Below is an extended artist statement on my current sculptural body of work. Shorter statements are paired with each gallery in the portfolio section of this site, each directly referencing the work displayed.
Growing up as a studio dancer it was my body that served as an art medium. Through gestural movements and technique, I conveyed emotion while displaying developed skill. The body has now become a subject in my ceramic objects with suggestive formal indications of the human anatomy. As a maker, my studio practice is very much like my studio dance experience. The technical skills associated with ceramics are repeatedly practiced to develop a visual lexicon of forms and surfaces.
"What happens when you encounter a sexy object? One may start to envision what life would be like driving that car, what outfit you’d wear with those heels, what beverage you’d drink from that cup, and so on. There is a desire to have the object in your life, the need to touch or caress the object and in some cases even have the urge to put it in your mouth. So, what makes an object sexy?" -Spring 2015
Since last presented, this question has evolved into the exploration of visual cues that ignite a desire for an object. I began this investigation by identifying the things I find most visually stimulating, and isolating the elements that act as the catalysts for this desire.
The 1936 Delahaye 165 Roadster is a French automobile designed by Italian designers, Figoni and Falaschi. The teardrop curves represent speed without movement through the streamlined design. The voluptuous form with high polished, smooth surface with accents of chrome around head/tail lights and grill catches the attention. When further investigated, the colored leather upholstery interior, and attention to the small details such as the steering wheel, gages and knobs enhanced the desire to take a ride.
The high fashion of the 1950-60s, specifically Dior, Balenciaga, and Chanel, also exemplifies the design aesthetic I find to be a timeless representation of a visual stimulus. These designers worked with minimal color palettes, solid colors (usually black) with small accents of color or white. The silhouettes were simple and sleek and accentuated the curvature of the female figure.
A more contemporary example being the Christian Louboutin stiletto, the coveted high-fashion shoe, encompasses similar visual elements as the two previously stated. It’s signature red bottom is internationally recognized. While the style, color and material vary, the red bottom is essential for every shoe and most of them are patent leather.
While focusing on desire and sexiness with the body as subject matter, it is essential to address human sexuality. I choose to pair some of the forms with the intent of suggesting a flirtatious encounter. While the viewer is left to interpret these compositions as they please, the combination of form and surface is meant to encourage the suggestive nature of the pair’s interaction.
Specifically invested in the sensual nature of form and surface, the intent of this body of work is to capture moments where human sensuality can be communicated through ambiguous ceramic objects. While my sculptures are heavily abstracted, one may be able to associate formal elements with human anatomy. Looking at modern commodities that use the sexualized human body as a design feature, each sculpture is developed from a visual lexicon of forms and surfaces derived from automotive, fashion, and product design. Toeing the line between the overt and obscure, these designs elicit the elusive quality of sensuality.
By maintaining ambiguity through abstraction, it is the sensual curvature of form, sleek and highly reflective surfaces, that seduce the viewer to further investigate and explore the work at an intimate distance. Upon exploration, the small textural details become apparent and make overt reference to sexualized bodies, and contemporary sex-toy design. These soft, oozing, fuzzy, and glossy surfaces are intended to provoke a tactile desire. Through providing such touchable objects and denying the viewer’s interaction I expose the voyeuristic nature of the work.
"What happens when you encounter a sexy object? One may start to envision what life would be like driving that car, what outfit you’d wear with those heels, what beverage you’d drink from that cup, and so on. There is a desire to have the object in your life, the need to touch or caress the object and in some cases even have the urge to put it in your mouth. So, what makes an object sexy?" -Spring 2015
Since last presented, this question has evolved into the exploration of visual cues that ignite a desire for an object. I began this investigation by identifying the things I find most visually stimulating, and isolating the elements that act as the catalysts for this desire.
The 1936 Delahaye 165 Roadster is a French automobile designed by Italian designers, Figoni and Falaschi. The teardrop curves represent speed without movement through the streamlined design. The voluptuous form with high polished, smooth surface with accents of chrome around head/tail lights and grill catches the attention. When further investigated, the colored leather upholstery interior, and attention to the small details such as the steering wheel, gages and knobs enhanced the desire to take a ride.
The high fashion of the 1950-60s, specifically Dior, Balenciaga, and Chanel, also exemplifies the design aesthetic I find to be a timeless representation of a visual stimulus. These designers worked with minimal color palettes, solid colors (usually black) with small accents of color or white. The silhouettes were simple and sleek and accentuated the curvature of the female figure.
A more contemporary example being the Christian Louboutin stiletto, the coveted high-fashion shoe, encompasses similar visual elements as the two previously stated. It’s signature red bottom is internationally recognized. While the style, color and material vary, the red bottom is essential for every shoe and most of them are patent leather.
While focusing on desire and sexiness with the body as subject matter, it is essential to address human sexuality. I choose to pair some of the forms with the intent of suggesting a flirtatious encounter. While the viewer is left to interpret these compositions as they please, the combination of form and surface is meant to encourage the suggestive nature of the pair’s interaction.
Specifically invested in the sensual nature of form and surface, the intent of this body of work is to capture moments where human sensuality can be communicated through ambiguous ceramic objects. While my sculptures are heavily abstracted, one may be able to associate formal elements with human anatomy. Looking at modern commodities that use the sexualized human body as a design feature, each sculpture is developed from a visual lexicon of forms and surfaces derived from automotive, fashion, and product design. Toeing the line between the overt and obscure, these designs elicit the elusive quality of sensuality.
By maintaining ambiguity through abstraction, it is the sensual curvature of form, sleek and highly reflective surfaces, that seduce the viewer to further investigate and explore the work at an intimate distance. Upon exploration, the small textural details become apparent and make overt reference to sexualized bodies, and contemporary sex-toy design. These soft, oozing, fuzzy, and glossy surfaces are intended to provoke a tactile desire. Through providing such touchable objects and denying the viewer’s interaction I expose the voyeuristic nature of the work.