Elizabeth Cardozo-Richards (Lizzie Cardozo) was born (b.1995) in London. After completing training at London Studio Centre in 2015 she continued to pursue a career in the arts where she could express through her body and more. Elizabeth was awarded a BA in Fine Art at the University of Hertfordshire in 2018 and is currently studying MA Fine Art at Chelsea College of Arts University of the Arts London. Elizabeth’s practice has been influenced by growing up in a semi-rural North London area, landscape and nature has always been an important component to her practice and the materials used. Elizabeth uses a wide range of found utilitarian materials which is influenced by her part-time work at Waitrose, she then explores these motifs through sculpture, installation and performance. Her most recent works are looking at the effects of the lockdown, specifically the domestic space being in a constant state of flux between “art” and living and how these two worlds have now become one. Elizabeth works and exhibits in London, she has recently taken part in the London Grads Now show at the Saatchi Gallery and has an upcoming exhibition in Taiwan opening October 30th this year.
Lizzie Cardozo is interested in abstracting utilitarian and every-day objects to exhibit them in different spaces such as the kitchen. She does this to challenge the theatre of art staging. The conditions she employs are an important part of her practice. These methods of making, combined with site specificity and "the everyday" is what builds her sculptures and installations.
She uses "the everyday" to employ notions of time, place, temporality and inhabiting space. This creates a type of ethnographic discovery. In an attempt to mine "the everyday", Lizzie creates a form of object cinema. In her research she questions the function of art outside the "gallery". This exploration is played out through architectural interventions and object monuments forming garden theatre. Her sculptural language works to destabilise monumental art staging
Lizzie’s work challenges the value of objects by monumentalising discarded materials. She utilises precarious structures to home her malleable tactile materials. In dealing with the used and found Lizzie manipulates the charged narratives within objects to form new discourses, whether that be the hybrid of opposing materials or the staging of a sculpture.
Lizzie’s making process is material driven, surrounding a performance with materials through assemblage. Her sculptures are made from found and discarded materials. She then reactivates these objects by using forces such as gravity, creating immediacy. More recently lizzie has been exploring the body as a tool to manipulate materials, and in doing so perform within them, to make shapes, sounds and movement. This development has come from her recent performance called 1 Tone Sand Bag, which will be featured in the online Late at Tate event on December 12th.
Influenced by artists such as Gabriel Orzoco, Lizzie looks at object-orientated chance configurations found in urban landscapes. She also looks at Richard Wentworth’s street photos of objects, using everydayness to challenge artistic conventions. Also influenced by Maurice Blanchot, Lizzie is beginning to examine the transition between everyday objects to art, whilst challenging the constructs of the "exhibition" and works by Rebecca Horn on wearable sculputer.