Artist in conversation: Vivian Cavalieri
“Through my art, I seek to evoke compassion for those who, through no fault of their own, face profound challenges, even insuperable ones”
Drawing inspiration from nature and her Venetian heritage, Vivian Cavalieri incorporates a wide range of materials into her artwork. From fine dollhouse miniatures to rich fabrics, digitally manipulated photographs, ribbons, and even found objects collected from Assateague Island's shoreline and her oyster farm, every element is thoughtfully chosen to complement the colors and qualities that initially inspired her. The transition from necklaces to miniatures required Vivian to expand her skill set, mastering woodworking, soldering, sewing, and Photoshop. To enhance the viewer's experience, she sets her art within custom wooden frames with curved museum glass, creating an illusion of presence and drawing them into the scene.
Vivian Cavalieri's artistry and dedication shine through in her ability to harmoniously blend unexpected elements into visually captivating works of art. With her thought-provoking assemblages and skillful craftsmanship, she continues to leave a lasting impression on those who encounter her art.
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?
I seek to hold a private conversation with the viewer about issues affecting our society and the world. I encourage the viewer to approach by creating an attractive, small-scale, 3D scene. I place the viewer in the scene by eliminating any barrier, using museum glass and a custom frame that curves outward. And then I highlight an issue such as immigration, social justice, and climate change. Shy by nature, my goal is to illuminate issues, rather than to suggest a particular course of action.
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.
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.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
The shift from jewelry designer to assemblage artist was seismic, forcing me to acquire new skills such as woodworking and sewing and to consider space in a very different way. For the first time, I was confronted with the laws of gravity and the need to confine my designs within the four walls of a 4” deep custom frame. This continues to be my greatest challenge as I continue to acquire new skills as needed and to redesign scenes to conform to physical limitations.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
I am a member of an active local association of artists (Ch/Art — the Chevy Chase Art Organization), and I am mentored by the Visual Art Association as a VAAWorkingArtist. I visit local galleries and attend gallery talks.
I have recently traveled to both Los Angeles and France to attend the openings of a traveling exhibit that includes six of my assemblages. WOVEN 2023, curated by Ciara Hambly of Hambly & Hambly, highlights the work of Irish, French, and American artists. The project includes six of my assemblages. I attended the project’s opening at the Sasse Museum in Los Angeles where I met several of the participating Irish artists, including a remarkable performance poet. I traveled to France for the French portion of WOVEN 2023 where I had the opportunity to spend time engaging with extraordinary talents in from Irish visual, theatrical, and musical arts. I returned energized and inspired.
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 from either journalists or from the general public. I was encouraged by the positive reaction to my work from the artists participating in WOVEN 2023, particularly to the description of my art as “unique.” To the extent I request feedback from family and friends, I am receptive to criticism since I would not have sought feedback had I not sensed that something was a bit off.
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. I do find that demoralizing which is why I try to get the piece that is working out of my head at the first opportunity.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
Although my small-scale intimate scenes are more likely to produce the intended effect when seen in person, 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. I hope it generates interest in following me on social media and eventually leads to having new audiences see my works in person.
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.