Biography

Lindsey Caputo is an interdisciplinary artist based in the Boston Area. She graduated from Massachusetts College of Art and Design with a BFA in Art Education. During her time at MassArt, she earned an initial teaching license in K-12 Visual Arts Education and started showing her work locally and nationally. Caputo received an MFA in Studio Art at Maryland Institute College of Art with a Certificate for College Teaching. Since then, she has been expanding her studio practice by engaging in her interests in “the weird” and the Avant Garde. In 2022, she became an Adjunct Faculty member in the Arts and Humanities Pathway at Tidewater Community College where she taught Art Appreciation, 2D Design, and Foundations of Drawing. Currently, she teaches Foundation Drawing and Drawing & Painting Studio at the Eliot School of Fine and Applied Arts

Artist Statement

What does it look like to be a dadaist in the 21st century? Nothing is original. We are haunted by what hasn’t come to pass or futures yet to materialize, the lost future, if you will. The nothingness in my practice is total being. It is visual compost, an expansion on what has already been. My art is also hauntological and that concept manifests in different mediums, primarily through collage, sculpture and video performances. This work has become a Millennial Dada, nihilist in theory, but hopeful in practice. The sculptures are made of monofilament, wire, wool, hair, resin, lint, and fishing bait and are sometimes paired with a theremin, which picks up the presence of entities in close proximity as well as rogue radio waves. I also make collage “cut-up” to explore, “time out of joint”. This work is a part of a living document, a Dada manifesto full of the weird and all that is in the periphery. It is always evolving into other iterations of itself. My approach in talking about my work is poetic. I let my thinking flow associatively and I am taken on a sojourn into eerie temporality in between tricks of the light, orbs, eye floaters, fireflies, and broken streetlights. The past haunts the present from a place of repetitive and necessary urgency. Snarls that can’t be brushed out of wet hair, a rat’s nest, a sailor’s knot, nerves before a performance, and cosmic kaleidoscopes are all par for the course. My intention is to catch participants at the crossroads of the real and the unreal all at once.