Liz Trosper is an artist and MFA candidate at UT Dallas, focusing on art and technology. Liz has a BS in Government, a Master of Public Administration, and coursework in aesthetic studies. Liz's artwork is rooted in drawing, painting and photography, with recent works integrating analog and new media, including video.
Liz's professional experience in technology and design have included urban design projects, web communities for nonprofit and governmental entities, interactive enterprise solutions for a Fortune 500 company, and artisticdropout.com.
In an effort to understand complex human relationships with material culture and place, my artwork deals with deconstructing personal experience of space and transfiguring blue-collar garbage aesthetics. The work is influenced formally and conceptually by a cross-section of photographers and multi-media artists, such as those featured in The Anxiety of Photography, an exhibition mounted by the Aspen Art Museum and published by Aspen Art Press. These artists used a detached and analytical approach to subject and referent, creating visual puzzles and spatial traps. In a similar approach, my work explores the fractured relationship between space and perceptual filters, particularly those involving material culture and mediation.
My approach to making art integrates fragments of objects, photographs, paintings, drawings and installation. I start with a physical referent, such as a place, a still-life or found sculpture, often involving garbage or elements of working-class material culture. I then distill, abstract or reframe the referent to create new meaning. The process of distilling indexical physical objects through artistic interventions is both a form of erasure and creation. What’s left of representation is fractured imagery, inviting confusion and re-examining the duality in fine art and garbage aesthetics. The resulting artwork illustrates my personal perceptual filters rather than the physical referent, mixing digital and analog approaches.
My work's goal is to ask questions. It’s an extension of Meno’s Paradox: the endless need for more information to understand something. The work is meant to invite confusion and challenge the viewer to question his or her own interpretations and perceptual filters. What do you choose to see? How do you interpret it? With these works, I offer my own response to these questions.