About the artist and her work

There are real reasons Montana is known as both Big Sky Country and The Last Best Place.

A Unique Vision of Her Landscape

"More Grit, More Pearl"


Iron Horses are the expression of urban meets rural in the American  West. Montana's traditional working ranches and the  graffiti-embellished freight trains that pass through the remote  Missouri River valley of Liz Chappie Zoller's home inspire her unique art. Liz's purpose in creating this art is to further explore the rich intersections of art,  life and culture, and the overlapping edges of our diverse cultures.


By combining images of  traditional working ranch and rodeo horses with graffiti design/color  palettes she collects while "benching" (train-watching), these diverse forms of beauty, power and strength are explored within two completely  different cultures. "Graf writers" (graffiti artists) and working ranch and rodeo horses all possess  laser-sharp focus alongside a fierce and fearless dedication to their  respective tasks; they challenge our assumptions of what constitutes traditional feminine beauty and masculine strength into new definitions of feminine strength and  masculine beauty.


The results have been lively conversations about why we're more alike than different, and how staying curious and challenging our assumptions keeps us open to surprising new views. 

graffiti, horse, art, equine art, original art, iron horse art, fantastic beasts, blue, green

In the News

Sweetpea Festival Artist Spotlight, October 2018


Liz had to drive over 10 miles from her studio near Three Forks to  reach a place where her cell phone would take the call. 


She describes  her art as Montana with a city twist, something that helps urban and  rural find common ground, strength and beauty on one canvas. In  the first grade, she got in trouble for drawing horses for classmates -  her first “commissions.” 


When the call to pursue art as a career became  too strong to ignore, she was determined to find her signature style  before she plunged in headlong. In her own words,  “I want to paint  horses, but I don’t want to just be another woman painting horses in  Montana.” One afternoon, while considering this exact question, a train  covered in visually stunning graffiti passed by, and her question was  replaced with a purpose - to unite her love of horses with the often  under appreciated aesthetic of graffiti. 

 

In her own words, “Graffiti is counter culture to ranch life, but there  are so may parallels.” Respect for skill, and the passing down of  traditions run through the heart both cultures. Now she spends her days  applying the graffiti lens to her own work. 


The traditions, skills, and  comprehensive planning that goes into graffiti may be surprising to an  outsider, but to Liz, the comradeship among artists is something which  allows her to reach out to the most unlikely of places. She documents  her favorite graffiti on her Instagram (@pearl_snap_studio) and  occasionally interacts with the original artists by means of digital  tags instead of painted ones.


“Art is a shared language,” and Liz is living proof of exactly how many barriers that language can cross.

Iron Horse | BLUE | 24" x 36" | Oil on Canvas |

Now Showing

Iron Horse | BLUE | 24" x 36" | Oil on Canvas


Parsing Sign and Image Juried Exhibition
Art League Rhode Island
The VETS Gallery, One Avenue of the Arts
Providence, Rhode Island 02903

Event Dates: 9/14/18 - 12/1/18


In this exhibition, the work submitted was to be based on the  theme of parsing, sign and image. The Merriam-Webster dictionary  describes the definition of parsing as “to divide (a sentence) into  grammatical parts and identify the parts and their relations to each  other.” A sign is described as “a motion or gesture by which a thought  is expressed or a command or wish made known or a fundamental linguistic  unit that designates an object or relation or has a purely syntactic  function.”


A general approach to jurying a contemporary art exhibition  without a theme is to base the art on the quality of work, traditional  or contemporary technique, creativity, its relation to the  human condition as well as internal and external influences and objects.


This exhibition was juried based on the framework of a general  approach with the parsing, sign and image theme as the criteria. The  selected work reflects text, symbols, language, phrases and more with  visual imagery that communicates the human condition.


When viewing the resulting exhibition, the work in the show  reveals a pattern of our internal restless headspace of words and  symbols, our daily personal interactions of beauty, color, balance and  darkness all trapped within our present society in a state of  propaganda, entertainment, dualism, confusion, insecurity and  upside-down decay.


Kaveh Mojtabai, Juror


About the Juror:  Kaveh Mojtabai is  the founder and publisher of Artscope Magazine, a media company that is  dedicated to reviewing art exhibits, covering cultural events,  connecting artists with their audience and creating access to the arts.  Kaveh manages a team of editors, writers, graphic designers, web  developers, technology experts and advertising account executives to  publish Artscope in its print, email, online, social media, mobile and  digital edition formats to the industry and the public. In addition to  his work in media industry, Kaveh has worked on projects like  co-curating the “A Politic” exhibit that showcased the Abraham Obama  billboard and recently juried at the Copley Society and Galatea Fine  Arts in Boston. Also, Kaveh has appeared on various “Money Matters” and  entrepreneurial business radio networks where he explained how  Artscope’s business model supports connections between artists,  collectors and the public. Previously, Kaveh worked internationally with  Fortune 500 clients at a “Big Four” global consulting firm to develop  client performance through strategic, operational and financial  processes. He has graduated with two degrees, a B.A. in Astrophysics and  B.S.B.A in Business Administration. His previous work included  astronomy research at the Harvard Smithsonian Center for Astrophysics  under the direction of a Nobel Astrophysics Prize winner.

 

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