Sharing my mindfulness paintings is as satisfying as creating them. It is so exciting to share my process with others. It is also an honor to encourage others to embrace their own process over their product. Don’t look at what I’ve made. Look at why I made it. What did I notice, think about or meditate on? What was I mindful of? These are the questions I hope you will ponder as you visit my exhibits.

Be happy in the moment. That is enough. – Mother Teresa

A painting of koi fish and a door.
Painting of a small fish following a big fish.
A painting of Koi fish and a small door.

Holy Presence: Episcopal Church and Visual Arts (ECVA), 2024

I created these pieces to connect myself to some of my earliest spiritual experiences. My Aunt Julie, and avid Catholic, has several little religious shrines in her room. They had little doors and inside those doors I met Mary and Jesus for the first time. Remaking these little shrines make me feel connected to God. I look at these pieces, and I feel I captured the wonder I found in Aunt Julie’s little shrines. It is my hope that others who might otherwise miss the “wonder” will look at these works and feel pulled towards God. I hope they inspire people to ask questions, seek, and be fascinated by spiritual things. May they want to open the doors, peek inside, and meet Him.
Art inspired by early spiritual experiences, reimagining Aunt Julie's religious shrines to evoke wonder and inspire deeper spiritual exploration.

Click on these links to view the Enshrined and Infant of Prague Assemblages

Sacred and Liturgical, 2024

I paint the shores on which I walked with Him. It’s where I learned that I would completely mess everything up upon my return from this surreal and magnificent place. I saw that I could be my broken self, and that would be enough. I see that I didn’t fully capture this experience. I really bit off much more than I can chew here. Visions are wholly intangible. I’m glad for my attempts anyway. They seared this experience, that transcended my brokenness, into my heart with my paintbrush.

A painting of a serene shoreline reflects the artist's journey of embracing imperfections, and symbolizing a personal struggle and depicting the elusive nature of visions.

The exhibition will be on display in the M.G. Nelson Gallery

Exhibition Dates: May 3rd to May 31st, 2024

Fields of Vision Juried Fine Arts Exhibition, 2024

Not thrilled by the coming of winter. I don’t like to be cold. It is beautiful, though. Capturing the beauty offsets the chill. I do like the way things settle down during the wintry months. January and February come with a quieting. This year, maybe I’ll embrace the ground frost.

This is a monoprint of leaves on paper created with a limited palette of purples, greys, and muted fall colors.

The exhibition will be on display in CTAC-Petoskey’s Gilbert Gallery

Exhibition Dates: January 13 to February 24, 2024

Faith in Motion: Episcopal Church and Visual Arts (ECVA), 2023

I’ve never done much in the way of video editing. I played around with the software and accidentally made discoveries that said it better than I intended. I set out to weave a “collection” of still images together- starting with the images and video and then adding the audio. When I started layering other sounds with the audio track (the sounds of the birds, the wind, and other creatures) my theme, This Is God,” became clear.

International Society of Experimental Artists’ Juried Exhibition:

ISEA Utterly Unfathomable and Powerfully Profound, 2023

I enshrined several pieces of memorabilia on my painting surface- atypical choices driven by nostalgia instead of aesthetics: a timepiece, a button from my mother’s jacket, and a pin that was in my father’s memory box. Normally, I paint on a canvas, but this time I used multilayered cardboard. I peeled back the top layer from sections of the cardboard to reveal a layer of “honeycombs” underneath. I experimented with epoxy resin by filling the “combs” with dripping epoxy “honey.” I found some bee corpses inside my yellow jacket traps. I was glad for the loss of the jackets (I’m highly allergic), but I mourned the carpenter bees. This “mourning” triggered my first attempt at taxidermy and the subsequent incorporation of this experimentation into my work. I successfully removed the remaining debris from the abdomens of the carpenter bees, preserved them in resin, and placed them in and around the honeycombs. They are now a much-needed sign of hope amidst nostalgia and mourning.

This is a photo of a women hidden among pieces of memorabilia and swirling acrylic colors mixed with fiber elements. The color scheme is blue with mixes of purple, and bees (along with honeycombs) are woven into the piece.

