The work of Lizi Sanchez reflects on the relationship of graphic design and advertising with the history of modernism and contemporary art creating pieces with common materials such as those used as packaging and construction, with a look at the production system in a world ruled by demand, where style, surface and presentation are often the ultimate goal. Sánchez reuses those materials in the context of visual art, using manual and laborious methods that seem to imitate, but essentially contrasted with those processes of high range production.
In the exhibition titled Park, through a series of pieces made of industrial aluminum and acrylic paint, she manipulates advertisements that have been promoted in renowned art magazines, selecting, combining and trimming potions of titles, names and dates and reproducing them in a meticulously way, respecting the color and typography of the source. Thus, at the same time, she respects aspects of the original design while disabling the purpose of the advertising, sabotaging it in the process.
For the Italian curator Sofia Gotti, Park, “provides a crucial departure point to assess how branding and the mass media destabilize or enforce societal structures. Since the 1960s marketing and advertising have remained a contested site of confrontation between state authority, manipulation and freedom. By rerouting the familiar ease earned by museum’s or galleries’ publicity to her own visual vocabulary, Sánchez neutralizes institutionalized aesthetics and makes them her own. Confronted with such deconstructed imagery, the viewer is empowered to decipher them, and to decide what ‘familiar’ means on his/her own terms. ”
Lizi Sánchez (Lima, 1975) studied painting at the Pontificia Universidad Católica del Perú and a Master in Fine Arts, Goldsmiths College, London. She has received awards and recognitions as: Artistic Production Scholarship, Artists’ International Development Fund, Arts Council England and British Council, 2013; Artistic Production Scholarship, Grants for the Arts, Arts Council England, 2011; Preselected by Henry Moore Institute, Research grant, 2008; Winner of The Red Mansion Art Prize. Residence in Beijing, China and Artistic Production Grant, 2006.
She has a series of individual exhibitions as: Grotesque, Bold, Condensed, Garúa, Lima, 2016; In a World that Laughs, Domobaal, London, 2015; Oh Locura de Diamante, Galería Vértice, Lima, 2014; Beyond the Pearl, Standpoint Gallery, With works by Louise Lawler, London, 2012; Mirror Pelt, Project Space, Weissfaktor, Berlin, 2010.
She has participated in group exhibitions, some: Concrete, 17 Contemporary artists work within Pullman Court’s pioneering architecture and history, Pullman Court, London, 2016; Sculpture in the City 2016, Programa Anual de Escultura Pública en la City of London, London, 2016, John Moores Painting Prize 2016, Walker Art Gallery, Liverpool Biennale 2016, Liverpool, 2016; London Open 2015,Whitechapel Gallery, London, 2015; Drawing Room Biennial, Drawing Room, London, 2015; Full Circle, Drawing Room, London, 2014; among others.