Victoria Lavorini by Michelle Rupel

Reality TV, dog shows, professional wrestling, stock photography – these aren’t things that would necessarily be associated with Victoria Lavorini’s work on first glance. She works with carpet, memory, personal experience, and abstract contour lines. Her work is tangible and it leaps off of the stark white walls with a daring expertise. She incorporates smart and well written language into her pieces that seem real and relatable. So, what does Victoria’s work have to do with the things mentioned above?

All of these things are technically real – one can watch them, experience them – but they are also staged. The staged only lets the audience see what it wants you to see – it’s all rehearsed, like a well practiced dance. They’re edited and put out to the world to emulate the real. Victoria’s work is similar in this stance.

All of her work and words come across as reality; a reality that we can touch, but a reality that seems almost like our own reality. It’s a place the viewer can relate to, but when digging deeper into Victoria’s work, one can realize that she is a curator of her own world. Victoria lets us see what she wants us to see, creating her own cast of characters and leading roles for our eyes to drink in. Her words are a script that have been edited and practiced until perfection. She has a way with language that even Lana Del Rey and Maggie Nelson would envy.

an episode an episode an episode

are you meant to be hunting.

I’m gonna die and I’m never gonna know the answer.

chance and habit chance and habit chance and habit

I respect what Jen did.

Sort of.

I shake my head. I follow what you are saying.

I am thinking about my mother struggling to put on her shoes.


Have you ever looked at a hair poking through a layer of makeup

Are there any questions about realism


I choose the world I play in.

But my goddamn dog died and no one told me.

yeah sleep




But it’s gonna be slack.

The way I organize my slides

I choose the world I play in.

But my goddamn dog died and no one told me.

yeah sleep




But it’s gonna be slack.

The way I organize my slides ”

Victoria Lavorini

Victoria uses the English language as a weapon, while her imagery supports the smart words within. By using carpet, found photos, and an interesting collage process, she creates miniature worlds for the viewer to live inside. The work is similar to a doorway into the artist’s head, but at the same time, the viewer has to keep in mind these glimpses are what the artist wants us to see, not what is necessarily there. It is surreal and at the same time familiar – Victoria’s work is full of contradictions, which complicates the waters further.

It makes the audience want more – to keep looking and to keep on searching.

The work is genuine – the work is staged.

The work is familiar – the work is alien.

The work is interesting – the work is boring.

The work is selfish – the work is relatable.

Victoria has truly perfected her craft when it comes to keeping an audience captive; she knows how to make smart decisions and she knows how to complicate the waters where she lives and breathes her own work. It is full of contradictions, alien imagery, and strong language. There is more than meets the eye, which coincidentally is what Victoria’s work seems to be rooted within.


To learn more about Victoria’s work and her process please visit

As part of the second-year graduates’ Thesis Projects I course, candidates were each assigned two of their cohort to review. As students begin writing their thesis papers and constructing artist statements, this review process proves to be beneficial twofold. Students not only exercise their written critique skills, but are able to read about their own project from other voices. Over the next few weeks we’ll be posting these reviews, so be sure to visit regularly for insights and photos of the second years’ progress!

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