Liz Liguori is an artist creating photographic, sculptural, and time-based work at the intersection of science and light. With process and experimentation as her touchstones, Liguori’s work blends high and low technology to realize the subtle beauty discovered in their communication. Her works range from interactive light installations to explorations of everyday objects which are dismantled, repurposed, and refashioned to propose a new form or perspective. The work invites an experiential exchange where the viewer can meditate upon form, function, and chance.
With previous careers in lighting design and photography, Liguori has always been driven by the desire to paint with light. Her work has been presented in New York City at the La Mama Galleria, Lazy Susan Gallery and 222 Bowery Art. Other selected exhibits include The Taubman Museum of Art (Roanoke, Virginia), Reynolds Gallery (Richmond, VA), Jordan Faye Contemporary (Baltimore, MD), The Gallery at Serenbe (Palmetto, GA), Science Museum of Western Virginia, The Armory Gallery (Blacksburg, VA), and Haven Arts (Bronx, NY). Liguori artwork is highlighted in the book, The Mountain Lake Symposium and Workshop: Artists in Locale where she also contributed an essay on her process. In 2016 Liguori was honored by The School of Visual Arts with the Outstanding Graduate Student award, and by The School of Architecture + Design with the Werner Graeff Memorial Book Award. Liguori holds an MFA in Creative Technologies from Virginia Polytechnic Institute and State University, and a BA in Studio Art from Drew University.
Creating formal discourses between high and low technology, while bridging art and science, my artistic practice values process and experimentation as a means to explore materials and extract beauty from their reframing. Drawn from my previous careers in light design and photography, I use light as an elemental focus which guides and informs my work, as well as an embrace of technologies both new and old - from iPhones to mirrors. In formal experimentations between high and low technologies, I provoke a curiosity in creating exchanges between the two, for myself and the viewer. I harness process to inspire and challenge myself toward new modes of thought and action, of deconstruction and re-assemblage of ideas and methodologies, fusion of form and function and of technology and art.
My exhibition, (Not) Drawing The Line: Technology Re-examined, dismantled, reformed, and reframed a #2 pencil as technology. In this exploration, the properties of a #2 pencil were reconfigured - magnifying its distinct makings (wood, graphite) and expounding upon its aesthetic and conduction capacities; “Primitive Touchscreen” was an interactive sculpture using the conductivity of graphite as an interface to activate a corresponding LED. The materials of a #2 pencil were explored and processed to manifest a communication between old and new technologies, allowing the participant space for consideration and perhaps a moment of brief magic.
Another ongoing experimentation are my Electromagnetograms, a process co-created with collaborator Jessie Mann, but now developing further as a solo project. Inspired by my earliest impulses to paint with light, the works in this series redeploys traditional techniques of photography to create startling images untethered from naturalism. Instead of reflecting the world, Electromagnetograms explore the lines, textures, and colors of the medium isolated from the content. As much as these works are about process, they also behave as a record of light across the photographic surface of paper, prompting compositions of chance and magic. Composed with lasers, the result is paintings of light that hearken a sense of historic emotionality and random coincidence.
A recurring hallmark in my artistic work is a value for traditional methods of art making juxtaposed with technologies, both new and antiquated—especially those which have become commonplace and dismissed—to produce immersive encounters.