Erika Lizee is a versatile artist from Chicago, Illinois. She earned her BFA in Painting from the University of North Carolina at Asheville, and her MFA in Painting from California State University, Northridge
Through my artwork I seek to express the conflicting feelings of wonder and uncertainty that I experience when contemplating the fluid and impermanent nature of reality.
Conceptually, my inquiry spans from the morphing of human understanding from what is unknown to known, to the creative process of manifesting our thoughts from the intangible to the tangible, to the existential questions of our relationship to both the invisible and visible realms.
In my installations, I utilizing illusionistic painting where surfaces of the gallery walls become real and metaphorical dividing lines between the realms of things that do not physically exist, and those that do.
Mysterious and abstract elements appear beyond the surface of the wall, while others emerge from this space into the physical realm of the viewer.
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posted by Margaret
Postmortem photography or memento mori, the photographing of a deceased person, was a common practice in the 19th and early 20th centuries. The photographs were considered a keepsake to remember the dead. Child mortality was high during the Victorian era. For many children even a common sickness could be fatal. When a child or other family member died, families would often have a photograph taken before burial. Many times it was the first and last photograph they would ever possess of their loved one. Many postmortem photographs were close-ups of the face or shots of the full body. The deceased were usually depicted to appear as if they were in a deep sleep, or else arranged to appear more life-like. Children were often shown on a couch or in a crib, often posed with a favorite toy. It was not uncommon to photograph very young children with a family member, most frequently the mother. Adults were more commonly posed in chairs or even propped up on something.