Much Needed Signs of Hope and New Life, 2023

2023 Small Works All Media National Juried Exhibition

I would never have imagined that I would find myself on the outside. My old beliefs gave me a sense of belonging and my beliefs were validated by the people around me. That was when I was thinking inside the box. Now, I am “Outside the Box”: a misfit, outlier, dissenter, and even a bit of a deviant. I could have kept the box closed, folded all the simmering thoughts away, and locked the box tight. Instead, I let it open, and I let myself try life outside of it. The bud represents the unfurling of new thoughts, beliefs, and convictions lying within me and on the precipice of being released. The burgeoning flower in the box represents the unfolding of my mind. This unfolding is a flourishing of what was once buried. “Old Me” and “New Me.”
This sculpture is made from a wooden box, collage papers, cardboard, and paper folding. The elements coming out of the box represent the unfolding and expanding of my mind.

Outside the Box

This sculpture is made from a wooden box, collage papers, cardboard, and paper folding. The elements coming out of the box represent the unfolding and expanding of my mind.

Old Me, New Me

On exhibit at the Northville Art House from November 10th through December 16th, 2023

South Haven Center for the Arts:

Experimentation, Exploration, and Exuberance: Give It a Try!

Alisa E. Clark, Juror for “Give it a Try!”, is an avid acrylic painter, sculptor, collage maker, and experimental assemblage artist who believes all artists can all benefit from stepping outside of their comfort zone and plunging into the experimental. With the opportunity to share exploratory works with other artists and the community, new discoveries sprout. The call to “Give it a try!” is an invitation to share new ideas and techniques through the creation and sharing of experimental works. Artists can answer this call by creating with a new medium, trying an unfamiliar artistic discipline, or creating something for a brand-new purpose: the possibilities for multi-media experimentation are endless. You get to decide how you will “Give It a Try!”

This is an image of Alisa E. Clark, juror for the exhibition titled Give It a Try at the South Haven Center for the Arts, sharing her experimental work at this experimental art exhibition.
This is an image of the call to “Give it a try!” It includes an image of the juror as well as information about the show to be held at South Haven Center for the Arts.

September 30 through November 4, 2023.

Muskegon Museum of Art 94th Michigan Contemporary Art Exhibition

My first experience scuba diving left me wanting to touch everything I saw. Touching, however, is not allowed. I added 3D fiber elements to this 2D painting to rediscover the wonders I saw in the deep waters and allow myself to finally touch them.
Artist, Alisa E. Clark, with her collage titled “Beneath It All” at the “94th Michigan Contemporary Art Exhibit.”
This is an acrylic painting that uses collage elements to add the colors and textures of the sea. It has many blue elements to represent water, and it also uses eyelash yarn and other fibers to represent seaweed and ocean grasses.

Beneath It All, 2022

On exhibit at the Muskegon Museum of Art from September 28th through November 8th

Under the Big Top National Juried Exhibition

From the “Right Now,” I explore memories of “Yesterday” while reaching for possibilities within “What’s Next.” My liminal creations invite people on little adventures through time and space: fantastical journeys with the power to reach into the past, release imagination to the present moment, and explore imaginative possibilities in tomorrow. “Ten Rides on the Carousel” is a liminal journey back to one of my earliest recollections: my first trip to Central Park. No child would forget one ride on the park’s intricately carved, colorful creatures rising up and down in tandem upon the spinning, bejeweled platform. For me, it wasn’t just one ride. I got ten rides. These moments are quite ubiquitous: if not of a carousel, then it’s the memory is of some other primary, magical experience that’s seared into memory. The piece de resistance of “Ten Rides on the Carousel” is grasping the handle of the hand drill and driving the gears to make the carousel spin. I’d like to believe this creation would fascinate young children while simultaneously igniting memories of circuses, amusements parks, and other enthralling possibilities for people of all ages. Spanning time, “Ten Rides on the Carousel” is a gateway backwards and forwards from “Right Now” thus making all moments in time “in tandem.”

Ten Rides on the Carousel, 2023

Show Opens July 15th, 2023 at the Vestige Concept Gallery in Pittsburgh, PA

2023 Genesis Exhibition in Partnership with the Jewish Art Salon and CARAVAN, NYC, New York

My most recent body of work explores the theme of liminality. This theme, in great part, is concerned with the passing of time. “Time and Space” is about inception: when nothing became something. I tried to capture “the beginnings” that came from what, I imagine, was a completely empty space. This is what I see when I close my eyes and imagine that the clock just started ticking.

