Lidzie Alvisa

[…] More in the direction of that type of conceptualism in which the written word is appealed to as vehicle to materialize the work and in which the artistic content is transferred to the cognitive plane, Lidzie Alvisa has been making a number of works and projects that, without totally leaving aside her style, do grant it new aesthetic values and even of philosophical order. I refer to her most recent pieces, which demand being addressed by a receiver with a high degree of artistic competence in order for him to decipher the codes contained in them. The text in said pieces generally appears with a self-reflexive nature, drawing attention to its immanent meaning, in close relation with the rest of the formal elements that make up the works.

For example, in Life, indebted with the visuality of series like Imanes, Preocupaciones and Trampas del interior, she works with the language with words of great conceptual content, particularly if associated to the idea of a piercing, painful and long-suffering life. That is suggested by the visual representation of a blank life, pure, –according to the western reading– on relief, which tries to detach itself from that dark background full of pins trapping it. Lidzie urges us to think of her, not in black and white, but full of those shades that make her more or less aggressive, more or less capable of being considered alive […]. ¹

1. Julienne López, “Speaking of Intimacy… A Circumnavigation of Lidzie Alvisa’s Work,” Artecubano, no. 1, 2015.