Lidija Ristić is a Serbian-American interdisciplinary artist living and working between Belgrade and New York. The essence of her practice is the making of hybrids and amalgamations. This manifests through the combined use of found objects, readily available materials from...
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Lidija Ristić is a Serbian-American interdisciplinary artist living and working between Belgrade
and New York. The essence of her practice is the making of hybrids and amalgamations. This
manifests through the combined use of found objects, readily available materials from
hardware/dollar stores, pharmacies, upcycled/post-consumer products and the seamless
blending of digital processes, traditional crafts and a wide range of fine art techniques. The
results of this approach come in the form of sculpture, digital collage, installation, video work,
audience lead participation and performance.
Ristić received her BFA from the Massachusetts College of Art, Boston in sculpture with a minor
in painting and an MFA in Studio Art from New York University. She was one of the founders of
the collective art workspace, 24k Studios, the mobile gallery, 24k Studios Presents, and was the
creative director for the charity food pop-up, Hungry Babes, in San Francisco, where she was
based until 2018. In addition, she has worked in museum preparations, as a lighting technician
and as an undergraduate college instructor. All of these influences are present in her practice.
Her work has been displayed in group and solo shows around the US and internationally and
she is a member of the artist-run, independent project space, Paradice Palase, in Brooklyn, NY. Most recently was invited to be an artist in residence at the Pilotenkueche international art program, Leipzig.
In her work she strives to create complexity. This is achieved through layering that takes place
on a multitude of levels. In the physical and immediate sense, it is seen by how she combines
materials, both fabricated and found, in intricate ways that both celebrate their material nature
and abstract them into new contexts through proximity to often disparate elements. A
reoccurring example of this in Risitć’s work is the combining of the “real” and the “fake”, like
mixing acrylic fur with patent leather, bones with glitter and the photograph next to its original
content. Media is therefore also used as a layer. The pieces she fabricates become the subjects
of still life photography, video and audio works. Through this process she is able to import the
demonstrably material and palpable objects into the digital sphere. By doing so a dialog is
created between the virtual realm and the concrete. It also develops a creative system that
generates new creations that further layer upon each other in continuum.