This is an abstract painting that uses color and shape to capture our “beginnings.” It uses swirls of blue, purple, pink, and yellow to show what the earth was like as it was just beginning to form.

Time and Space, 2019

Artistic Initiative of the Jewish Art Salon in partnership with CARAVAN

Show Opens May 1st, 2023 at the Interchurch Center in NYC, NY

Genesis: The Beginning of Creativity  

Regional Juried Exhibition at the Kavanagh Gallery: From the Earth

My father was a scientist. He supplied me with a microscope and a rotating supply of slides to study: cells, algae, and other snippets from nature. We’d dig for slide samples from the earth or in the pond. “Under the Microscope” is inspired by all the strange and wonderful things I discovered. We also scraped the bottom of the pond with a strainer. We brought up tadpoles, and I studied their growth under various conditions. Arms and legs sprouted. Sometimes, a mutation emerged. “Look What Crawled Out of the Earth” is influenced by my many strange discoveries. I will often hunt for natural elements that interest me: unusual finds that remind me of my nature studies with Dad. “From the Earth” is a call that provided an opportunity to pick from my “finds” and then recreate my past discoveries. Artistic license freed me to add a twist of imagination to my creations. My unconventional choices were fueled by the surprises unearthed beneath the lens of my old microscope.

Under the Microscope and Look What Crawled Out of the Earth, 2023

Exhibition Opens on June 29th, 2023 at the Kavanagh Gallery, St. Charles, IL

The Art of a Story ~ 13th Annual National Juried Exhibit

I used a book I had written about my painting process to create “Memories.” The chance to capture “Memories” in 3D required me to alter the original text to add depth and dimension. I had to put aside my 2D canvases and find a new way to move in and out of space. Similarly, I decided to use a book that I once wrote about my art process as my canvas. “Journey” was made from this personal story. I altered it and embellished it with dimensional elements holding deep personal meaning. 3D expressions of my story let the viewer move through moments that have happened, are happening, and are to come. This creates an awareness of time shifting and changing: a liminal experience. This new process helps me better journey to Back Then, Right Now, and towards Tomorrow. Altering my autobiographical stories helped me express myself from many perspectives simultaneously. 

Memories and Journey, 2023

This Exhibition Opens June 9th, 2023 at The Village Theatre Art Gallery, Danville, CA

ECVA: The Power in Creating a Series

I imagined the world as it began. Beauty springing forth from nothing. Time nonexistent and then existing. Liminality birthed. I then made several attempts at recreating it: what happened “in the beginning.” The first piece, Genesis 1, was intended to be five individual sculptures of angels in a series culminating in a final piece incorporating all the angels poised around a glowing “new earth.”   The butterflies in all four pieces are a reference to creatures “that may fly above the earth.” Genesis 1-4 are all on rotating bases made from wood and stained to appear as though covered in water. I have spent most of my life painting, but my new explorations in sculpture allowed me to capture more of what I imagine when I read Genesis 1. My favorite 3D part of all these pieces is the “glow.” The use of literal LED “light” (for me) captures a greater sense of God’s presence and power “in the beginning.”

Genesis 1-4, 2023

Great Northern Art Explosion International Juried Exhibition

Genesis 2 is on a rotating base made from maple wood and finshed to look like sky and water. The “glow” of literal “light” (for me) captures a greater sense of creation and its power “in the beginning.” “Plastic Menagerie” depicts a variety of plastics mixed with underwater life. Despite the dangers of plastics, “Plastic Menagerie” is teeming with life. Danger looms, but the message is, “It’s not too late.” “Plastic Menagerie” points to reusable options to slow climate change.
This sculpture, Genesis 2, is on a rotating base made from maple wood and finshed to look like sky and water. The 3D relief, “Plastic Menagerie,” depicts a variety of plastics mixed with underwater life.

“Genesis 2 and Plastic Menagerie, 2023

On Exhibit, at the AuSable Artisan Village, from August 25th to September 10th

2022 Small Works Juried All Media National Exhibition

Using color, form, and line, I create in the present while wondering about Yesterday. I also seize “Right Now” while peeking into “What’s Next.” My liminal creations in this exhibit invite you to join me on creative, imaginative journeys through time and space. These works are little adventures in the “Here and Now.”

