Humans have always adorned both themselves and their surroundings—even the earliest cave drawings are evidence of our elemental pull towards the documentation of beauty. As an artist, I have always been drawn to the messages behind the art of adornment, especially in relation to social status and consumerism.
Often jewelry is worn to embellish, to confer status on the wearer and provide escapism to the observer. It can also signal cultural, social, or religious status within a specific community. Similarly, “good art” can be a symbol of the owners’ economic success as much as their appreciation of the form. The silhouette, one of the earliest documented art forms, was used as a way of saving money on official portraits. Historically, due to their inexpensive nature, silhouettes were accessible to all social classes and therefore were always considered an unpretentious art form.
This intersection—between value and value judgment, between status symbol and object of simple pleasure—is a critical element of my own work. This series is a nod to the societal tension between highly decorative status pieces and an art form that is considered cheap and for the masses. I have used modern technology and colorful combinations to subvert these constructs and embolden the humble silhouette.
