Liz Foulks: Exploring Light, Shadow & the Human Form Through Paint
Liz Foulks is a contemporary figurative painter based in New York City. Her work focuses on exploring the balance between darkness and light, often blending realism with abstraction. Through her paintings, she aims to uncover moments of elegance and softness, even in unexpected places.
Her latest series explores the nuances of the human form and the unique reflections that occur when pairing anatomy with abstract moments. Each piece invites viewers to linger on both structure and ambiguity, offering space to reflect on themes of identity, transformation, and the tension between presence and absence.
Now, let’s dive deeper into Liz’s artistic journey and inspirations.
Can you tell us about your journey as an artist? How did it all begin?
I’ve been creating art for as long as I can remember. It started off by inventing characters in my head and drawing them on paper; each character had a story and was heavily inspired by manga and anime drawing styles. I realized at a very early age that being an artist would always be a key part of my identity. One pivotal moment came in fourth grade during a book report project. I drew the novel’s main character on the cover of the report, and my teacher, impressed with my work, recommended me to the school’s art department. This led to my placement in an advanced art program, where I was encouraged to explore my creative side. From then on, art became central to my life. I continued drawing on my own, but also took formal art classes throughout middle school, high school, and college. It was at university, as a Visual Arts major, that I established a connection to drawing bodily forms; especially from classical sculpture references. This curiosity was mostly sparked by an interest in anatomy, and I continued to practice until I had my first NYC exhibit in 2016, titled Corporeal Landscape. Up until that show, I just created literal bodily forms based on sculptural references; nothing too complex nor revolutionary. The works that led up to the exhibit marked a monumental shift in my artistic voice, as I started introducing abstraction within the bodily forms. Different body parts melted into one another to create an immersive, disorienting experience. The piece was a 20-foot-long composition made up of 20 separate charcoal drawings on paper. During my most recent solo show in 2023, Corporeal Landscape II, I revisited these ideas but pushed them further. I incorporated paint — my latest favorite medium — and used wood panels instead of paper, adding moments of color to an otherwise black-and-white world. For the past two years, I’ve been refining this theme with oil paint and smaller works, continuing to evolve the concept and seeing where it takes me.
How do you balance technical skill and emotional expression in your art?
I try to balance technical skill and emotional expression by focusing on elements like contrast and texture. I pay close attention to the play between shadows and highlights, which creates depth and intensity in the work. I also like to incorporate rippled, fabric-like textures within the body, giving it a sense of movement and life. Emotionally, I allow the form and the flow of the lines to guide the mood, letting the technical aspects support the feelings I want to convey without overshadowing them. It's about finding a harmony between precision and raw emotion.
Do you find inspiration in other disciplines,such as music,literature or film?
I draw a great deal of inspiration from music, especially as a flutist. Lately, I’ve been exploring how the tone colors I produce on the flute can parallel the emotional tones in my visual work. For example, I’ve been studying the contrast between yellow and purple tones. Yellow tones are light and airy, evoking brightness, while purple tones are richer and darker, creating a more introspective mood. These shifts are achieved by varying vibrato wavelengths, adjusting the shape of the lips, and controlling the airstream — all subtle changes that dramatically affect the sound. This has a direct connection to my visual work — both mediums, visual art and music, share a capacity to convey emotion through tone, texture, and depth. A piece that I've been working on recently and captures this exploration for me is Syrinx by Claude Debussy. It's a haunting, emotional piece that feels very aligned with the narratives I explore in my art. The sense of darkness in the music mirrors the mood I try to evoke in my work, and the way the flute’s tone color has the ability to shift and change throughout the piece is much like the evolving narratives in my paintings.
How do you handle creative blocks or periods of self-doubt?
Creative blocks and burnout often hit me unexpectedly, and when they do, I try not to fight them. Instead of pushing through, I allow myself the space to recharge by exploring other creative outlets. I often turn to playing the flute, as it lets me express myself musically and connect with a different side of my creativity. Lately, I’ve also found solace in archery and strength training, which are both physical practices that help me reconnect with my body. There’s something refreshing about focusing on the mechanics of movement and strength, and it helps clear my mind. I’ve learned that these periods of rest and exploration aren’t wasted time — they’re actually necessary for my growth. When I give myself permission to step away from painting, I can return with renewed energy and a fresh perspective. Creative blocks no longer feel like failures; they’re just part of the ebb and flow of being an artist. And when I come back to my work, I do so with a clearer sense of what I want to express, often finding inspiration in unexpected places.
Are there any upcoming projects or exhibitions you’re excited about?
I’m looking forward to my solo show at Awita New York this spring. It’s hard to believe it’s been two years since my last one. This show, titled Fleeting Ties, will feature my newest work along with pieces from Corporeal Landscape II. The previous show was all acrylic, but this new series is in oil paint, which has given me the chance to explore some new techniques and textures. It’s exciting to share how my work has evolved, and I’m curious to see how the two series fit together in the space. Fleeting Ties explores how connections shift over time, both physically and emotionally. It feels like a natural next step in my ongoing exploration of the human form and abstraction.
How has the digital age and social media impacted your practice and reach as an artist?
The digital age and social media have definitely shifted how I approach my work and interact with others as an artist. On one hand, it’s provided me with a much broader platform to share my work and connect with people I wouldn’t have otherwise reached. The instant feedback and interactions with viewers, fellow artists, and curators help me feel more connected to the larger artistic community, even though I work in a fairly solitary way in the studio. It’s also made me more conscious of how I present my art visually, since the digital format has a different way of impacting the experience — colors, textures, and details may read differently on a screen versus in person. On the other hand, the constant presence of social media can also feel overwhelming at times. It’s easy to get caught up in the pressure to post consistently, which can occasionally lead to self-doubt. I try to remind myself that my work is a personal expression of my own journey and growth, and it doesn’t have to be defined by the expectations of social media. Overall, the digital age has expanded my reach and allowed me to engage with a global audience, but it’s also something I try to approach with a sense of balance and mindfulness.
What does success look like for you as an artist?
For me, success as an artist is about being able to continue growing, experimenting, and challenging myself with each new piece. It’s about staying true to my own voice while remaining open to new ideas and influences. Success is when I feel like I’ve captured something meaningful, whether it’s a moment, an emotion, or an idea, and have been able to express it in a way that feels authentic. It’s also about connection. When someone looks at my work and feels something — whether it’s a sense of familiarity, understanding, or even discomfort — that’s when I feel like I’ve succeeded. Being able to share my art and have it resonate with others is a huge part of what keeps me motivated.
To learn more about Liz’s journey and artistic background, here’s a closer look at her story.
Originally self-taught and cultivating her passion for the arts since childhood, Liz honed her skills during her time at Fordham University, where she graduated with a BA in Visual Arts. She works primarily in oil paint on basswood panel surfaces. By day, she is the Creative Director of a graphic design team, leveraging her experience in digital design to enrich her paintings.
Liz resides in NYC with her husband & her feline companion/muse, Luna. She has held 2 solo shows so far in her creative career, and has been part of numerous group exhibitions throughout the city. Liz's art serves as a portal to new perspectives, inviting viewers to transcend boundaries and see the world through a different lens.
View more of Liz's work at www.lizfoulks.com or www.instagram.com/lizfoulks_art