All We Like Sheep (The Chosen Ones), Oil on linen, 150 x 100 cm, 2024.
Joie de Vivre, Oil on linen, 40 x 50 cm, 2022
Athena and Ares, Divine Retribution, Oil on linen, 100 x 120 cm, 2025
The Miser and the Hunter of Souls, Oil on linen,
76 x 61 cm, 2026
Angela Lizon
BA (Hons) at Bristol Polytechnic (1983 - 1986)
Postgraduate scholarship (funded by the Polish government and the British Council) for study at Krakow Academy of Fine Art in Poland (1986-1987)
Elected academician at RWA Bristol 2018
Appointed Vice President at RWA Bristol 2025.
Winner of the Jackson's Art Prize 2026
Drawing on the language of 17th-century Dutch art with its ready-made gravitas - mortality, fragility, ostentation - I have been staging narratives using digital collage, photographs, oversized flowers, kitsch objects and ornaments, investigating the tension between high and low art
The aggressive fairies respond to the well-known photograph of a bare-chested Putin riding a horse, which epitomises for me the hyper-macho posturing prevalent in today’s politics. Symbolically shrinking violence and aggression to a minimal size renders them harmless.
My cultural heritage is reflected in the resultant paintings, a blend of Polish exotica and Cockney humour, which influences the work both atmospherically, emotively and aesthetically. Lockdown 2020 gave me time to take an in-depth look at the flora and fauna of the domestic garden and to reevaluate it as subject matter alongside art historical sources. I now grow and photograph my own flowers, using the bouquet as a stage or backdrop, to intertwine my daily living with my art practice.
The "internal rooms" in my paintings are imagined, minimal, temporary spaces, often with doors or windows suggesting the idea of elsewhere. Water, a recurring element, serves as both a portal and a symbol of life and death, entering the rooms as an ambiguous force. My figures act out private tensions—apathy, frenzy, comedy, and despair—appearing and vanishing in an undefined time and place. Inspired by Deleuze's Plane of Immanence, these images are processes in perpetual in-betweenness: between text and image, past and present, sensation and matter. The figures inhabit a moment of waiting, poised on the verge of change.
Selected collections:
SOR Rusche Sammlung, Berlin.
Olbricht Collection, Dusseldorf, Germany.
MURDEME (Damien Hirst) Collection, UK.
Robin Woodhead CEO, Sotheby's International.
Reydon Wiess Collection, Germany.
Robert Peter Miller, Robert Miller Gallery NYC.
Michael und Anna Haas, Michael Haas Gallery, Berlin.
M.A. Communication Arts at the Royal College of Art, London
M.F.A. Goldsmiths, London
GL Brierley
