Liz Roberts was raised by Wisconsin Norwegians in Madison, then lived in New York and New Jersey for fifteen years before moving to Ohio. She began as a 16mm filmmaker, later expanding to sculpture, installation, and performance. Roberts has screened/exhibited with Ann Arbor Film Festival, Chicago International Film Festival, New York Expo of Short Film and Video, Microscope Gallery (Brooklyn, NY), Wexner Center for the Arts (Columbus, OH), Transformer Station (Cleveland, OH), SPACES (Cleveland, OH), the Film-Makers' Cooperative (New York, NY), EMMEDIA Gallery & Production Society (Calgary, Alberta), Cranbrook Academy of Art (Bloomfield Hills, MI), and elsewhere. In 2017 she was invited by the Cleveland Museum of Art to create a site-specific performance, installation and sound piece. The work, Death Knell, destroys a car as a live performance, using only hand tools, recording the sounds with dozens of contact microphones. The resulting audial composition was released as a double cassette by Unifactor Tapes, a Cleveland music label.
Operating under the umbrella ideas of destruction and survival, her work includes transportation spectacles, rogue landscaping, shadow feminism, survivalist and self-help manuals, practical applications for theory, and “corrective” revisions of classic film. She is currently editing a documentary on regret, Narcan, redemption narratives, and tactical nostalgia. While exhibiting regularly and teaching, Roberts is also a core participant in MINT, a nomadic collective and former warehouse space in Columbus, Ohio. The experience of working in a large, non-hierarchical group to produce exhibitions, performing arts, and workshops has been a key factor in questioning preconceived notions of the role (and potential) of art in culture. MINT’s mission is to support underrepresented and developing artists, to cultivate relationships within the community, to embrace alternative projects, and to remain persistently disobedient to traditional thinking.