Lisa Fromartz’s work is in the collections of The Museum of Modern Art and the Brooklyn Museum. It is also in private, public, and corporate collections including Goldman Sachs, Prudential Bank, and Agnes Gund. Fromartz’s art has been featured in exhibitions in museums and galleries throughout the United States, Europe, and Asia, including JanKossen Contemporary, Cheryl Pelavin Fine Arts, and Walter Randel Gallery in New York City; Guild Hall Museum in East Hampton, New York; the Philadelphia Museum of Art;  the San Diego Art Institute; de Achterstraat in Netherlands; Galerie arting in Cologne; Galerie J. J. Donguy in Paris; and Galerie Het Getal O in Amsterdam. Born in Brooklyn, Fromartz attended Cooper Union and Pratt Institute. Lisa Fromartz lives and works in New York City.


All of my work is an expression of my process of constantly questioning my relationship to the visual images and content I encounter daily. I take commercial materials, found objects, and printed images, all culturally coded by their original, intended contexts, and recombine them in a kind of visual mash-up, a remix of unintended juxtapositions that assigns new value and meaning. Collage and assemblage as compositional strategies allow me to be improvisational as well as intentional. My process of selecting and sifting these images and objects is my way of being mindful in the face of an expanding universe of information aimed at shaping our thoughts and emotions.

My work is an attempt to reflect both the complexity and the connectedness of everything in a way that is visually powerful enough to engage the viewer while subverting ordinary perceptions. Artistic practice is visible but not foregrounded as my primary focus. My choice, as an artist, to engage in a daily struggle to make sense of things and to express it in two and three dimensions, while potentially interesting in and of itself, does not take me where I want to go. I want my work to express both the impossibility of fully understanding our predicament and the passionate desire to confront it, to see what's in front of us with clear eyes and a sense of wonder, and to imagine the rest. I want the viewer to be more than edified. I want her to be moved.