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Lo Fossi


Lorraine Fossi grew up in Paris into a family of architects. She studied architecture at the 'Beaux Arts' and graduated in 1989. She moved in London in 2000 with her family and it is here that from an architect she turned into a compulsive painter...

Her early work explores the sea as a subject of abstraction and something to freeze and capture – these abstract seascapes were exhibited and sold during solo shows that she organised herself (2010 -2013). In April 2013, she caught the attention of the press and media with a captivating subject: The Royal Iris, an historic Mersey Ferry Boat. That is when she realised how important it was for me to join art and life, and to bring together people who would not normally mix to look at an art project.

At this time she wanted to broaden her subject matter, materials and theoretical ideas. She also wanted to change the way she was encountering the work of others. That’s how Lorraine chose to go ‘back to school’ and won a place for MA Fine Art (2013-2015) at City & Guilds of London Art School.

In September 2015, Lorraine Fossi graduated with Distinction and she won The City & Guilds Art School Prize.

Her work has been selected by Turps Gallery for a show in December 2015. The exhibition, curated by James Tabbush, brings together the work of two artists / architects: Lorraine Fossi and Celia Scott.

Lorraine Fossi works in her ASC studio at the Chaplin Centre in South London. 


My work aims to bring some of the world to the surface using the crucial tool of the diagram. It travels from reality to abstraction, but it also constructs a continuous bridge between the two states. Structures and details in the world become abstracted into diagrams, which can then be instantiated in other materials and in other contexts.

The works come in ‘experience’ and allow the real and the imaginary to come together. In this reconfiguration of reality/ imagination, the personal (stories and memories) is not separated from what is not personal, from what I encounter in the street, in a gallery, in a book, in the news on TV.

 The work investigates aspects of time and distance –measurement and perspective – and maps out journeys and migrations. In my work the ‘surface’ is a ‘territory’ and refers in colour and texture to the world’s materiality: it is often grey like the pavement of cities, and covered with scuffs, marks and imprints. I paint with acrylic and oil paints- scribbles and measuring lines visible on the surface. I choose my materials, according to the diagram, from a wide range of materials culled from everyday life and sometimes include ‘found objects’.  It allows new connections between elements that I thought would not meet and creates new points of entry to encounter the world. 

 In my artworks, painting is a function, switching from different perspectives, with space for the viewer to imagine moving, measuring, stepping back, and also resting.. The diagram is a free and open aspect in my artworks and fuels travel, events and thoughts that appear and reappear. Space is created and deconstructed: the painting is in a state of ‘becoming’. 


Abstract Machine

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