Veronica Fazzio | Artist Statement

My practice as an Artist Researcher is rooted in constant mutability and the pursuit of questions rather than definitive answers. I view the art studio not merely as a space for production, but as a live laboratory where the focus shifts from the finalized artwork to the observation of the process of making itself. Within this space, diverse studio methods are tracked, reflected upon, and allowed to evolve into mechanisms that eventually articulates research methodologies. This inquiry manifests across a fluid terrain of sculpture, photography, video installation, social sculpture and live action—where no material or artwork is discarded, but rather held in a state of ongoing transformation.

This sustained loop of observing and reflecting forms a methodological dispositif—an apparatus through which I understand the work and the world and continually generate new questions. In this way, philosophy steps directly into the studio, arising organically out of the methodologies themselves. The resulting sculptures and installations are not endpoints, but rather "by-products" of this deep, reflective practice.

Central to this process is a decentering of human authority. I operate in tandem with my non-human colleague—the camera—giving it active agency. Working together under the collective pronouns They/Their, we form a collaborative assemblage that blurs the boundaries between the animate and the inanimate. What emerges from this partnership are further by-products—an accumulating archive of low-resolution photographs, soundscapes, and videos that serve as traces of an unfinalized investigation into everyday actions and post-human theories.

Currently, this studio dispositif is directed toward the material and systemic structures of institutional bureaucracy. Through the physical acts of reclaiming, shredding, and papermaking with discarded archival and court documents, the studio becomes a site to observe how rigid, bureaucratic language can be physically mutated. Rather than generating a finalized statement on power or memory, this work functions as a physical prompt—transforming court files into tactile sculptures and installations that question how institutional systems impress themselves upon us, and how material transformation can disrupt that script.

VERONICA MARINA FAZZIO WELF  Ph.D. + M.F.A. | ARTIST BIO ​

Dr. Fazzio is an Artist Researcher,  Miami-based contemporary, multimedia visual plastic artist whose practice spans Sculpture, Photography, Video, Installation, Social Sculpture, Performance and Art Objects-making with varietry of materials and methods. Originally from Buenos Aires, Dr. Fazzio has exhibited internationally since 1988, establishing a professional footprint across Argentina, Italy, Spain, Norway, Germany, Mexico, the United Kingdom, and the United States.

Rooted in the principles of Social Sculpture, Dr. Fazzio views pedagogy not as separate from studio production, but as an integral, dialogical extension of their artistic research and practice. This manifests as a diverse educational career, lecturing in art history, , sculpture, photography, and engaging a vast spectrum of learners—from university graduate programs to community-based workshops, Public schools—as active participants in collective inquiry.Dr. Fazzio earned a practice-based PhD Artistic Research from the University of Plymouth (UK) and holds an MFA in Visual Arts from the Miami International University of Art & Design. They established their foundational technical and pedagogical roots in Buenos Aires, graduating from the Escuela Nacional de Bellas Artes Rogelio Yrurtia and earning a degree in Photography and Audiovisual Techniques from the Escuela Departamental de Artes Plásticas (E.D.A.F.) in Avellaneda, Bs.As..