Her work invites us to consider the landscape not as a passive subject, but as a dynamic force—one that breathes, shifts, and transforms under the weight of time, memory, and human intervention. In this sense, Lyora Pissarro is not simply a painter of landscapes; she is an architect of perception, constructing spaces where past and future, materiality and immateriality, tradition and technology coalesce into something profoundly new.
Lyora Pissarro’s artwork exists at the intersection of tradition and innovation, where the historical lineage of landscape painting collides with the luminous possibilities of technology. Her practice expands beyond the canvas, incorporating layers of light and digital interventions that challenge the fixed nature of painted space. The landscape, in Lyora’s hands, transcends its traditional role as subject matter; it becomes a dynamic field of transformation—one where utopian visions emerge as inquiries into perception itself. Her work invites a fundamental question: How do we see? And further, how does what we see construct our understanding of reality? Through this inquiry, Pissarro positions painting as both mirror and portal—a space where inner and outer worlds converge.
Her canvases function as entry points, transporting the viewer into vast, dreamlike terrains, where natural elements are both recognizable and abstracted. Here, light does not simply illuminate but actively reshapes the landscape, destabilizing the boundaries between what is real and what is imagined. This engagement with light—both as a physical phenomenon and a conceptual metaphor—places Lyora’s work within a broader dialogue that spans from Turner’s atmospheric dissolutions to the ethereal interventions of the Light and Space movement.
Lyora Pissarro’s artwork exists at the intersection of tradition and innovation, where the historical lineage of landscape painting collides with the luminous possibilities of technology. Her practice expands beyond the canvas, incorporating layers of light and digital interventions that challenge the fixed nature of painted space. The landscape, in Lyora’s hands, transcends its traditional role as subject matter; it becomes a dynamic field of transformation—one where utopian visions emerge as inquiries into perception itself. Her work invites a question: How do we see? And further, how does what we see construct our understanding of reality? Through this inquiry, Pissarro positions painting as both mirror and portal—a space where inner and outer worlds converge.
Her canvases function as entry points, transporting the viewer into vast, dreamlike terrains, where natural elements are both recognizable and abstracted. Here, light does not simply illuminate but actively reshapes the landscape, destabilizing the boundaries between what is real and what is imagined. This engagement with light—both as a physical phenomenon and a conceptual metaphor—places Lyora’s work within a broader dialogue that spans from Turner’s atmospheric dissolutions to the ethereal interventions of the Light and Space movement.
Her work invites us to consider the landscape not as a passive subject, but as a dynamic force—one that breathes, shifts, and transforms under the weight of time, memory, and human intervention. In this sense, Lyora Pissarro is not simply a painter of landscapes; she is an architect of perception, constructing spaces where past and future, materiality and immateriality, tradition and technology coalesce into something profoundly new.
Described by GQ as the “ultimate young painter,” she has exhibited internationally in London, New York, Boston, and Texas, with a solo exhibition at Amangari in Utah, and a large-scale public installation at Rockefeller Center, 1251 Avenue of the Americas in New York.

Her work invites us to consider the landscape not as a passive subject, but as a dynamic force—one that breathes, shifts, and transforms under the weight of time, memory, and human intervention. In this sense, Lyora Pissarro is not simply a painter of landscapes; she is an architect of perception, constructing spaces where past and future, materiality and immateriality, tradition and technology coalesce into something profoundly new.
Lyora Pissarro’s artwork exists at the intersection of tradition and innovation, where the historical lineage of landscape painting collides with the luminous possibilities of technology. Her practice expands beyond the canvas, incorporating layers of light and digital interventions that challenge the fixed nature of painted space. The landscape, in Lyora’s hands, transcends its traditional role as subject matter; it becomes a dynamic field of transformation—one where utopian visions emerge as inquiries into perception itself. Her work invites a fundamental question: How do we see? And further, how does what we see construct our understanding of reality? Through this inquiry, Pissarro positions painting as both mirror and portal—a space where inner and outer worlds converge.
Her canvases function as entry points, transporting the viewer into vast, dreamlike terrains, where natural elements are both recognizable and abstracted. Here, light does not simply illuminate but actively reshapes the landscape, destabilizing the boundaries between what is real and what is imagined. This engagement with light—both as a physical phenomenon and a conceptual metaphor—places Lyora’s work within a broader dialogue that spans from Turner’s atmospheric dissolutions to the ethereal interventions of the Light and Space movement.
