Lisa Jo (*1983, Los Angeles) presents two new paintings. For the most part, Lisa Jo’s work eschews figurative representation and yet recognizable body parts emerge—not bodies without organs, but organs without bodies. Like the process of digitization, what was whole is disassembled, detached, into pieces of disparate information.
Both works are presented on metal stands—a similar construction to the one in Philip Johnson’s Glass House: a see-through home, not so different from a storefront window. Blurring and fetishizing the domestic and its interior space, putting everything on display. Switching off the distinctions.
In her flat and corporeal shapes, Lisa Jo joins together disparate bits into 2021 chimeras. She makes Modernism’s obsession with transparency brutally personal and asks bluntly: is the body a better glass house? What are boundaries—physically, erotically, digitally—of personhood today?