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Brice, born in Cape Town, has shown extensively world-wide. Her work has evolved from provocative early pieces such as her Sex Kitten seriesa pin-up-style paper-doll of a headless, squatting woman covered with topical images, to a more mature ature style of figuration—an edgy yet lyrical painterly pastiche. Individual women in various gestures of dance and repose fill up the stage of her canvases.

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Originally trained as a painter and printmaker, Brice has maintained a clear thread throughout her work. Whether making deliberately tacky object paintings incorporating images of truncated sex workers, or in her recent paintings rife with art historical references, she has repeatedly touched on gender issues, challenging notions associated with the male gaze.

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Brice is concerned with liminality, and the transitory nature of things, or perhaps with transition itself. Her women are not entirely nude: they are semi-clothed. It is unclear if they are in a state of dress or undress, or veiled in body paint. The same goes for the background, as her interiors are not enclosed.

They are threshold spaces that frequently contain Bonnard and Matisse-like hints of the exterior: a plant, a glimpse through the window, a screen dividing—or connecting—the inside and outside. Brice tips the balance of her work further into uncertainty by superimposing richly associative layers of images.

The five large works in Boundary Girl include references ranging from the art historical to the local. Many of the references derive from her 18 year relationship with the island of Trinidad which began with the Big River Workshop in Grande Riviere followed by a residency at CCA7 located in a former rum factory in Port of Spain.

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Brice has found uncanny similarities between Trinidad which she considers her second home and South Africa, resulting in a deeply personal identification with the island. In the title image Boundary Girl Nataliepainted betweena woman is captured in a private moment, hands clasped over her head.

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Her body is set off by the fronds of a large plant behind her. The painting was composed using multiple references to create a subtle pentimento effect; combining a Playboy magazine spread with her own snapshot of a woman in white hot pants and orange fishnets taken at a street party.

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The pose is based on the sassy and defiant attitude of a friend, Natalie, to whom the painting is dedicated. With a personal interest in the way people carry themselves, this work refers to a boundaried code of social conduct that Brice identifies as particular to person and place. The implied narrative is inspired by the conversations they shared.

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When combined into the single larger work, the halves become a powerful whole, its women advertising or celebrating their sexuality, thus both conforming to and defying stereotypes. Brice draws with paint, in a fluid and disciplined line, first making multiple drawings from a variety of sources.

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She uses Polydraw, a polyester drafting film-like tracing paper, to create enlarged gouaches of the initial images as building blocks for her larger buddy. Her voyeuristic and compositional impulse was set into motion early in her career after obsessively photographing for a digital camera set to night vision. In my painting process, I am constantly circumnavigating a didactic reading, erasing, replacing, repositioning.

Between This And That is a looking work in cobalt blue, a favorite color used to denote the transitional state of twilight. For Brice the blue ifies the transient moment between day and night, and recalls the color of the Blue Devil, a formidable Trinidadian carnival character traditionally played by men covered in blue body paint. Placed in conversation with her Brice the left, a second homage to Picasso, his Gertrude Steinpeeks through, mostly obscured.

Only her hands are visible, one of which Brice has embellished with a cigarette holder. At her feet is the familiar black cat who parades in and out of the pictures. The woman to the right of the window sports a hat with pussycat ears, per the recent political protests.

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Brice readily provides a roadmap to her references, but her evocative images require no parsing. Lisa Brice b. Installation Views Text Lisa Brice. Lisa Brice Boundary Girl.