Artist in conversation: Vivian Cavalieri
Vivian Cavalieri spent her childhood summers in Venice, a city that would later inspire her unique artistic style. Although she initially pursued a career in law, the artist's natural inclination towards structure and organization ultimately led her to design multi-strand necklaces, weaving together amber, abalone, freshwater pearls, semiprecious stones and (in a nod to her Venetian heritage) Murano glass beads — unconsciously mirroring the opulent, joyful Venetian style. For ten years, she sold these through boutiques and occasional trunk shows. When large necklaces were no longer in style, and she felt unsatisfied creating simpler ones, the artist began using segments of necklaces still in inventory to create surrealistic assemblages. Vivian Cavalieri now works from her studio overlooking an oyster farm in Virginia's Eastern Shore, where she draws inspiration from the natural beauty of the surrounding wildlife and themes such as climate change and human encroachment on natural habitats.
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What initially inspired you to become an artist, and how did you develop your unique style?
I never expected to work with mixed media. I didn’t know there was such a thing. At school, I had been taught only drawing and painting, and because I never could draw or paint well, I had always assumed that I lacked artistic talent.
My first encounter with mixed media was an unconventional one. I went to pick up my children from a day camp where they had been making jewelry with plastic beads. The instructor offered the waiting adults the opportunity to string beads of semiprecious stones while the children finished their creations. I enjoyed the experience so much that I began designing ornate, multi-strand necklaces that combined semiprecious stones, amber, pearls, and (in memory of my Venetian father) Murano glass and even started a business selling them, primarily through boutiques. Ten years later, though, large necklaces fell out of fashion. Bored when designing single strands, I sought to branch out.
I thought to combine segments of necklaces still in inventory with a broader array of purchased and found objects. This led me to create assemblages, most of which still incorporate a necklace segment. My motivation for each assemblage is to create a scene that visualizes the theme.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
For most of my life, I thought that the world offered everyone an even playing field, and that success could be attributed solely to dedication and hard work. Over the years, having met people in different walks of life and in different countries, and having had a broader range of experiences, I learned that my original view was far from true. My art stems from an awareness that the relative ease of my life stems from accidents of birth and fortune. Through my art, I seek to evoke compassion for those who, through no fault of their own, face profound challenges, even insuperable ones. My works addressing environmental issues stem from a similar desire to instill awareness and encourage an interest in bettering the world.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
My primary artistic challenges started with the shift from designing necklaces to creating assemblages. For the first time, I was forced to consider the laws of gravity, which frequently obliged me to change the original design. The shift also required me to learn new skills such as sewing, woodworking, properly photographing my works, and familiarizing myself with software such as Photoshop.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
I joined an active local association of artists (Ch/Art, the Chevy Chase Art Organization). I visit galleries and attend gallery talks whenever time permits, and I often view the work of others on Instagram.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
Having only started marketing in August 2022, I have yet to receive much objective criticism or encouragement (other than admission to juried exhibitions) from either critics or the general audiences. To the extent I receive negative feedback from family or friends, I am very receptive, especially once I understand the function of the criticism.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
When I find my creativity blocked, and I am unable to finish a design, I try to determine why the assemblage isn’t working. Usually, it is because the intended theme is not sufficiently clear in my own mind, or the feeling generated by the work is not what I had envisioned. At these times, I reconsider what I was trying to convey and whether a different theme is more appropriate for that collection of objects.
To clear my head, I turn to nature. We live on an oyster farm on Chincoteague Island, a remote part of Virginia’s Eastern Shore. Focusing on the plant and wildlife around me and walking along the shore of the wildlife refuge on nearby Assateague Island helps immensely.
If I still encounter a particularly stubborn creative block when working on a particular piece, I start another one that is very different in color, texture, and theme. I occasionally seek input from those around me, asking why they think this isn’t working.
Failing all else, I simply replace the materials into inventory, with a view to creating a complete break from the piece even if I then reconsider restarting with other elements.
In your opinion, what role do contemporary artists play in society, and how does your work contribute to this role?
Artists highlight issues of importance to them in varying ways. I use gentle humor whenever possible, believing that my assemblages are more likely to influence a viewer (even one with a contrary viewpoint) if they are pleasing to the eye and do not directly confront the audience’s world view.
What do you see as the most pressing issues facing contemporary artists, and how do you plan to address these challenges in your own work?
The most pressing issue I see is the tendency (at least in the USA) to treat the arts as entertainment rather than as a critical part of a well-rounded education that unleashes one’s creativity. The arts tend to be the first item to be cut whenever funding is an issue and the first class to be cancelled in favor of the sciences or classes of apparently more relevance to today’s workforce. One way to counter this trend is to provide free art classes by artists and those in the art world. As a self-taught artist with extremely limited time, I believe my best role is to support and otherwise enable other artists to provide this outlet.
Another pressing issue stems from the internet and the overwhelming amount of art available with no gatekeeper. At one level, this is good as there is no accounting for taste and it makes it easier for artists to promote — so many publications and galleries are seeking content. At another level, however, it makes it hard for artists to find their specific audience. I am currently experimenting with various kinds of marketing, digital and in person.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
While seeing 3D art in person is more likely to produce the intended effect on audiences, I like the accessibility of the in person/virtual exhibition where viewers walk around just as they would if seeing the originals at a gallery. I love the ability to exhibit far and wide on screens to introduce my unique form.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
My long-term goal is to connect with collectors of small-scale works who appreciate meaningful art as well as my artistic style. Since I am an emerging artist just starting to market, I plan to market on several fronts, digital and in person.