In this photo, Alisa E. Clark, shares her collage titled “Unexpected Choices” at the Small Works Regional All Media National Exhibition.

“Swimming Deeper” and “Unexpected Choices,” 2022

On Exhibit at the Northville Art House from November 12th through December 17th, 2022

Merged: d'Art's Third National Exhibition of Collage and Assemblage

I used both collage and assemblage to create my way through “My Journey.” I have included Yesterday, Right Now, and Tomorrow all at once through my creative process. I used gelli plate collage papers to cover the flaps and doors that open and close. I also incorporated hand drawings on paper and a reimagined lamp base, so the assemblage can spin with the turn of your hand. I wanted the viewer to move through time, place, and space. Doing this three dimensionally and interactively creates an awareness of time shifting and changing: a liminal experience. 

This is a photo of a collage and assemblage sculpture. It uses a reinvented baby board book. The pages of the board book (and the flaps and doors) are covered with gelli plate collage papers and hand drawings on paper. A reimagined lamp base lets this sculpture spin with the turn of your hand.

My Journey, 2022

On Exhibit at the D’Art Center from Saturday, January 7, 2023 through Saturday, February 4, 2023

Muskegon Museum of Art 93rd Michigan Contemporary Art Exhibition

The paper flowers that wrap around this sculpture are meant to evoke a feeling of life bursting from the earth in spring. They are covered with a light dusting of snow which appears to be melting. This sculpture spins on its base and has a wind-up music box that plays the song “Edelweiss.”

Edelweiss, 2022

On exhibit at the Muskegon Museum of Art from October 6th through November 3rd

Innovations 2022 Annual International Open Juried Exhibition

International Society of Experimental Artists (ISEA)

I wanted to paint myself from the inside out. No flat canvas: Must work in 3D. I also needed portals: doors, sky, air, water, and a way to move in and out of a space. Experimenting with 2D and 3D expressions of these gateways was wholly necessary. This is my “old style” mixed with a new execution.

Self Portrait, 2022

“Self-Portrait” is on exhibit at the Art Gallery of St. Albert, in St. Alberta, Canada from August 18th through October 1st, 2022

Everything Folds and Unfolds Regional Juried Exhibition

These two sculptures represent the unfurling of new thoughts, beliefs, and convictions lying within me and on the precipice of being released. The burgeoning flower in one box represents the unfolding of my mind. This unfolding is a flourishing of what was once buried: “Old Me” and “New Me.” My old beliefs gave me a sense of belonging and my beliefs were validated by the people around me. That was when I was thinking inside the box. Now, I am “Outside the Box”: a misfit, outlier, dissenter, and even a bit of a deviant. I could have kept the box closed, folded all the simmering thoughts away, and locked the box tight. Instead, I let it open, and I let myself try life outside of it.

These sculptures are made from wooden boxes, collage papers, cardboard, and paper folding. The elements coming out of the boxes represent the unfolding and expanding of my mind.

“Outside the Box” and “Old Me, New Me,” 2022

On exhibit at the South Haven Center for the Arts from September 23rd through November 5th, 2022

(re)bound: the altered book International Juried Exhibition

I painted my way through my journey. I have included Yesterday, Right Now, and Tomorrow all at once. The flaps and doors that open and close let the viewer move through space, time, and place. Doing this three dimensionally creates an awareness of time shifting and changing: a liminal experience.

My Journey, 2022

On exhibit at the South Haven Center for the Arts from June 10 through July 23, 2022

A2AC Gallery Exhibit

The A2AC Gallery is in Ann Arbor, Michigan. The gallery exhibits works which support its goal to “emerge as a catalyst for connection, conversation, and creative exploration through participation.” Alisa E. Clark’s work will be on display and for sale at A2AC throughout the 2022-2023 exhibition year.

This is a photograph of two paintings on display at the A2AC Gallery in Ann Arbor, Michigan.

