Lizzie Moo

SAIC SHOWS 2025 GRADUATE EXHIBITIONS

Graduates

SAIC SHOWS 2025 GRADUATE EXHIBITIONS

Master of Fine Arts in Studio, Photography

Lizzie Moo (b. 1995; Sacramento, CA) is an interdisciplinary artist who enjoys reinterpreting her surroundings while utilizing photography, sewing, printmaking, sound, performance, and more. Lizzie’s current explorations delve into the theatrics of American politics through her body of work, Political Theatres, which navigates the complexities of political discourse, using stagecraft to present political plots in a different, yet fitting, context. Moo employs the concept of the theater as a metaphor to shed light on the inner workings of the political world and the ever-influential media, and the effects they have on their audience.

Dopamine Machines, 2024, 2:00 projection by Lizzie Moo with sound by Adelaide Jones, 557.29ft. x 243.644 ft., photo by Lizzie Moo

Dopamine Machines was projected on The Merchandise Mart in Chicago as a part of Art on The Mart from November 22 - December 29, 2024. (Video documentation is below)

What Was I Made For?, 2023, Red, white, and blue nylon fabric, interfacing, polyester thread, and gold eyelets, accompanied by 4:13 video, 3 ft. x 5 ft., Photo by Lizzie Moo

"What Was I Made For?" is a homemade American flag that has been constructed from sourced materials and then almost entirely seam ripped apart in order to question where the American flag, as a symbol and as an object, exists. After being inspired by the lyrics in Billie Eilish’s song “What Was I Made For?” I imagined the American flag expressing similar questions and woes: “I used to float, now I just fall down… thought I was happy but I’m not sure now… [I’m] just something you paid for… what was I made for?”

Lizzie Moo - Political Theatres (Exhibition View)

Political Theatres (Exhibition View), (Falling) Political Theatres Curtain (2023), The Political Theatres Broadcast (2023), and Conversational Relations (2023), 21 ft. x 19.5 ft., photo by Lizzie Moo

"Conversational Relations" (2023, Two chairs, conversation cards, and candy) explores the dynamics of dialogue and its impact on understanding and connection. The work examines how communication shapes relationships, revealing tensions, misalignments, and moments of clarity when perspectives intersect. By placing participants in the symbolic role of occupying the soapbox often reserved for politicians, the piece invites reflection on the power dynamics of speech and the ways personal voices can challenge or echo public discourse.

Lizzie Moo - Conversational Relations (detail)

Conversational Relations (detail), Photo by Lizzie Moo

A label on the podium prompts viewers, “With another person, pick a topic card to discuss while you enjoy a piece of candy.”

Lizzie Moo - Re: Auditions for President

Re: Auditions for President, 2019/2022, Archival inkjet print and silver sharpie, 60 in. x 41 in., photo by Lizzie Moo

Re: Auditions for President is part of Moo's Political Theatres Diagrams series, which examines political performances using collected imagery and documents from media and government sources. Moo refers to these works as diagrams to distinguish them from collages. This piece features imagery from a 2019 Democratic debate, where nearly a dozen candidates crowded the stage, often talking over one another. The work highlights the performative nature of such events, questioning how these chaotic spectacles shape public perception and discourse.

Dopamine Machines, 2024, 2:00 projection by Lizzie Moo with sound by Adelaide Jones

“Dopamine Machines” is a sensory-driven collaboration that investigates the flow of stimulation in urban life. Boots—a symbol of movement, resilience, and individual expression—ground the experience in a sense of community and connection to the city’s streets. The piece invites viewers to step into a shared experience that celebrates both individual journeys and collective energy. Bright colors, expressive shapes, and dance-like motions blend with the vibrant electronic beats of fast-paced dance music, creating an immersive symphony of light, sound, and motion that feels at home in the urban landscape of Chicago.

What Was I Made For?, 2023, Red, white, and blue nylon fabric, interfacing, polyester thread, and gold eyelets, accompanied by 4:13 video.

“What Was I Made For?” is a homemade American flag that has been constructed from sourced materials and then almost entirely seam ripped apart in order to question where the American flag, as a symbol and as an object, exists. After being inspired by the lyrics in Billie Eilish’s song “What Was I Made For?” I imagined the American flag expressing similar questions and woes: “I used to float, now I just fall down… thought I was happy but I’m not sure now… [I’m] just something you paid for… what was I made for?”

The “Political Theatres Broadcast” is an 8:19-minute looping video featuring two opposing news pundits. Their blurred, interwoven dialogue questions the differences in their core values. Using real dialogue from media sources, the piece re-contextualizes and recombines genuine statements to expose patterns in how these narratives are constructed. By editing strategically, the work reveals the media’s role in sensationalism and division, highlighting its influence on shaping collective political discourse.

Back to group

More graduates