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  • Seitz, Blair. “T&S Interviews Artist Liz Di Giorgio,” Types and Shadows, no.51 (Spring 2012): 4-6. Excerpts reprinted with permission of Types and Shadows.

    T&S When did you discover your artistic skills?
    As a child, I had an amazing experience the first time I ever painted at an easel. I vividly remember painting alternating stripes of red and blue when I was suddenly astonished by a purple aura that seemed to emanate from the paper. I didn’t know that red and blue always vibrate when placed adjacent to each other. To me, it just seemed extraordinary, and I understood from that moment that a painting could be a very powerful thing. The elementary school that I attended didn’t offer art classes, but I was fascinated by any mention of art that came up in our textbooks or in class. I remember seeing a reproduction of Albert Pinkham Ryder’s The Racetrack (Death on a Pale Horse) in a textbook and being astounded by it. It reinforced my understanding of painting as being very powerful.
    It wasn’t until I attended the High School of Art and Design in New York that I had formal art classes and my first experience of oil painting. I realized at once that this was something I knew how to do. Studying at Cooper Union further developed my understanding of art and enabled me to discern the beginnings of an artistic direction; however, it wasn’t until graduate school at Hunter College of the City University of New York that my personal aesthetic began to take shape. The beauty of painting is that, with every passing year, one’s personal aesthetic becomes stronger and more deeply embedded with meaning.

    T&S Where Do You Find Your Inspiration?
    Because I paint on a near daily basis, painting has become a kind of diary, representing my life in its entirety, as well as what is currently occupying my thoughts. For example, the painting entitled Still Life for 2009 was made with great sympathy for those losing their jobs, homes and pensions. The hand depicted appears to be making a calming gesture. It can also be interpreted as a universal gesture of blessing. At the same time, it holds great personal meaning for me because the small hand reminds me of my daughter’s childhood. My favorite paintings are those that are dense with many levels of meaning, none of which contradicts another.