About
Homepage → Olivia Pizano
Hello!
I'm Olivia! I was born in Miami, Florida and moved to NY when I was 18 years old. Growing up in a tropical environment I spent all of my time outside either painting or helping my Mom in our garden. Constantly I found myself around flowers and had a tendency to dial in on the details of nature's goodies. My love of photography stemmed from both an awareness of peace around me and the halting of being present with it at the start of my middle school education.
To start off, I want to say that I'm a huge fan of your work, especially your latest project. Could you tell me more about your series?
My latest series ‘If Not For Us, Let it Be For Them, Between Almost And Again’ is a narrative exposing the glorification of dysfunction in relationships. Sourcing information from my past romances this work offers comfort to those experiencing or have experienced harmful partnerships. This body of work contains 13 pictures that seem like found postcards.
They represent a correspondence between a man and a woman and a romantic relationship. I include notes from each that explore the hidden heartache close to abuse within their connection, I use metaphors to enhance the contrast between the real and desired. They are in dialogue with Peter Hujar as well as Duane Michals. This work comments on the role of push and pull cycles in relationships and how attention can be manipulative.
The work raises questions and encourages reflection while surveying the images. The prints are 8 1/2 x 11in that include text highlighted in blue and black ink as well as text in order to separate each role from the other work taken from each role will be presented on separate walls where the audience can distinguish one perspective from the other.
The visuals and writing are excellent! I'm so excited to be sharing them. What sparked the idea for this project?
In the season prior to constructing this body of work, I experienced great loss and the turmoil that comes with emotionally abusive partnerships. The pain and love formed through this relationship needed to be recycled thus inspiring my handing it off to a partnership I created in the narrative - one I was at the time longing for.
Looking back, how were you first introduced to photography?
I picked up a DSLR for the first time when I was 13. It was a family camera. I remember seeing Steve McCurry's Afghan Girl on a Times magazine cover and became obsessed with learning about the story behind the photograph. This led to an interest in National Geographic and later after experimenting with nature photography, I started making photographs of my friends.
What does your creative process look like today?
Making work looks different every time but my involving friends and family is consistent. The bond we carry translates to viewers quickly.
What place does analog photography occupy in your life? Is it part of your work or more of a hobby?
Analog has become a way of seeing. Often I find myself putting the people in front of me in a 5x7 box. I've always been one to observe and to stay quiet while paying attention to detail. Analog photography provides a way of writing without using words.
Before we finish, are there any artists, who have deeply influenced your life and creative journey?
Gerald Slota was my first analog professor. He introduced me to artists like Francesca Woodman, Nan Goldin and Deborah Turbeville. The foundation and culture of my work was formed by my exposure to artists who are more controversial. Through my years at The School of Visual Arts, my peers have been significant in impacting my work. Reese Herrington was the first artist I remember admiring.
Thank you for the conversation! If you'd like to see more of her work, be sure to follow her at @livpizano.