(…) Lidzie Alvisa made a name for herself in the middle of the nineties as an atypical case within that free uprooting of what is private, that emaciated revelation of the intimate contingencies intended to induce other reflection edges on the area of individuality. (…)
However, it was after the early 2000s that I considered her work showed a qualitative leap, when she stopped giving excessive importance to the intermediary, persuasive role of traditional trades, a resignation led with an absolute feeling of risk, even toward her own specialization as an engraver. It was then she chose a much more disinhibited and revealing scrutinizing methodology, backed by a photographic technique of a documentary nature, when she began to take a distance from glamorous atmospheres and the handcrafting characteristic of a large part of women creations at the time (…).
Lidzie Alvisa’s decision to concentrate in the critical balance, in the reflexive confrontation between domestic and intellectual experiences, in equalities of estimates and tones, without leaning on one extreme or the other, was what preserved her from continuing subordinated to the conventional alternatives of women representation.
(…) Her works made in recent years reflect, with sufficient clarity, the turns, the changes in her artistic career in those reproduction efforts. The sense of changes and evolution we have corroborated seems to be indissolubly linked to the way in which she faces these variations and tries to moderate them at all costs. The installation A nivel (In the Level), made in 2011, is the piece that best synthesizes the environment of diversification Lidzie Alvisa has been submitted to, the delicate presumption of balance that has been emerging in every moment of her career. On the connotations of this work and the concept enclosed in it, the artist has admitted: “The multiplicity of levels and variability of patterns we daily face place suspicion as a sensor and only guarantee.”
(…) Ideas y Revolución (Revolution), two sui generis works recently made, reflect as no other the strength and determination of this new positioning. They are established on a dichotomic condition rather reiterated in her pieces: instability and stability, conjecture and affirmation. However, these are installations—or sketches of installations—resorting to images and codes spectators can easily discern: blocks, walls, door, blackboard or chalk; these are pieces collating a much more comprising, inclusive, state of critical judgment and impugnation; works that finish laying the bridge towards that unknown but expectant space of social mediation.