In the Ocean and Time and Space, 2022

Two works (“Deep Down” and “Underneath”) can be viewed and purchased by following this link to the A2AC Gallery website. You can also visit these works in person at the A2AC Gallery in downtown Ann Arbor, Michigan. “In the Ocean” and “Time and Space” (shown above) have been sold.

Composer and Pianist, Margin Alexander, Performs to Alisa E. Clark's Painting, "Funny Little Birds"

This 2022 Performance is Filmed from the South Oxford Theater in Brooklyn, NY 

The entire Performance features several artist’s works combined with Margin Alexander’s musical compositions. It will be projected outside, at a future date, for the NYC community to experience. 

University of North Carolina’s CAB Gallery Exhibition, 2022

It’s not what I thought it was. As the events of the past year have unfolded, I have had to refine what I believe. Now, I find myself where I don’t belong, and it’s a place that I once thought was home. I am leaving disillusioned.

This is a painting of a church with a yellow "Welcome" sign outside of it.

Disillusioned, 2021

The last year has changed me. Everything I was taught, everything I believed to be true, and everything I once put my hope in no longer adds up. It’s all one giant contradiction.

This is a painting of a door to a church. The door says. "Not Affirming." The sign outside the church says, “Welcoming.”

Contradiction, 2021

Protest Signs Exhibition:

Exhibit Opening: February 24th through April 1st, 2022

Episcopal Church and Visual Arts 2022 Exhibitions

This collage of works for three 2022 ECVA calls includes images for the Sacrament and Image, Everywhere I Look, and Praying the Hours exhibitions. Answering ECVA calls since 2010, I have been offered multiple ways to explore a deeper understanding of “of an ever-evolving, transcending spirituality” through my creative process. With each call, I make art that pushes me. The process always leaves me changed and connects me with art makers who aren’t afraid to explore hard questions and seek for deeper answers.

This collage of works for three 2022 ECVA calls includes images for the Sacrament and Image, Everywhere I Look, and Praying the Hours exhibitions.

ISEA Making Our Marks Exhibit, 2022

Getting  25 surrealistic approaches to work together on one canvas was daunting, but I was changed by the experience. Some of the elements got completely buried on my painting surface. Others remained front and center. As I played with the different approaches, I realized that my “usual” would never be the same again. The result feels odd to me. In the spirit of surrealism, this piece is strange. I don’t recognize this new artist. Is that really me?

25 surrealistic art techniques including cut outs, cubomania, collage, bulletism, automatism, graphomania, and excavation are combined in this one piece of art. Bright red splotches, black drips, white splatters, and a faceless cutout cover the surface of this canvas.

Is That Really Me?, 2021

2022 Making Our Marks Exhibit with the International Society of Experimental Artists

ECVA Stories from the Road, 2022

I painted this vision from 2014 to sear its resulting epiphany into my heart with my paintbrush, so I will never forget. This, I attained to some degree. That is very good because this is what I have left at my spiritual bottom. This Christmas, and every Christmas to come, this will be the place from which I glean my faith.

This is a painting of a spiritual vision. A woman is shown seeking Jesus.

From Where I Glean My Faith, 2021

I fell to my knees before Him, and I said, “I’m sorry. I’m sorry. I’m sorry.” I was full of regret for my impatience, my choices, and my failures. I was crying and pleading with Jesus to forgive me. I begged Him to touch me. He reached out and placed His hands on my head, and I was hopeful that He would make me better. He touched my head, my neck, my stomach: every place that was broken. I ached to be healed.

This is a painting of a woman on her knees in front of Jesus. His hands are on the woman’s head to heal her.

I’m Sorry, 2021

Rockland Visual Arts Festival, New York, 2022

130 Talented Artists and Performers

Look beyond the red door and see what you can find. There are little, hidden surprises here: buried in time and memory but, like magic, can be rediscovered on my canvas. I paint to dig it all back up and remember.

This is a painting of the side of a house. The door wasn’t really red. The house wasn’t yellow. The artist changed the colors to express her feeling about the moment.

