Lidzie Alvisa’s Dípticos (Diptychs) exhibit is devoted to question the ordinary path of ambivalence. To achieve this goal Lidzie Alvisa chooses elements of daily life as a semantic parable of her discourse, which is built around the dilemma of existence. She considers antagonism as the faith that presupposes every event in a person’s life and proposes a humanist work where the human being is focused as an entity that suffers its own condition and capabilities.
The artist summons some of the most touching aspects of reality to establish an instant of meditation about different circumstances in life. The reading of these productions is deepened when the contrast between stages in the individual’s growth is showed. Stages both of splendor and of decadence are glimpsed in elements that symbolize the innocence of the early phases of human growth in opposition to the moment of adulthood.
Among the issues of the exhibition appears the anguish caused by memory, and the marks that individual history left. It is that living beings nourishes with personal events, finally conforming its social conscience. That history and its weight left visible traces in all existential levels, even in the body’s plane. Lidzie refers also to different states –human mechanisms of resistance– adopted because of the impossibility of the immediate condition of personal experience. Attitudes as blindness and deafness impose to themself by the same individuals, who seek to consolidate a barrier before lucidity, are recurrent in her pieces.
The use of the photography relates the work with the individual experience and reveals the paradox composed of codes legitimated by the context that facilitates the receptor’s perception. The author also uses symbols already commons in his work as pins, in this case representing the aggression in an existential plane and, sometimes in the social one where it symbolizes the subversion of conventional values and the imposition of stereotypical codes that exerts power upon the character.
The artist employs mirrors –where men tends to exanimate themselves, to be pleased with their ego or to create a space of intimacy– and she changes the regular function of this object with an idea that excels any sense of frivolity. The texts made with pins over the mirror subvert the conventional destiny of self-contemplation and create a zone of abstraction where the spectator could think about the author’s suggestions and, at the same time, be the fraction that the diptych establishes.
Suddenly we discover in Lidzie a chronicler of contemporary myths who aspires to wake up us from the lethargy of unconsciousness. Dípticos is an exhibition to enjoy the quality of exhibited productions and, –from an artist’s point of view– to denounce the losses that contemporary men faces.