The composition of six ceramic works in the gallery suggests a hierarchy of power and confidence. Starting on the wall, the most confident of the pieces, Rise Above, sits atop the general eye level, reaching approximately 8 feet from the ground, forcing the viewer to lift their gaze upward.  Moving left and jumping off the wall piece number two, Ignorance, rests on a narrow pedestal. Differing from the vase-like form to the right, Ignorance is much greater in mass and has a large presence but is lacking confidence. The unflawed surface is facing the front but as the viewer moves around the piece, they are faced with the field of medical sutures that are repairing the backside. Surrender is located to the far left, directly across the cluster almost equal to Ignorance but slightly lesser in stature. It is resting on a larger surface but is begging to spill over one side, preparing to lose all stability and slip onto the floor. Collapse is central when looking at the cluster from the front. This piece is front and center, has the most direct light and is beginning to peel and slump under the pressure. It is trying its best to hold on to the confidence that it has left but is slightly turned inward to prevent the viewer from seeing where it is starting to fold. Hiding in the very back, On the Mend, is cowering behind the group. Although this piece contains the most material, it is also the most deflated and apprehensive. 

I view this collection to be similar to the work, Repetition Nineteen III, by Eva Hesse. This series of work is made from industrial fiberglass that has a beautiful transparent appearance. “Besides beautifully modulating the light, the fiberglass seems both soft and hard, contributing to the richly paradoxical character of these subtle objects: nonconformist individuals that somehow make a group. The arrangement, whatever it is, seems both random and coherent, unified by a similarity preserved through difference” (Lowry). The positioning of my work, along with the unique attitudes that each form carries, personifies the collection and creates a group-like mentality much like the work of Eva Hesse. Some pieces remain tall and collected, while others are being pushed to the back and protected by their peers. After viewing the first and tallest piece on the wall, the remaining pieces waterfall to the floor and off to the left side of gallery space. This small shift creates a unique dynamic and a somewhat uncomfortable challenge for the viewer the move through. The piece Ignorance is presenting the viewer with its best side but as the viewer walks around to get a different perspective, they notice that it is hiding its insecurities. 

On the Mend, was the very first out of the series to be created and therefore the most mistakes were made while applying the silicone. The “mistakes” that occurred were upsetting at the time, but a new method of mending grew out of the situation, which elevated both the detail and concept of the work, leading to material and process to further establish themselves as metaphor. When small silicone drips appeared from applying the material too heavily, I simply cut away at the surface and aggressively pulled the skin back together with medical sutures. This act created a history on the surface much like the history and identity that show through on my own body. Differing from my own body, the silicone is not able to ever heal fully. These stitches, cuts and bruises will be solidified for the entirety of the form’s life. 

The last piece titled Falter is directly in front of the cluster and is lowest to the ground. When the viewer stands over the piece and gazes down at it, they are met with a large hole that is absent of light. The inside of the piece is coated with red iron oxide and layered with a small amount of silicone creating a very rich, blood-like tone. The viewer can fully stand over this piece, allowing them to assess all aspects and completely dominating the form. This exposure generates a great contrast from their initial interaction with the first piece to the last.

Excerpt from “Translating Through Skin” Kelly Devitt MFA Thesis