Beyond the Red Door, 2021

The Live Festival Runs from January 22 through February 7th, 2022

International Society of Experimental Artists' Juried Exhibition

ISEA Utterly Unfathomable and Powerfully Profound, 2021

My choices are about expressing my inner experience. I could care less about being conventional. I need a color for all my uncertainty and a texture for all my grief. What can I find for my canvas that points me towards new understanding? I have this jacket that was Mom’s. I slip pieces of it onto my canvas. I draw the front door from my childhood home, and I tuck it away in the shadows of my work. I draw these funny little birds that squawk, tumble, spin, and teeter on the surface of my creation. I see that each bird is me as I tumultuously try to find solid ground. I do this all for hours: choosing colors, shapes, objects, and significance. Words wrap the canvas, but they are garbled and seemingly senseless. I wonder if others will think I have lost my mind? These are odd choices, but I didn’t mean to do something out of the ordinary. I was just lost in the process. I guess you could say this work was one big experiment, but that wasn’t the plan. This is simply what came out of me.

This is a collage with whimsical birds on a dark, magical landscape.

Funny Little Birds

The Quarantine Artwork of the Artists of ECVA, 2021

Alisa looks back on a lifetime of art making, and she sees creativity’s gift of “flow” during the countless times of sitting and waiting for time to do its work within her. She sees that her creative process was with her whether the hands of time moved too fast or too slow. She also notices that in the most challenging times—the moments when time seemed not to move at all—her creative process was her great companion. When engaged in this process, Alisa’s has her most profound spiritual experiences. Art is a gift that provides her much connectedness, meaning, and joy.

Exhibit opens on September 13th, 2021

St. Vincent College Verostko Arts Center, 2021

September 6th through October 29th, 2021

I am enraptured by the idea that Mary carried God incarnate inside her womb. I like to think that this supplied enough holy power to ignite a spiritual fire inside her. I painted “Madonna on Fire” with the same wonderment I had as a child. She’s not God but she birthed Him. How could she not glow from the inside out? I believe Mary was ablaze and that’s why, and how, I painted her.

This is a painting of the Virgin Mary with a ring of fire around her head.

Madonna on Fire, 2019

View All the Entries to the 8th Annual Catholic Biennial Here:

Photo of fine artist, Alisa E. Clark, at the 8th Catholic Arts Biennial.

Learn about “Madonna On Fire” in David Brinker’s Lecture Here:

Learn More About the Vertosko Art Center Here:

International Society of Experimental Artists 2021 Exhibition

This canvas originally had a painting on it that always bothered me but was more classical and “acceptable” in style. People liked it. I recently threw every impulse I had on top of it, and completely recreated the original work. I used new materials with intensity: cold wax, handmade collage papers, torn pieces from old documents and memorabilia, and textured mediums. I don’t have a focal point: naughty. I used black and texture liberally: intrusive. There are so many things I was trained to do that I threw out. No one conventional would even consider hanging it on their wall. I was asked why I didn’t make it look real and keep it the way it was. Why? Because I will vomit if I stick with what’s expected for even a second longer. I just can’t do it anymore. Impulse is telling me that it’s time to investigate, explore, and break the rules. I let loose when I made this painting. It will likely lead to little approval, but at least I am satisfied.

A painting of a porch with many windows, birds, and fanciful things.

Go Back, Move Forward, 2020

Mission Point Resort, Mackinac Island, MI

Photo of fine artist, Alisa E. Clark, at the 2021 ISEA Exhibit.

Exhibit Opens on September 3rd, 2021

Las Laguna Gallery International Exhibition, 2021

I peer into the oven where my father kept the cookies. I hear the squeak of the oven door opening. I smell chocolate and vanilla. This magical oven and its magical cookies are stuff long forgotten. I reach to seize it and remember. I paint and then go forward to “What’s Next.”

Stuff Long Forgotten, 2021

Edward A. Dixon Gallery Juried Exhibition, 2021

I paint what fascinates me. I explore memories. I find joy in the present moment. I paint it as I see it. It all makes my “Right Now” a good place to be.

This is a painting of a hanging pot of flowers and the word "joy."

I Find Joy, 2021

SHCA 2020 Artist and Artisan Holiday Gallery

“My dad planted hundreds of little pine trees in his passion to preserve beauty. These trees are now happy little reminders of Dad now that he’s gone. Every little pine tree I see washes me with a little comfort and joy.”

