Lydia Viscardi

Lydia Viscardi, Coverup Light Blue on Yellow_2018_Altered digital print

2018

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascinatio...

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascinatio...

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascinatio...

In a court of law, relying solely on memory is highly unreliable. Lydia Viscardi was drawn to these discarded trial documentation photographs of wrecked cars with the same fascination and queasiness an actual accident elicits. She uses the car crashes to embody catastrophe or any painful past or present adversity imbedded in the psyche. By obscuring but never fully obliterating the image with mixed media, carved lines and collage, the layered altered images represent how we tackle unbearable memories to make them tolerable and find resolution. Lydia Viscardi is a representational mixed media artist whose exhibition venues include ODETTA, the Drawing Center, Walter Wickiser Gallery, Arcilesci Homberg Fine Arts, Sideshow Gallery, Active Space, Brooklyn Fireproof, Concepto Hudson and The Heckscher Museum of Art in New York; Center for Visual Arts and Victory Hall Drawing Rooms in New Jersey; Housatonic Museum of Art, The Barnum Museum, Ely Center for Contemporary Art, Hans Weiss Newspace Gallery of Manchester Community College, and Schelfhaudt Gallery of the University of Bridgeport in Connecticut. Her mixed media work is represented by ODETTA Gallery...

Lydia Viscardi is best known for her representational mixed media collages that combine highly detailed realistic painted and drawn imagery with flat shapes cut out from patterned pa...

Sue Carlson's first artistic training was as a classical musician. European musical language from Baroque to Contemporary is intricate, complex and express...

I begin with a silver photographic image, evidence. Then I paint on this in many transparent layers of oil paint and pencil. If I am lucky the media combing, and become enmeshed, a c...

I begin with a silver photographic image, evidence. Then I paint on this in many transparent layers of oil paint and pencil. If I am lucky the media combing, and become enmeshed, a c...

Hand-coloured portrait of a human larvae bursting out of their cocoon, immobilised in marble. Representative of a safe and isolating space, the cocoon is both a cage and a shelter. This tale is a​ study of transformation, of breaking apart and coming back together as the larvae emerges from the silken threads. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Hani Naji original work. mesmerizing realistic work color pencils. it was created in 1996 and signed in 2006. the prizes won several prices. there are prints available in different...

A tratti diventa più chiaro, Pittura fotosensibile su tela, agenti atmosferici, matita colorata, 69x51,5 cm, 2021

This is an original colored pencil drawing layered over an original archival pigment print using alternative process photography. Image measures 14" x 20" on 16.5" x 22" Hahnemühle German Etching 100% rag paper. Ava Blitz...