About & Contact

About;

Lizy Bending

First Class BA (Hons) Fine Art

Assistant Art Director – Noisily Festival

Art Director – Mumma Mountain – Meadows in the Mountains

Head of Creative – Field Manveurs

Art Director – Glade Lounge – Glastonbury Festival

Scenic Painter – Boomtown

Project Coordinator/ Art Department Coordinator – Triplicity Festival

Workshop Leader – Lattitude Festival

lizybending@gmail.com

07990946059

 

 

 

Printmaker – Artist Statement;

My theory is based in the realm of the political, artworks have an incredible autonomy and thus, the power to educate. Through my work I want to make issues surrounding politics, society, culture and the economy accessible to all. Through visual imagery I plan to break down the boundaries that many feel exist, isolating them from interacting with these subjects. Combing print media with the construction of objects, my practice aims to provoke discussion, using emotive aesthetics that transform socio-political concepts into visually stimulating bodies of work.

Through establishing a revival of woodcutting; a common-place practice amongst ‘revolutionary’ artists of the past.  I am embracing the heritage of political printmaking, woodblocks were initially developed due to their accessibility both as a resource and their communicative qualities, which contextually, I continually exploit throughout my practice. Nevertheless, communication in our contemporary society is driven by technology, therefore my latest works try to embrace this, creating culturally relative, digital prints that are then transformed into the physical through archival and museology interests.

I have begun to parallel printmaking with object making, using the prints as coloured and textured drawings before entering them into tangibility, creating sculptural works that redefine the spatial potential of printmaking, to include sculpture, installation and participatory prints. Alongside this I experiment with creating external works outside of the studio setting, pushing my personal relationship with my practice and as I begin to interact with the public. Although these works are often ephemeral, their impact is heightened due to this interaction and their existence in society as a real world setting, this aspect of my printmaking practice allows me to use the public not only as subject matter but as material, as I begin to make work with people not just concerning people.