An interview with An interview by Dario Rutigliano, curator and Katherine C. Wilson, curator email@example.com
Exploring the expressive potential of a variety of aspects from traditional printmaking including sculpture, textile printing and installation, Lizy Bending's work accomplishes a refined socio-political investigation capable of providing the viewers of an Ariadne's thread that shows how artworks can be used to empower both the protester and the audience. One of the most convincing aspect of Bending's approach is the way she unveils an unexpected point of convergence in which a rational gaze on socio-political issues and emotive aesthetics convey into a coherent unity. We are very pleased to introduce our readers to her refined artistic production. Hello Lizy and welcome to ART Habens: a crucial feature of your work is an incessant search of an organic symbiosis between a variery of viewpoints which you effectively convey into a consistent unity, and I would invite our readers to visit http://cargocollective.com/lizybending in order to get a wider idea of your artistic production. Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for producing your works? In particular, have you ever happened to realize that such synergy is the only way to achieve some results, to express some concepts?
Hello ART Habens, thanks for having me! I find within my practice that I am often faced with this question, I am a fond believer that you should always pick the medium that is appropriate for your message, instead of forcing a message to fit within a given discipline. However, this is something I have had to question a lot as I began specialising my practice (throughout my creative education) focusing large amounts of my time and energy to that of printmaking. Nevertheless, even though I focus myself within one discipline I do not see this as limiting in anyway; the very discipline of printmaking is arguably the most
varied available (due to its traditional aspects from lithography, intaglio, relief etc) but even more so as contemporary technology has grown and print has adapted itself around the technology to include, photographic prints, digital montage and even 3d printing. In my own work I honestly believe that there will never be a finished or resolved state of play with printmaking. I am continuously altering the definition of what printmaking is and, in my recent work, even going as far as to change the spatial potential of the practice. In the last year