Livvy’s work explores time, ideas of rurality, the remembered image and the historical process of value-conferral. Drawn to marginalised and alternative ways of knowing, and propelled by a resistance to the patriarchal systems of colonialism and capitalism, her work investigates how we can develop new narratives and renewed sensitivities towards our environment and community, both locally and globally.

Her artistic starting point is often medium-format film, Livvy stages interventions in images using distortion and reflection, applied through mirrors, exaggeration of photochemical marks, and handmade glass or lenses. The separation from an original image — the movement of image from itself — allows her to re-stage, and in doing so, re-connect to the hidden losses of memory, story and place it carries. In visually echoing the imperfect working of memory, and shifting the image toward a temporal register, or sense of place, this re-representation moves the original beyond easy interpretation in the same way that memories escape perfect recall. The interplay between distortion and representation within Livvy’s works opens up a space where fact and fiction can blur, inhabiting fiction and fact, -fiction as a kind of time, where multiple interpretations can be formed.

Livvy has completed residencies including the Swifts Virtual Residency (2020) with Louisa Chambers, Victoria Lucas, Danica Maier, Lucy Renton, & Sue Withers, The Institute for Reminiscence (2019) with Format Festival at Artcore Derby, Summer Lodge at Nottingham Trent (2018 & 19), Exploring Paper at PAPER gallery (2018), Work on the Line at METAL Edge Hill Station Liverpool (2015), The Engaged Practice programme at Yorkshire Artspace(2011-13), and Factory Nights (2012).