Collection of Small Works by Alisa E. Clark, 2020

View the Blog and Video Spotlight Here:

Meet Mistletoe Market Artist Alisa E. Clark

Fantastical Flora and Fauna Regional Juried Exhibition, 2020

This space is loaded with significance. It teems with things that are deeply meaningful for me. I paint the “Space Between” what once was and now is. My studio is now full of odds and ends that I cut, glue, mix with paint, and apply to a canvas. What springs forth is my garden full of memories.

Space Between, 2020

South Haven, MI, Regional Juried Exhibition Finalist

South Haven Center for the Arts

Click Here to See the Exhibit

The Color of Music Art Exhibit, 2020

I make art, and I do my best to do it my way: honestly. The more I create, the more I know my song.

I Know My Song, 2020

A show of works from across the country no larger than 10 inches in any direction.

Click Here to See the Exhibit

d'Art Center National Competition, 2020

I want people to see a universe inside this painting: a universe where everyone is called to display their uniqueness and diversity. I want you to see a world where a person’s honest attempt at authenticity is held high: a place for everyone everywhere. Look. See what I see.

Norfolk, VA, National Finalist

Theme: Mental Health Awareness

Everyone, 2020
Exhibition Closed

39th Annual Michigan Fine Arts Competition

As we all wait for what’s next, the present moment is causing us all anxiety and grief. We can’t even trust in simple necessities as we once did. Despite today’s realities, I have a canvas that speaks something unexpected and surprising. I have one place where hope can say, “Hello.”

39th Annual Michigan Fine Arts Competition: Finalist, 2020
(Birmingham Bloomfield Arts Center, Birmingham, MI)

Small Works National Juried Exhibition

323 Buena Vista, NY is about a door and the people who have entered it. Painting it helps me in my process of accepting—accepting that I won’t be able to use this door for very much longer. I paint to continue turning the knob of this door, and the knobs of the doors beyond this door, so I can see what was once on the other side. I am stuck here, so I paint it over and over and over again, so I can find my way back.

Portals- Small Works National Juried Exhibition: National Finalist, 2020
(Alex Ferrone Gallery, Cutchogue, NY)

323 Buena Vista, NY, 2019

Yale School of Divinity Reflections Magazine Cover Art

Alisa’s work is featured on the cover of this Reflections Magazine issue. Click on this link to read the magazine’s article about the cover art: https://reflections.yale.edu/article/spirit-and-politics-finding-our-way/our-shared-hope

ECVA Exhibition: Universal Christ

This piece began as an attempt to illustrate a vision I once had. In it, Jesus showed me that despite all the voices (the voices inside my head and the voices spoken by others), I was good enough. In the vision, Jesus took me out into the water. In this moment I understood the vision was symbolic of cleansing through water and Christ’s shed blood. Jesus pushed me down under the water. I didn’t resist, because I trusted Him even though I was afraid. When I came up out of the water, I was on the other side: I was in Heaven. It was immeasurable peace to be in a place where no one judged me including myself.

I failed in all my efforts to capture the details of this vision in this painting. Instead, all you see is the water and the blood Jesus used to show me that I am not the voices I hear. This makes me think about all the judgements we make about people: whether what they believe is right or wrong and whether what they do is right or wrong. This vision I had was a real thing. It was Jesus Christ communicating with me. It really happened and it came with a message. I can still hear His voice saying, “I made you and you are mine. You are “right” no matter what anyone else says or what you believe about yourself. All this judgement and criticism the world is speaking has nothing to do with Me. I am the God of the universe and I am your God. Despite what anyone says, I made you and you are good. I say you are “right” and I don’t make mistakes.”

If Jesus says that I am NOT the voices I hear, then this is also true for others. If He says he doesn’t make mistakes, then the way he made me and you is “right.” Our beautiful variety, that the world so often tries to squelch, is good. The God of the universe made all of us and we are washed daily in His water and blood. My painting isn’t meant to speak of freedom to do wrong. We were not made to hurt others or ourselves. Instead, I meant it to speak of the freedom that we have in Christ to reflect our uniqueness. We are as unique as every possible color an artist could mix on their pallet: endless possibilities. We represent the vastness of God’s vastness. It’s why we are different in how we look, how we think and how we choose to live our lives. In our uniqueness we represent Him well. We are part of His universe and He is our Christ.

