I began my career as a painter, making textured surfaces embedded with words and images. Then I moved from the east coast to the west coast. Everything was new, making it impossible to continue creating the same work. The current work, threaded with the same sensibilities and themes, is the progeny of the previous. Yet printing an image or building a sculpture is not enough. Stitching and hand-wrought finishing are what makes a piece feel complete and are, no doubt, vestiges of my painterly past.

The symbiosis between image and word, a waltz where one begets the next, is undeniably part of my penchant for books, yet also is the fuel of my practice. Concerned with our individual identities as the world becomes more homogenized, I am interested in encapsulated moments (sculpture), singular stories (photographs) and sequences of information (artists’ books) that italicize the humanity of the individual and draw attention to simultaneously esoteric and universal experiences.

SCULPTURE Language is a function of humanity and a way to preserve it. Using discarded books, text and image are the raw materials for these constructive sculptures. Printed words are thoughts made visible and symbolize our state of endless information: emails, texts and posts that commingle into a scrim of silent sound.

PHOTOGRAPHS Like Medieval and Renaissance stained glass windows, these photos are stories made visual and are intended to create a distinct yet universal, sequestered moment of consideration. They are made from photographs taken of found images (often from old books) and live photos, composited into a singular narrative. Needle and thread are applied to the surface as sewing and stitching are equated to mending: each tiny stitch made from a delicate thread amasses into a greater and stronger whole.

ARTISTS' BOOKS A physical book is a tactile sequence of information; it is tangible and reliable. A title or a book’s concept will spark a new story that I (re-)create as a series of photographic images whose sequence and context are maintained by the object of the book itself. This new content is hand-bound into the original covers, bridging a span of then and now. Images are then recreated, larger and individually, and experienced outside the constructs of the book where they can exist as single statements.

content copyright 2016 Lisa Occhipinti/all rights reserved


Selected Exhibitions

2010   Fall Group Show  Fresh Paint, Culver City CA
2010   Breaking the Spine  Rare Device, San Francisco CA
2010   Faculty Exhibit Currier Museum of Art, Manchester NH
2008   Inside Out  School of the Museum of Fine Arts, Boston MA
2005   Wish You Were Here  AIR Gallery, New York NY
2002   Artists and Poets  Carney Gallery, Regis College, Weston MA
2001   Multiplicity and Reiteration Tremont Gallery, Boston MA
2001   Geometry and Art  Thoreau Gallery, Franklin Pierce College, Rindge NH
2000   National Juried Exhibition Bristol Art Museum, Bristol RI
2000   New England/New Talent  Fitchburg Art Museum, Fitchburg MA
2000   For Drawing 2000  New Hampshire Institute of Art, Manchester NH
1998   National Juried Show Montclair University, Montclair NJ


for questions or commission and pricing inquiries
310 691 4775  
Los Angeles CA + Portland OR



Lisa Occhipinti is an artist and author.  She has written and illustrated Novel Living (Abrams, 2014) a book venerating the physical book, and The Repurposed Library (Abrams, 2011), a book on transforming books into new forms. Her work has been included in Papercraft (Gestalten, 2010) and she is a contributing essayist to The Laws of Subtraction (McGraw Hill, 2013).

With a BA in fine art, Lisa has studied in France with Parsons School of Design and in Italy with The School of Visual Arts. She was a faculty member at the New Hampshire Institute of Art for five years, where she coordinated and taught their first summer abroad program at the Burren College of Art in Ballyvaughn, Ireland. She has also taught at the Currier Museum of Art, Manchester NH, and the Craft and Folk Art Musuem, Los Angeles CA.

Lisa has won a full fellowship from the Clowes Fund for a residency at the Vermont Studio Center in Johnson VT and earned a residency at the Woodstock Byrdcliffe Guild in Woodstock NY.  Her work has been featured in such publications as The New York Times, The Sydney Morning Herald, The Associated Press, India Today and Australia Vogue Living. Her work is in private and corporate collections worldwide.
2016   Solo Exhibition  San Luis Obispo Museum of Art, San Luis Obispo CA
2015   The Sculpted Fiber  Museums of Sonoma County, Santa Rosa CA
2015   Incognito  Santa Monica Museum of Art, Santa Monica CA
2014   Layered Perspectives  College of the Sequoias, Visalia CA
2014   Incognito  Santa Monica Museum of Art, Santa Monica CA
2013   On and Off the Page  Lamont Gallery, Philips Academy, Exeter NH
2013   Incognito  Santa Monica Museum of Art, Santa Monica CA
2012   Terrestrial Life  Gallery 825, Los Angeles CA
2012   Art of Our Century  Woodbury Museum, Orem UT
2012   Simulacrum  Gallery 825,  Los Angeles CA
2012   Incognito  Santa Monica Museum of Art, Santa Monica CA
2011   Out of Sorts Design Exchange Center, Toronto Canada