Vivian Cavalieri

Artist based in Chincoteague Island, Virginia

ABOUT

Vivian Cavalieri is a visual artist with a studio on Chincoteague Island, Virginia. Her three-dimensional miniature scenes prompt conversations on a range of global issues including immigration and social justice. Her work has appeared in numerous exhibitions in the US and abroad, including London, Paris, Athens, Venice, and Rome. Six of her assemblages were included in WOVEN 2023, curated by Ciara Hambly of the Hambly & Hambly Gallery. After six weeks at the Sasse Museum in Los Angeles, the exhibit travelled to France. Cavalieri was short-listed for the 2024 John Richardson French Residency Award. Her art is featured in the December 2023 issue of Suboart, the February 2024 issue of Art Seen, and on the websites of Visionary Art Collective and Al-Tiba9. She is represented by Hambly & Hambly Gallery, Northern Ireland, UK. Cavalieri graduated from Harvard University (BA, Fine Arts) and the New York University School of Law.


ARTIST STATEMENT

I am a conceptual artist whose three-dimensional mixed media scenes unexpectedly prompt conversations on topics such as immigration, climate change, and social justice. While an international upbringing predisposes me to select universal topics and to incorporate references from other cultures, my palette and sense of design strongly derive from my Venetian heritage. I incorporate a segment of a necklace I designed into a scene crafted with commercially manufactured items such as dollhouse miniatures, fabrics, and mirrors. While seemingly impersonal, the items selected are symbolic, the mix is eclectic, and the resulting perspective subjective. Just as the assemblage incorporates various components, construction of the scene necessitates a variety of techniques including sewing, painting, photography, and woodworking. My assemblages do not criticize or preach; rather, they invite dialogue to foster awareness and empathy. I encourage viewers to approach with an attractive, small-scale scene. The custom wood frame reaches outward to embrace the viewer. I frame using museum glass because its clarity creates the illusion that the viewer is present at the scene, further encouraging dialogue.


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