Lyora Pissarro’s artwork exists at the intersection of tradition and innovation, where the historical lineage of landscape painting collides with the luminous possibilities of technology. Her practice expands beyond the canvas, incorporating layers of light and digital interventions that challenge the fixed nature of painted space. The landscape, in Lyora’s hands, transcends its traditional role as subject matter; it becomes a dynamic field of transformation—one where utopian visions emerge as inquiries into perception itself. Her work invites a question: How do we see? And further, how does what we see construct our understanding of reality? Through this inquiry, Pissarro positions painting as both mirror and portal—a space where inner and outer worlds converge.
Her canvases function as entry points, transporting the viewer into vast, dreamlike terrains, where natural elements are both recognizable and abstracted. Here, light does not simply illuminate but actively reshapes the landscape, destabilizing the boundaries between what is real and what is imagined. This engagement with light—both as a physical phenomenon and a conceptual metaphor—places Lyora’s work within a broader dialogue that spans from Turner’s atmospheric dissolutions to the ethereal interventions of the Light and Space movement.
Her work invites us to consider the landscape not as a passive subject, but as a dynamic force—one that breathes, shifts, and transforms under the weight of time, memory, and human intervention. In this sense, Lyora Pissarro is not simply a painter of landscapes; she is an architect of perception, constructing spaces where past and future, materiality and immateriality, tradition and technology coalesce into something profoundly new.
Described by GQ as the “ultimate young painter,” she has exhibited internationally in London, New York, Boston, and Texas, with a solo exhibition at Amangari in Utah, and a large-scale public installation at Rockefeller Center, 1251 Avenue of the Americas in New York.

Lyora Pissarro’s artwork exists at the intersection of tradition and innovation, where the historical lineage of landscape painting collides with the luminous possibilities of technology. Her practice expands beyond the canvas, incorporating layers of light and digital interventions that challenge the fixed nature of painted space. The landscape, in Lyora’s hands, transcends its traditional role as subject matter; it becomes a dynamic field of transformation—one where utopian visions emerge as inquiries into perception itself. Her work invites a question: How do we see? And further, how does what we see construct our understanding of reality? Through this inquiry, Pissarro positions painting as both mirror and portal—a space where inner and outer worlds converge.
Her canvases function as entry points, transporting the viewer into vast, dreamlike terrains, where natural elements are both recognizable and abstracted. Here, light does not simply illuminate but actively reshapes the landscape, destabilizing the boundaries between what is real and what is imagined. This engagement with light—both as a physical phenomenon and a conceptual metaphor—places Lyora’s work within a broader dialogue that spans from Turner’s atmospheric dissolutions to the ethereal interventions of the Light and Space movement.
Her work invites us to consider the landscape not as a passive subject, but as a dynamic force—one that breathes, shifts, and transforms under the weight of time, memory, and human intervention. In this sense, Lyora Pissarro is not simply a painter of landscapes; she is an architect of perception, constructing spaces where past and future, materiality and immateriality, tradition and technology coalesce into something profoundly new.
Described by GQ as the “ultimate young painter,” Lyora Pissarro has exhibited internationally in London, New York, Boston, and Texas, and more. Highlights include a solo exhibition at Amangiri in Utah, and a large-scale public installation at 1251 Avenue of the Americas in Rockefeller Center, New York, among others.

2024
• Chromatic Stance, Tuleste Factory
New York, NY (group show)
• Follow The Sun, 1251 6th Avenue
New York, NY (public installation)
2023
• Infinite Rhythms, Salon Art Fair
New York, NY (group show)
• Harmonious Proportions, Tuleste Factory
New York, NY (group show)
• Secret Soho
New York, NY (group show)
2022
• Mindscapes, Tuleste Factory
New York, NY (solo show)
• (IN)tangible Futures, West Chelsea Contemporary
New York, NY (solo show)
• Solo Exhibition, Amangiri Gallery
Utah, USA (solo show)
• Avalanche Summit NFT Exhibition, Guinovart Space
Barcelona, Spain (group show)
2021
• Solo Exhibition, West Chelsea Contemporary
Austin, TX (solo show)
• Arte Vivo, MAIA Contemporary
Mexico (group show)
• The Pissarro Dynasty, M.S. Rau
Boston, MA (group show)
• Art Hamptons & Design, West Chelsea Contemporary
New York, NY (group show)
• Cielos Crazy Diamond
Cuyama Valley, CA (public installation)
2019
• Lions of Windsor: Queen Victoria’s 200th Anniversary
Windsor, UK (public installation)
2018
• 5 Generations, Russell Collection
Austin, TX (group show)
• Stroke of Genius, Gallery D’Orsay
Boston, MA (group show)
• Mayfair Art Week, Stern Pissarro Gallery
London, UK (group show)
2016
• BFA Graduation Show, Leubsdorf Gallery
New York, NY (group show)
2015
• An Artistic Legacy, Christopher Clark Fine Art
San Francisco, CA (group show)
2014
• 5 Generations, Russell Collection
Austin, TX (group show)
Described by GQ as the “ultimate young painter,” Lyora Pissarro has exhibited internationally in London, New York, Boston, and Texas, and more. Highlights include a solo exhibition at Amangiri in Utah, and a large-scale public installation at 1251 Avenue of the Americas in Rockefeller Center, New York, among others.
