Jeannine Hunter Lazzaro

Jeannine Hunter Lazzaro

Jeannine Hunter Lazzaro is an artist living in North Attleborough, Massachusetts. She is originally from a New Jersey suburb of Manhattan. Various life experiences brought her into teaching. The everyday challenges she confronted in her work as a teacher were an additional focus in her life. In addition to the many social and emotional aspects of working with teenagers on a daily basis, she enjoyed the freshness and vitality that comes from working with students who have not come to take for granted the visual language that artists work with. Among her many goals is to help people recognize the power of art to heal, to educate and to make connections in communities and on an individual level. She has recently rearranged her life to focus on her art.

The plurality that exists today in the world of painting makes it possible to move from narrative painting, to abstract images and never leave the realm of exploring the act of mark making and the language of painting.
Jeannine’s passion for art has been a consistent presence in her life. Her commitment to abstraction in her early work was fueled by an urge to become lost in the experience of painting. The spiritual aspect of losing and forgetting yourself to the act of painting along with the dichotomy that exists between this selflessness and the focus on self necessary for self expression are a huge part of her work. When she was drawn to more figurative work she was not expecting to find this aspect there as well. The culmination of her work during an MFA degree was the discovery that Painting is Painting, the title of her thesis completed for this program.

Ramapo College of New Jersey, B.A.
Bridgewater State College, M.A.T.
Art Institute of Boston, M.F.A.

Artist Statement

The artists who I worked with during my formative years as a painter were deeply committed to the tenants of modernism. Their conviction was so strong that I could not help but be influenced by them. In my youthful innocence I blindly believed my teachers and mentors and I accepted their truth as mine. In many ways I became stuck in the gap that developed between Abstract Expressionism and Pop Art. I will always take that with me because it is part of who I am, my explorations in paint now combine a little of both worlds.
I focus on incidental and common place visual phenomenon. I am fascinated by trivial everyday items that convey a sense of what it means to live in today’s world. I include these references in my work as much as possible. My work explores and documents the process of painting-the magical way that rivers of pigment flow together to form images. I am the painter, the artist and I manipulate and control this magic.
My perspective of the world and life has been as an artist, a painter. What can I say in paint that has never been said before? Can I express my experience as a woman, a partner, a parent, a teacher in paint? How can I express my feelings about a person, an object, a scene, a moment in paint? Can I somehow make clear the many thoughts that I have about society or spirituality in paint? These are some of the questions that I have as an artist. My truth is to express the answers in the language of paint.

A recent series of work focuses on combining the stain-painting technique with masked areas. My journey in painting led me at one time to explore the process of batik. This combination is not only appropriate to the image I am creating and my personal experience, but is relevant to the present. The “layered” aspect of society that I am so conscious of is mirrored in the digital process. Maybe this is simply the way things are, but it is so striking to me. I often feel as though I am looking through layers or strata. The present condition hiding what was there before. Yet, what was there before is still apparent.

Excavation series

Loose Canvas




Framed Work