rectangular object that is slightly longer and thinner than a brick is hung outside the entrance to the gallery. It is painted a bright pink and features two screws and foamy detailing across its top. Liza Wimbish, Semi-skeleton Rutted Loam, 2022. Concrete, spackling, polyurethane, acrylic paint on wood panel, 24x2x24 in. Alt text: A square painting is hung on the right side of the corner. It is the color of moss with an indent across the lower part that is brown with purple hues. The surface is layered with what appears as thick brush strokes building up the painting. There is a layer of gloss overtop the entire surface. Liza Wimbish, Hammers Can Break Oversized Materials, 2022. Construction manuals, acrylic paint, dimensions variable. Alt text: A stack of a few books are placed on the ground on the left side of the chair. The books are painted pink. Liza Wimbish, Heap Capacity, 2022. Concrete, acrylic paint on wood panel, 24x2x48 in. Alt text: Near the left corner is a textured gray wooden panel with a layer of salmon pink overtop covering most of the surface of the panel and creating a horizon line. The layer pink is not entirely opaque and thus the under layer shows through at various points throughout the painting. Liza Wimbish, Idler Position, 2022. Sand, liquid nails, spray paint, polyurethane on wood panel, 9x2x12 in. Alt text: A smaller painting hangs in line with the bottom of the painting to its left. This white painting has a thick surface quality and features a U shape coil that arises from its background. It has a gritty texture from its bottom layer. Liza Wimbish, Life after Dry Turn Cannot Be Expressed as a Percent, 2022. Concrete, handmade paper, liquid nails, polyurethane on wood panel, thirty-one panels with variable dimensions. Alt text: Across the central gallery wall are 30 small brick-sized paintings with a charcoal and earth color. They have glitter embedded in them. They are hung in a horizontal line at eye level stretching the majority of the wall. Each brick is aligned on their top edge but they each differ on the bottom edge as each brick has a different quality: some ripple with a melting effect as the edge seems to drop down at different rates. Each object has various indentations or excavations from its surface. Liza Wimbish, Coal is Not Concerned with Spontaneous Combustion, 2022. Concrete, acrylic paint, grass, polyurethane on wood panel, 24x2x48 in. Alt text: A wooden panel hangs upon the wall. It is a dark mud color with hues of pink underneath. The texture is rough and grainy with some slightly elevated parts. Some spots have been worked subtractively and are less opaquely colored than others. Liza Wimbish, Ear Protective Devices May Be Required, 2022. Concrete, acrylic paint, sand, spray paint, grass on wooden panel, 24x2x48 in. Alt text: A wooden panel with a cream background hangs against the wall. This panel features a central figure with a mossy hue and a light blue halo surrounding the central mark-making. The texture shows evidence of the artist subtracting material from a built up surface. The center point is glossy and this shine appears at other parts of the painting. Small splatters of paint create a bubbling effect at various sites across the surface. Liza Wimbish, Sealed Belly Guards on D10R, 2022. Concrete, acrylic paint, spackling, spray paint, graphite on wooden panel, 24x2x48 in. Alt text: A wooden panel of a light pink earthy hue hangs against the wall. This panel features green marks that stretch across the entirety of the surface. There is a small circular white cavity towards the bottom of the panel. Liza Wimbish, Maximum Speed Is Attainable in Fourth Gear, 2022. Concrete, acrylic paint, spackling on a wooden panel, 24x2x96 in. Alt text: A collection of four panels stretch vertically across the wall. Three are hanging on the wall and the fourth rests propped against the wall and connecting to the hanging panels. They each have a bright white background and various speckly pink hues. Some splotches are gray and are indented, while others appear softer. Liza Wimbish, Structural Life of Grousers, 2022. Inkjet print of an excerpt from a Caterpillar Construction Manual, 8x10 in. Alt text: An excerpt from a construction manual is printed in white ink on black paper. It is placed in a white frame and hung on the wall. Liza Wimbish, Pavement Buildup Plagues Most Older Streets, Roads and Highways, 2022. Concrete, handmade paper, acrylic paint on wooden panel, 12x2x6 in. Alt text: A rectangular object the size of a long brick hangs low on the gallery wall. Its background is a pale pink color. Overtop the pink is a light mud color. The texture is thick and has been built up through layering. Liza Wimbish, At Full Efficiency, We Will Cycle 100 Times per Hour, 2022. PVC pipe, lightbulbs, acrylic paint, machine part, sand, video of a Caterpillar 983 Loader, extension cord, dimensions Variable. Alt text: A thin white pipe with an exposed light bulb stands upright from a collection of sand. In the sand is a pink metal truck part that hosts another smaller light bulb. Amidst the sand on the ground is a screen peeking out with a video featuring a tractor driving. The extension cord lighting the sculpture is thick and orange and piles before connecting to the outlet.

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