Bio
Aida Lizalde (b. 1990) grew up in Aguascalientes Mx. until the age of fifteen when her immediate family migrated to the Central Valley of California. She obtained a bachelor's in Studio Art and a minor in Art History from the University of California, Davis. She is currently an MFA Candidate in Sculpture and Extended Media at Virginia Commonwealth University in Richmond until 2023. 
Lizalde has been awarded the Virginia Museum of Fine Arts Fellowship, the Vermont Studio Center Fellowship, the Young Space Grant, the Hopkins Endowment for Studio Art Students, the Crocker Kingsley Art Award, and the Herb Alpert Scholarship for Emerging Young Artists. She was a resident at Vermont Studio Center in 2017 and Casa Lu in 2020. 
Lizalde’s work has been exhibited at Axis Gallery in Sacramento, Galeria 54 and Casa Lu in Mexico City, The School of Visual Arts Curatorial Project Space in New York, the Sierra Nevada University Gallery in Tahoe, Holland Project Gallery in Reno, CCA Hubbell Street Galleries,  Southern Exposure, and SOMArts in San Francisco, Chandra Cerrito Contemporary in Oakland, the Torrance Art Museum in Los Angeles, the Marin Museum of Contemporary Art in Novato, among others.
Statement
Throughout my childhood, I belonged to a collective consciousness shared with my twin. Dealing with boredom and interpreting reality were communal discernments. We were in a constant conversation, mostly gestural and outside language. Adulthood dissociated me from that communal psychological space, so my practice started filling in for the absence of that second conscience. 
I make sculptures and installations that participate in or interpret my body and conscious/subconscious metabolizing or failing to metabolize (sensory data, emotions, food, environmental factors, social codes, etc.). The objects act as surrogates to that second consciousness or analogies to the space where it is absent, sometimes both. They exist in spaces of transformation, such as a stomach becoming a tree trunk, an intestine becoming a territorial marker, a pot becoming an anthropomorphic machine or vice versa. 
My work is in contact with concerns such as post-colonization (the effects of colonialism on cultures and societies), identity, power, control, lineage, disease, and trauma. These concerns emerge from the works through systems that drip, strain, dissolve, or rot forms originating from plants and fungi, ancient pots, brushes, and tools. 
I use bodily components like hair, teeth, bones, and leather but also clay, pinto beans, guajillo peppers, and found objects. The materials arise from memories of my upbringing like smelling my parents’ stained duck feather pillows, digging my fingers into a barrel of uncooked beans, or scraping the crusty hard part of the handmade goat cheese to get to the good part. 

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