Stepping up towards Liza Grobler’s studio, my eyes roam quickly up and over my surroundings as I ascend, the morning sun already making its way to the top of the stairwell where she’s smiling at me from, bursts of colour peaking at me through the frame of her glasses. I made a mental note of the high ceilings as I set up my notebook and my phone to record. Her studio is spacious, and busy. There are twists of fabric knotted together, hanging here and there, and the wooden floors are marked with splashes of paint and painter’s footfalls.

Liza describes the process of bringing ‘A Rainbow in my Pocket’ – her new exhibition at Everard Read –  as somewhat back-to-front. Neither the concept nor the name came first, she insists, but rather an emphasis on what lays at the nexus of creativity; the actual undertaking. “My work is more driven by process, and action, and mark-making,” she explains with rolling, wide hand gestures; the same way she likes to paint, it turns out, “A lot of my other work is site-specific. It always has a performative component, but usually in a more understated way.” Evidence of Liza’s mark-making stretches from A Portal Into Monet – Greenpoint Park (Diptych) yet in slower circles than it does in Broadway Bellies, both of which are particularly captivating.