Born in 1984 in New York, NY, David Cavaliero graduated with a BA in English from Georgetown University, in Washington, DC, in 2006. Subsequently, he studied art and art history in programs at the Rhode Island School of Design, the School of Visual Arts in New York, and the School of the Art Institute of Chicago before receiving his MFA in Sculpture from Texas Christian University in 2012.
Cavaliero's current work focuses on his interest in physical and psychological location and how it influences a conception of self-identity. He has participated in and co-curated group exhibitions in both Chicago and in the Dallas/Fort Worth area, helped found an art collective (HOMECOMING! Committee) while in graduate school, and written exhibition catalogue essays.
His work is held in private collections in New York, Dallas, and Los Angeles; he recently had his first solo exhibition in New York, where he lives and works.
David Cavaliero’s work developed from an interest in physical and psychological location and how it influences a conception of self-identity. This inquiry explores the notion that locating oneself is a function of external referentiality. The relationship of the physical and mental body to outside referents, both corporeal and abstract, such as time, is the relational basis for how we view and locate ourselves (and others) in the world. Cavaliero’s focus is not, as it might be for phenomenologists and psychoanalysts, a question of origination—an understanding of the self, or the perception of that which is outside the self, be it tangible or intangible to various degrees—but rather, the manner in which they perpetuate each other in a state of continuous flux and feedback.
The artist’s investigation seeks, in the creation of indexical objects, to produce a cognizance in the viewer of this continuous dialogue through his perception of a momentarily reified intersection between themselves, the work, and divergent elements of space, time, and physical and cultural location, or what Douglas Crimp refers to as the “coordinates of perception.” The instance of the viewer’s confrontation with the physical object heightens, as Robert Morris eloquently put it, “one’s awareness of oneself existing in the same space … establishing relationships as he apprehends the object from various positions and under varying conditions of light and spatial context.” In this sense, the art object acts as a phenomenological pivot point that dialectally informs a perception of one’s current location and in turn positions the viewer’s understanding of self in relation to the other.