Lara Merrett – Biography
Lara Merrett’s work is at once chaotic and ordered, playful and painterly: large-scale explosions of colour and nebulous forms, her abstract paintings are a display of infinite possibility. Functioning like a map of the unfamiliar, Merrett balances both the conscious and the unconscious through intuitive practice, letting the paint guide her.1
Described as atmospheric, limitless, intuitive, Merrett’s paintings intend to represent the sublime, linking it to the human capacity for emotion. Through using a range of finishes – gloss, matt, metallic, pearlescent – Merrett makes tangible undefined natural phenomena, representing it in luminous colour.2
“My collaborator – paint – is inventive and does things I could never have imagined or repeated,” states the artist. Through a refined understanding of abstraction, Merrett uses her collaboration with paint to break down its traditional hard edges and sharp forms, and in doing so creates something entirely its own.3
Lara Merrett was born in 1971 in Melbourne, she currently lives and works in Sydney. Merrett studied painting at Circulo de Bellas Artes in Madrid, Spain (1993), holds a Bachelor of Fine Arts and a Master of Arts in painting from The College of Fine Arts, the University of New South Wales.
Merrett has participated in many solo and group exhibitions including: Against the Amnesiac Lifestyle Showroom, Gertrude Contemporary Art Spaces, Melbourne (2006), Perceptions of Space: Justin Collection, Glen Eira City Council Gallery, Glen Eira (2014) and The Shilo Project, Ian Potter Museum of Art, Melbourne (2009-2010). Merrett’s work is held in several collections in Australia including Artbank, Melbourne, Macquarie Bank, Sydney and the University of New South Wales, Sydney.
- Byrne, Lisa. “Essay.” Karen Woodbury Gallery, 2007.
- Nainby, Bryony. “Beyond Imagination, Into the Abyss.” Turbulent Terrain, Latrobe Regional Gallery, 2009, pp.18.
- Flynn, Barbara and Ewan McDonald. Emerge and Review: A Look into the UBS Australian Art Collection, UBS, 2007, pp. 72.