2024
• Chromatic Stance, Tuleste Factory — New York, NY (group show)
• Follow The Sun, 1251 6th Avenue — New York, NY (public installation)
2023
• Infinite Rhythms, Salon Art Fair — New York, NY (group show)
• Harmonious Proportions, Tuleste Factory — New York, NY (group show)
• Secret Soho — New York, NY (group show)
2022
• Mindscapes, Tuleste Factory — New York, NY (solo show)
• (IN)tangible Futures, West Chelsea Contemporary — New York, NY (solo show)
• Solo Exhibition, Amangiri Gallery — Utah, USA (solo show)
• Avalanche Summit NFT Exhibition, Guinovart Space — Barcelona, Spain (group show)
2021
• Solo Exhibition, West Chelsea Contemporary — Austin, TX (solo show)
• Arte Vivo, MAIA Contemporary — Mexico (group show)
• The Pissarro Dynasty, M.S. Rau — Boston, MA (group show)
• Art Hamptons & Design, West Chelsea Contemporary — New York, NY (group show)
• Cielos Crazy Diamond — Cuyama Valley, CA (public installation)
2019
• Lions of Windsor: Queen Victoria’s 200th Anniversary — Windsor, UK (public installation)
2018
• 5 Generations, Russell Collection — Austin, TX (group show)
• Stroke of Genius, Gallery D’Orsay — Boston, MA (group show)
• Mayfair Art Week, Stern Pissarro Gallery — London, UK (group show)
2016
• BFA Graduation Show, Leubsdorf Gallery — New York, NY (group show)
2015
• An Artistic Legacy, Christopher Clark Fine Art — San Francisco, CA (group show)
2014
• 5 Generations, Russell Collection — Austin, TX (group show)
2024
• Chromatic Stance, Tuleste Factory — New York, NY (group show)
• Follow The Sun, 1251 6th Avenue — New York, NY (public installation)
2023
• Infinite Rhythms, Salon Art Fair — New York, NY (group show)
• Harmonious Proportions, Tuleste Factory — New York, NY (group show)
• Secret Soho — New York, NY (group show)
2022
• Mindscapes, Tuleste Factory — New York, NY (solo show)
• (IN)tangible Futures, West Chelsea Contemporary — New York, NY (solo show)
• Solo Exhibition, Amangiri Gallery — Utah, USA (solo show)
• Avalanche Summit NFT Exhibition, Guinovart Space — Barcelona, Spain (group show)
2021
• Solo Exhibition, West Chelsea Contemporary — Austin, TX (solo show)
• Arte Vivo, MAIA Contemporary — Mexico (group show)
• The Pissarro Dynasty, M.S. Rau — Boston, MA (group show)
• Art Hamptons & Design, West Chelsea Contemporary — New York, NY (group show)
• Cielos Crazy Diamond — Cuyama Valley, CA (public installation)
2019
• Lions of Windsor: Queen Victoria’s 200th Anniversary — Windsor, UK (public installation)
2018
• 5 Generations, Russell Collection — Austin, TX (group show)
• Stroke of Genius, Gallery D’Orsay — Boston, MA (group show)
• Mayfair Art Week, Stern Pissarro Gallery — London, UK (group show)
2016
• BFA Graduation Show, Leubsdorf Gallery — New York, NY (group show)
2015
• An Artistic Legacy, Christopher Clark Fine Art — San Francisco, CA (group show)
2014
• 5 Generations, Russell Collection — Austin, TX (group show)
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