Visit Alisa’s ECVA Entry for This Exhibit: https://ecva.org/exhibition/universal-christ/exhibit29-aclark.html
Visit the Full ECVA (Episcopal Church and Visual https://ecva.org/exhibition/universal-christ/index.html

Part of His Universe, 2019

ECVA Exhibition on Worship

Artist’s Statement: Greek by descent and Greek Orthodox by baptism, I learned early on that Mary has special power. In the Orthodox Church, Mary is given the title “Theotokos” which is Greek for “Birth-giver-of-God.” That phrase in itself is power packed. I was spiritually educated in Catholic schools, where I spoke the words “blessed art thou among women” enough times to continue believing in the holy power of Mary’s blessedness. My early fascination with her has stuck. I am enraptured by the idea that Mary carried God incarnate inside her womb. I like to think that this supplied enough holy power to ignite a spiritual fire inside her. I painted “Mary on Fire” with the same wonderment I had as a child. She’s not God but she birthed Him. How could she not glow from the inside out? I believe she was ablaze and that’s why, and how, I paint her.

Visit Alisa’s ECVA Entry for This Exhibit: https://ecva.org/exhibition/worship/exhibit14-AClark.html

Visit the Full ECVA (Episcopal Church and Visual https://ecva.org/exhibition/worship/index.html

Madonna On Fire, 2019

ECVA Exhibit on Suffering

Artist Statement: I am uncomfortable about what my dad did as a scientist. He was a good man. He was a loving father. He made personal sacrifices to help others. However, he brought living things suffering. What if the price of his research was more than a rat? Maybe there were monkeys suffering in one of his labs, but I just didn’t see them on Take Your Child to Work Day? Does this make a difference? Where do we draw the line? What my dad and other scientists did came with a price, and we didn’t pay it.

In fact, we don’t suffer as much because of it. Would I want a person with rheumatoid arthritis to give up their pain relievers so fish, mice, rats and monkeys don’t have to pay the price? I’m not sure what God would want, but I know that I keep taking ibuprofen when I need it. When my child is in pain, I offer it to them. This is why we don’t suffer and I reticently admit that I am grateful. I use my paintbrush to capture it all: both the good and the bad. I accept the tension and I share it on my canvas.

Visit Alisa’s ECVA Entry for This Exhibit: http://ecva.org/exhibition/Suffering/exhibit68-AClark.html

Visit the Full ECVA (Episcopal Church and Visual Arts) Exhibit: http://ecva.org/exhibition/Suffering/index.html

Why We Don’t Suffer, 2019

ECVA Exhibit on Telling God Stories

Artist’s Statement: I’m revisiting this piece of art because my childhood home is up for sale. In a few months I can go back to 323 Buena Vista Road through art I’ve made, but never again will I be able to visit my birthplace as it once was. That’s why, even though this exhibit is from the ECVA Archives, it speaks to me today.

The collage elements inside this artwork belong to me. I did not use someone else’s content to share on this canvas. I needed it to be this way. I needed every word and image to speak of my story. In the background are images from my past: art I made about my life and my experiences.

The images are all of things that matter deeply to me. In the foreground, you will see the wrought iron bed from my parents’ bedroom. It now sits empty, but there were 60 years of them sleeping in it together. Only God can make that happen. My story is always about the way God is always in my story. Look and you will find Him. He is covering every inch of my canvas.

Visit Alisa’s ECVA Entry for This Exhibit: http://ecva.org/exhibition/Telling_God_Stories/exhibit41-AC01.html

Visit the Full ECVA (Episcopal Church and Visual Arts) http://ecva.org/exhibition/Telling_God_Stories/index.html

Transformed, 2017

Exhibit Archives

MEA Art Acquisitions Juried Exhibit

2013 (East Lansing, MI)

Small Matters of Great Importance

2000 (Edward Hopper House, Nyack, NY)

Snow Den Gallery

Works on Exhibit, 1998 (West Dover, VT)

Art in Bloom Juried Exhibition

1996 (Hopper House, Nyack, NY)

Hayloft Gallery

Works on Exhibit, 1996 (West Dover, VT)

30 Bond Street

Works on Exhibit, 1994-1995 (New York, NY)

Art on the Common Juried Exhibition

Honorable Mention, 1995 (Highland Mills, NY)