Vessels and Tabletop Sculpture
I create one of a kind perfume vessels, boxes and tabletop sculptures. I am fascinated by form and love the way a positive space plays against a negative space. While still a student, I began making perfume vessels and continued after graduating. It wasn't until I'd been out of school for a couple of years that I began to really get in touch with why I chose the perfume vessel. When I was a child my mother would let me sit at her marble top Victorian dresser while she got ready to go somewhere and I played with an old empty glass perfume vessel, hence the perfume vessel has held positive memories for me. That wasn't enough of a reason, however, to focus much of my vessel work on perfume. At the time I was in school I was recently widowed and had begun learning the ropes of reentering the dating arena. Perfume wields power. It beckons one to it through our sensory receptors. As it co-mingles with one's own chemistry, it's power is subtle or sometimes very overwhelming but it is not ignored by one's nose. I'd dated a man while in school for whom I could not choose the correct scent and I ended the relationship with four bottles of perfume that did not appeal to me and had clearly not appealed to him. It caused me to muse with some angst and humor over the subject of attraction and attracting. That lead me to exploring the emotional and sensual power of perfume. Currently I am using the perfume vessel as a stage for exploring larger three dimensional enameled floral sculptures that remain overlaid with metaphor for human behaviors or conditions of human nature. Not all of the current vessel work focuses on function as I broaden the scope of my inspirations for these sculptures.
More and more frequently, I explore the technique called limoge, painting in powdered enamels, usually done with very fine haired brushes. It produces more painterly effects but unlike oil paints that can be mixed to create an entirely new color enamel grains do not mix in the same way. They melt as the original color in exactly the place they lie so mixing colors, which I do frequently, must be handled with a different approach and expectation than with oils. Having been a painter in oils for many years prior to entering the field of metal, I've wanted to bring color to my metalwork. Shading using this material is a challenge and one that I find fascinating as I explore the possibilities further and further. Because I like to work in larger fields my limoge work does not have the delicacy apparent in the smaller pieces created by other artists. What I'm enjoying about it, however , is the opportunity for some abstraction which this method of application permits. This opens up so many avenues to pursue.
