Louisa Chambers graduated with an MA in Painting from the Royal College of Art (2005-2007) and a BA in Fine Art (First Class Honours) at the University for the Creative Arts, Farnham (2001-2005). She has exhibited her work throughout the UK and has been a finalist in competitions such as Nottingham Castle Open 2015, Nottingham Castle (Purchase Prize Winner, Nottingham 2015), Creekside Open, APT Gallery  (London 2015), Paint Like You Mean It at Interview Room 11 (Edinburgh 2014), Zeitgeist Open (London 2012) and John Moores 25 at the Walker Art Gallery in (Liverpool 2008). 

Recent exhibitions include: Autocatalytic Future Games, no format (London 2015), In Miniature, Small Collections Room, Nottingham Contemporary (Nottingham 2015), (detail) at H Project Space (Bangkok 2014) Transition Gallery (London, 2014) and The Usher Gallery (Lincoln 2014-2015), Pareidolia, Pluspace (Coventry 2014), Water Colour Revolution, Winsor and Newton, Saatchi Gallery (London 2014) About Painting at Castlefield Gallery (Manchester 2014), Stereoscope at Mrs Rick’s Cupboard, Primary (Solo- Nottingham 2013), Rotation at New Court Gallery (Solo- Derby 2013), Flatland at Blyth Gallery (London 2012) and Needle’s Eye at BayArt Gallery (Cardiff 2012) and Transition Gallery (London 2012).

Her artworks are held in private and public collections nationally. She is currently Artist-in-Residence at Repton School in Derbyshire and an Associate Lecturer at Nottingham Trent University.

‘They don't look like part of the real world and yet they are of things. But the things she is depicting don't have real forms – such as could be described by a directional light – and they are not subject to an earthly gravitational force. If you were to divide painting into figurative, surrealist and abstract, then Chambers' paintings would be a Venn diagram of all three. The subjects being depicted in themselves have become abstracted before they even caught her eye. They are machines of the imagination – forgotten inventions and subverted visions of a world driven by technology...’ Ruth Solomons.