saraglaberson
Draw(4)
Name: Sara Glaberson
Title of artwork: Draw(4)
Materials: Graphite on etched black enamel, sterling silver
2"x 1 1/2"
Brooch (wearable)
Notes: Due to the nature of reflective graphite on a matte black surface, the image is invisible from some angles, and reveals itself from certain angles when the viewer gets very close. This is hard to experience from a photograph.
ARTIST STATEMENT
I’m interested in how the meaning of images shifts when they are located on the body. Jewelry draws on the private relationship between the wearer and the piece, and on the public relationship between the wearer and the viewer, the gazer and the seen. These interactions present an opportunity to explore the connections between voyeurism, power, and intimacy.
This work echoes the small scale of eighteenth century English portrait miniatures. I melt black enamel onto pieces of copper, and then etch it to create a matte surface rather than a glossy sheen. I carefully choose pencils to achieve a certain reflective quality; the drawings vanish and appear again from different angles, pulling the viewer in close.
The drawings all appropriate images from Baroque paintings, which were designed to convince the public that there was grandeur and grace in a life of Christian piety and devotion. When cropped and taken out of context, however, the images read very differently, appearing seductive in a different way—even though the content has not been altered.
Draw(4)
Name: Sara Glaberson
Title of artwork: Draw(4)
Materials: Graphite on etched black enamel, sterling silver
2"x 1 1/2"
Brooch (wearable)
Notes: Due to the nature of reflective graphite on a matte black surface, the image is invisible from some angles, and reveals itself from certain angles when the viewer gets very close. This is hard to experience from a photograph.
ARTIST STATEMENT
I’m interested in how the meaning of images shifts when they are located on the body. Jewelry draws on the private relationship between the wearer and the piece, and on the public relationship between the wearer and the viewer, the gazer and the seen. These interactions present an opportunity to explore the connections between voyeurism, power, and intimacy.
This work echoes the small scale of eighteenth century English portrait miniatures. I melt black enamel onto pieces of copper, and then etch it to create a matte surface rather than a glossy sheen. I carefully choose pencils to achieve a certain reflective quality; the drawings vanish and appear again from different angles, pulling the viewer in close.
The drawings all appropriate images from Baroque paintings, which were designed to convince the public that there was grandeur and grace in a life of Christian piety and devotion. When cropped and taken out of context, however, the images read very differently, appearing seductive in a different way—even though the content has not been altered.