LizLessnerArtwork
A Block and Tackle of Lures, Reels, and Rodsa Block and Tackle of lures, reels, and rods w viewer detailA Block and Tackle of Lures, Reels, and RodsA Fine and Private PlaceA Fine and Private PlaceA Fine and Private PlaceCoercionsSuggestPersuadeStrong-armStrong-arm detailStrong-arm detailSiren SongSiren Song detailRainboxRainboxRainbox detailStillsA crowded place, we stood thigh to thighWe were talking- side by side We were talking- side by side We were talking- side by side Traces of friendly fireTraces of friendly fireTraces of friendly fireCalves meet under the tableAs breezy as an airkiss  As breezy as an airkiss UntitledUntitled in action 1Untitled in action 2Siren ISiren I installSiren I installIf Memory Serves- The Topophilia of IntimaciesThe Topophilia of Intimacies- Alicia & GuapamacateroThe Topophilia of Intimacies- Alicia & GuapamacateroThe Topophilia of Intimacies-Juan and NicholasThe Topophilia of Intimacies-Roberta and IainThe Topophilia of Intimacies-Roberta and IainThe Topophilia of Intimacies-Roberta and IainUntitled (in a hurry) Untitled (in a hurry)  DetailSweetnothingsbetween...(cloud)between...(cloud)EpaulettesEpaulettes detailHammerboneHammerboneCommon China, A Country GentelmanCrawling, front viewCrawlingDriftingDriftingDriftingPullingCrawling, Drifting, PullingOctopusOctopus DetailLip Synching
My sculptures and installations enact the places where culture and social norms influence the ways we navigate and perform intimacy. They range from objects to installational sculptures that are augmented by the viewer’s performance. These performative installations imply the body or its placement and ask the viewer to physically interact with them. In this work the viewer becomes a graphic part of the sculpture while also having a unique and personal experience of it. Both types of work stem from a framing of resonant gestures that ritualize and familiarize psychological narratives and personal memories. These sculptures consider social feedback loops, popular narratives of desire, as well as mythology and nostalgia and the fetishism that both imply.

Gesture is the fulcrum around which this work revolves. I am influenced by Lygia Clark’s Sensorial and Relational Objects which use ritualized and focused gestural performances to reframe the processing of memories, inter-personal interactions, and conceptions of self. I use four methods that reference gesture to engage the viewer’s bodily attention: representation, enactment, interaction, and responsiveness. By repeating and reframing iconic gestures these works find new ways of representing and experiencing the ephemeral psychological and spatial dynamics of interacting with others. They seduce through materials and form, prompt consideration through user experience and sensorial awareness, and create, as Nigel Thrift says, ‘new and more productive entanglements’ by activating sticky and paradoxical spaces of negotiation.