Corte de Illusione
Inspired by objects of worship and religious iconography I invoke the rich material history of ceramics. I critique the psychological relationship between identity, objects and power. At what point do we become the things we surround ourselves with and why do we feel fulfilled by them? I use ceramics to explore vanity, voyeurism and self-objectification and how they are imbedded in everyday objects like the mirror. Integrated into many of the objects I make the mirror activates a performative aspect placing the viewer within the work. They become iconic subjects themselves as rich, colorful surfaces, archways and taunting narratives frame their reflection. Using the visual language of religious iconography like the triptych, the subject’s value and importance is heightened, amplifying my critique of vanity, voyeurism, and self-objectification. Emphasizing relationships between concepts and material, I draw on the Italian Renaissance. During the Renaissance only upper class citizens could afford imported luxury goods like ceramics, making ceramic material a symbol of status and power. Most importantly the Renaissance produced new philosophies concerning identity. Self-perception was exploited through the popularity of portraiture as the arts became more secular during the 15th century. I use press molds made from mausoleums that reference religious Renaissance architecture as source material for my work. Ceramics allows me to capture the essence of my source material directly and transfer it in a way other mediums cannot.