3D Models of Memory: Lauren Shapiro’s “Pastiche” at Vizcaya

South Florida native and Miami-based visual artist, Lauren Shapiro infuses traditional ceramic techniques with technology to document our ever-evolving ecosystems. In anticipation of the forthcoming unveiling of her site-specific commission with MSC Cruises and Miami-Dade County’s Art in Public Places program, we are revisiting a highlight from her season: Shapiro found new source material amidst the architectural marvel that is Vizcaya Museum & Gardens, located in Coconut Grove, Miami. As the 2024 Contemporary Arts Program artist at the museum, the artist’s site-specific exhibition, “Pastiche,” is closing soon on May 19, 2025. 

Inspired by Vizcaya’s architecture, history, and setting, Shapiro turned to the acclaimed design programme employed by the late artistic director Paul Chalfin, particularly his use of pastiche—the blending of styles and influences that borrowed from past artistic traditions—to create a series of sculptures that celebrate the ornate beauty and baroque influence of the Main House. The resulting ceramic, glass, and technology-infused vessels create a visual language that evokes the past while resonating with the present. Seemingly enveloped by its tropical surrounds, the Main House at Vizcaya invites the outside in—with lush orchids growing within its Courtyard and Biscayne Bay within view just beyond its glass paneled walls. Shapiro modeled many of the new works’ motifs after the wildlife flourishing on the property, highlighting the role of the environment in shaping the iconic estate’s design and living history. 

We spoke with Shapiro about drawing inspiration from scientific research and her continued exploration of endemic flora and fauna, integrating ceramics and photogrammetry to uncover and communicate insights from the natural world. Though the exhibition is coming to a close, her passion lies in empowering communities to participate in public artworks, fostering a sense of connection to environmental stewardship. This continues next month with her work surrounding World Ocean Day, celebrated annually on June 8, to raise awareness about the ocean’s significance. 

What excites you about ceramics as a medium? How do you stay motivated to push the envelope on your practice?

Lauren Shapiro: Ceramics is an ancient technology—one of humanity’s earliest and most significant innovations. After earning my master’s in ceramics with a focus on moldmaking and handbuilding, I developed an appreciation for the tactile, hard, fragile qualities of ceramics, along with the chemistry and experimentation that are integral with the medium. With the advent of digital technology, you can rapidly prototype in digital software, opening up new realms of creation. Clay and glaze are alchemy and magic—turning mud into stone, coal into gold. 

You apply technology to what is often considered an organic, tangible medium. How does technology serve as a tool to achieve your ambitious projects and assist you in your creative process? 

Shapiro: Technology plays a crucial role in my design process by helping document textures, forms, and hidden details that might otherwise be overlooked. Through digital fabrication, I can capture intricate aspects of nature. Photogrammetry allows me to generate 3D models from photographs taken from multiple angles, providing the opportunity to preserve delicate organic forms, such as coral, by transforming them into digital assets. This technique opens up creative possibilities by enabling me to translate natural textures into ceramics and other mediums, all while respecting the integrity of the environment.

In mining the history of Vizcaya, what were some salient standouts from which you drew inspiration? Did anything surprise you about Vizcaya’s design program? Did you learn any fun facts that made their way into the final works?

Shapiro: More than anything, I was excited to uncover the extensive histories of the estate and its possessions. I wanted to see what I could unearth, much like the discoveries I make when exploring nature. Having the freedom to tour the house, gardens, and archives allowed me to create pieces that engage deeply with the site’s narrative. 

I was particularly drawn to the greenhouse, where I had the chance to see the orchids and learn about the conservation efforts Vizcaya is undertaking in response to climate change. There’s so much to absorb at Vizcaya, from the Venetian lanterns to the Wedgewood ceramics. But what stood out most to me were the site’s present-day conservation challenges. I came to see the mansion as its own unique natural environment, facing issues not unlike those of the South Florida landscape. This parallel allowed me to approach the site as I do when exploring outdoors—carefully examining its patterns, fixtures, and adornments, as well as its broader expanse.

What do you hope visitors take away from your work at Vizcaya, and how do you see your practice evolving in the coming years?

Shapiro: In my work, I aim to spark curiosity and encourage deeper exploration. I hope visitors are inspired to look closely at the mansion’s details and uncover the rich narratives behind each object. Vizcaya is filled with layers of meaning and history, and there’s a wealth of research available for those who want to dig deeper. Every piece of decor and visual element in each room has a story, and I hope my work inspires people to discover the meaning for themselves.

If you’re in Miami, visit “Pastiche” at Vizcaya before it closes on May 19. Learn more here: Vizcaya – Pastiche.