ARTIST STATEMENT
I grew up immersed in the stories and imagery of Catholicism, absorbing both the beautiful and horrific and emerging with a paradoxical equanimity. This balance informs my mixed media work, allowing me to explore the tensions between nature, human society, especially the rhythms of everyday life, and the human soul. I revisit themes of mortality and its constant presence, loss, memory, particularly childhood memory, and our relationship to the natural world.
My mixed media work in two and three dimensions includes materials drawn from printed matter, fabric, vintage handcrafted textiles, and found objects. A hand wrought aesthetic, learned from my family of artisans, infuses my detailed, colorful imagery. Layered compositions and contradictory elements reveal a subtle humor and subversive undercurrent, giving the work an enigmatic yet playful tone.
Lydia Viscardi
TIME TAKES TIME (2022 - 2025)
“I go and lie down where the wood drake rests in his beauty on the water, and the great heron feeds. I come into the peace of wild things.”
Wendell Berry, The Peace of Wild Things
“We have outsmarted ourselves like greedy monkeys, and now we are full of dread.”
Peter Mathieson, The Snow Leopard
Time Takes Time is a body of mixed-media work that reflects on the passage of time and the cycles of the seasons within the changing natural world. My work observes landscapes in transition, where development gradually encroaches on native habitats and subtle changes accumulate over years. Living where human activity and wilderness intersect, I witness moments of fragile balance and quiet tension. While grounded in lived observation, my work is also informed by awareness of broader environmental shifts unfolding globally. The recurring rhythm of spring, summer, autumn, and winter provides a measure through which time can be felt, prompting reflection on continuity, loss, and attentiveness to the physical world.
This series combines painting, collage, and assemblage, using found and hand-embellished vintage textiles, printed matter, and handmade paper of my own making. These materials form the supports and components of two-dimensional works and wall-based sculpture.
THE EARLY LIFE OF HENRY VISCARDI, JR. (Begun 2024 - ongoing )
ARTIST-IN-RESIDENCE Summer 2024
LENOX HILL NEIGHBORHOOD HOUSE, NYC (a historic center for social services and cultural institution)
I worked on my own project while leading art workshops at Lenox Hill Neighborhood House Women’s Mental Health Shelter and the Older Adult Center.
My residency project is creating a visual narrative chronicling the early life of my father, Dr. Henry Viscardi, Jr. (1912-2004) a world-renowned champion of Disability Rights. My narrative will be approximately 25 drawings and 25 painted panels. My drawings are based on his 1952 autobiography, A Man's Stature. Born in NYC with severely deformed stumps for legs, his first memories are of the charity hospital he called “home” where he lived for years while undergoing many surgeries. He triumphed over the hardships of his physical disability, tenement life and severe prejudice, finally receiving his prosthetic legs at age 27.
In 1952, Henry gave up a burgeoning career in the business world to become the founder and president of Abilities, Inc. a company staffed largely by the disabled, spearheading the Disability Rights movement. Today, the Viscardi Center in Albertson, Long Island, NY is an internationally acclaimed educational, training and research center devoted to people with disabilities.
HERE AND HEREAFTER (2019-2021)
Depictions of heaven and hell were ubiquitous in my parochial school education, and subsequent Art History classes, visits to museums and churches reinforced the doctrines and didactic imagery that formed my impression of the afterlife. My own beliefs have evolved but the imagined euphoria of heaven and torments of hell remain indelibly lodged in my psyche. Here and Hereafter is part of the memento mori tradition dating back to Socrates, early Christianity, and the Netherland’s 17th century still-life vanitas paintings meant to remind us of our mortality. Although this body of work was begun before Covid, now more than ever, mortality has been pushed to the forefront of our lives.
In this ongoing series, the paintings are divided into three realms: heaven, earth, and hell. They include detailed realistic oil and acrylic paint, metallic paper mounted to canvas, collage, found hand-crafted textiles, and fabric. The textiles in my work are reminiscent of domesticity and security and counter the mystery of the afterlife. The resulting mashup of traditional painting, collage, altered scale and abstraction creates simultaneous tension and humor. The works on paper are mixed media and collage depicting heaven above earth.
SPACESHOTS (2019-2021)
Spaceshots, a series of mixed media works on paper, are imaginary views of heaven from the perspective of our comparatively puny Earth. These works are contemplations on the vast infinite universe, feelings of insignificance and the contradictory desire to possess material things while longing to transcend the endless wanting. I interweave drawing, paint and collage materials, some cut from glossy advertisements for expensive consumer goods that market their products as celestial and timeless. However, acquiring goods in search of happiness or status is ultimately folly as even the most priceless commodity does not bring everlasting joy or alter destiny.
The Spaceshots follow in the memento mori tradition, a reflection on mortality and the shortness and tenuousness of life. The Latin phrase means ‘remember you must die’. These works are both a friendly reminder of this and a wistful desire to rise above the reality of everyday existence.
TRIAL AND RUSE (2017-2019)
My Trial and Ruse series (2017–2019) explores humanity’s seemingly infinite capacity to endure catastrophe and reclaim a sense of meaning, even joy from painful experience. The series begins with found photographs of automobile accidents once used as trial evidence, images that drew me in with their haunting, grainy quality and their uneasy blend of fascination and revulsion.
In these works, the car crashes become metaphors for the traumas that mark the human psyche. I use mixed media including ink, paint, drawing medium, collage, and carved lines on the photos to obscure but never fully erase the original image. This act mirrors how memory functions: emotional wounds may heal over time, yet their traces remain embedded beneath the surface, shaping who we are and how we see the world.
BIG BLING (2018)
Children inherit their parents’ beliefs. At an early age, I was taught to appreciate handmade objects of all kinds, both refined antiques and cruder folk crafts from many cultures. My assemblage wall reliefs are informed by jewelry, both precious metal and gemstone Victorian era jewelry admired by my maternal elders, and cheap colorful pieces they disparagingly referred to as “costume jewelry.” I combine carved elements with fabric, wood, metal, and found objects to address the subjective perspective of what makes something desirable, beautiful, and valuable.
Jewelry is one of the oldest of archeological artifacts. It is made from an assortment of materials such as beads, shells, teeth, feathers, diamonds, silver, platinum, and gold. In most cultures, jewelry can be used as a means of self-expression, as a status symbol for its material properties, and appreciated for its patterns, rarity, meaningful symbols, or sentimentality. “Bling” is a term popularized by American rap musicians, often taking the form of jewelry. Bling is usually oversized and meant to draw attention.
RECOLLECTIONS AND CHILDWORKS (2010-2016)
“Happy families are all alike; every unhappy family is unhappy in its own way.”
Leo Tolstoy, Anna Karenina
“When we are young we are a jungle of complications.”
Graham Greene, The Quiet American
A primary focus of my mixed media work is the complexity of memory, particularly the potency of earliest experiences and how these inform adult identity. Childhood is innocent and benign yet often fraught with fear and anxiety. The physiology of memory lies at the center of our identity, determining to varying degrees who we are and who we become.
In Recollections, I mine my childhood for potent experiences that I depict with both humor and unease. My mother died in the fall of 2015, evoking more memories. These were rekindled in discovering my childhood stuffed animals and drawings that my mother had packed away. In Childworks, I create images of my toys with mixed media and collage, adding my old childhood drawings to continue an ongoing investigation into memory, childhood and our human/animal nature.