What's the purpose or goal of your work?

 For the past 20 years I have been exclusively painting the female figure. My focus on the female form (beyond my passion for painting the figure) stems from my desire to empower women and reflect upon the human experience. I see my paintings as a way of recording the world through my own shared experience as a woman while addressing socially conscious themes and expressing human values and emotions.

How can your work affect societal issues?

 I've found my art to be a powerful tool for social transformation, particularly in advocating for the abused and marginalized, with a focus on black women who often face intersecting forms of oppression. Through my series of paintings and solo exhibits, I strive to bring attention to their experiences and amplify their voices. I've been fortunate to witness firsthand how my work can impact societal issues. One of my exhibits centered around elderly women, where I collaborated with nursing homes to showcase their resilience and beauty. Some of the women who modeled for my paintings were able to attend the opening reception, even at the age of 99. The impact was profound, as the staff reported that these women began to feel a renewed sense of self-worth and took pride in dressing up each day. Another solo exhibit delved into the #MeToo movement, featuring young women as models who were in recovery from abusive relationships. I feel that these exhibits exemplified the transformative power of art in social issues and helped foster empathy and understanding among viewers

Mention a specific critique you have received about your work. What have you learnt from it?

In my solo exhibit, "#METOO”, I received several critiques, including the following two examples.  Art critics hold significant influence over an artist's reputation, which can be a daunting experience. These critiques, both pertaining to the same exhibit, offer contrasting viewpoints. It's noteworthy that one critique is more positive and detailed. Aside from their difference in gender, one writer took the initiative to interview me and ask questions about my concept, while the other relied solely on personal observation.

“Only one, Debra Lott’s show at PYRO Gallery, made any overt mention of the MeToo movement, but any preoccupation with subjects such as the struggle for gender equality or the rise in protest against sexual harassment and assault is handled with reserve. Lott’s paintings of young women have always had a pensive air, and it feels as if she raises her characteristic viewpoint to match the needs of a MeToo statement with ease and authority. Yet all of that is in the social atmosphere so pervasively that it cannot help inform the way the work impacts us at this moment.” 

“Some people see ribbons and strings as tools that hold things together, that keep things from falling apart. Debra Lott sees them differently. Ribbons bind and trap. In her paintings, they wrap and tangle around women — a metaphor for silencing victims of sexual abuse. But there’s hope and healing in Lott’s work; the ribbons and strings ensnare women, but the women take those ribbons in their hands, unraveling themselves from bondage”. 

I feel the first critique, solely based on the observer's perspective, lacked the depth that comes from direct communication with the artist. While it may offer valuable insights, it could also miss intentions behind the work. It can be nerve-wracking to receive critiques, especially when they vary widely, but they also provide valuable feedback and perspectives on your work.

Tell me about a time you received negative comments or harsh criticism. How did you handle it?

There have been occasions where I've faced negative feedback from critics, a familiar experience for many artists, which can induce feelings of self-doubt and depression. One memorable critique occurred during my solo exhibit titled 'Women Imaging Women,' where a critic deemed my work irrelevant.  While some might argue that any attention, positive or negative, is welcome exposure, and that criticism can serve as motivation for improvement, I believe it's essential to stay authentic to your artistic vision. I've realized that creating art solely to please others never yields genuine satisfaction or success.  

Describe a piece of art you are most proud of. Why?

My most recent painting, ‘The Skelton Key’, holds a special place in my heart.  It stemmed from a visit to a local century-old church where I noticed the beauty of its wooden arched doors. I envisioned a young woman standing before those doors and I was inspired to bring it to life through a photo shoot with a hired model. The process of capturing the contrast between the bright white dress and the dark, shadowed door, while playing with warm and cool lighting, presented significant challenges. However, the satisfaction of completing this 36x60 full figure painting was rewarding. The inclusion of the young woman holding a vintage chain and skeleton key adds an element of mystery and narrative depth to the artwork, making it a piece I am truly proud of."