April 9th - May 24th, 2015
Early on Rebecca Rose saw similarities between Sculpture Foundry and Metalsmithing Jewelry, and in both cases transformed an idea from concept to reality out of carved wax and burnable objects. Rose plaster coats the original, kiln fires it, melts metal, and pours it into the negative space. Discovering that jewelry and sculpture could be the same, interchangeable, and all that was missing was a way to bridge the two until she then came up with the current body of work: wearable art + small sculpture = Sculpturings.
"My methods involve a process called kitbashing, where I assemble wax and burnable objects reminiscent of childhood toys, game pieces, organic materials, and imported miniatures to convey a narrative or story. Recycled objects and elements find their way into the mix as new life is breathed into discarded items that become precious metals, literally turning trash into treasure.
Observing peoples’ habits helps me figure out why my work is being created, what purpose my work serves, and what role my body of work plays in the mix of it all. I discovered early on that my rings offer extended experiences that spread beyond just the wearer. When a piece is worn in public, it’s eye catching to others that come in contact with the wearer. A dialogue is sparked about the ring as an observer asks the wearer what the piece means. This opens a door to discussion about the message and narrative of the piece, encouraging an exchange of communication, opinions, and ideas between two people. This extended experience is powerful, effective, engaging, and is the main motivation behind my overall body of work. "
Ultimately each piece is a reflection of understanding human ingenuity, behavior, and habits. While emphasis on functional design is present, sculptural form and substance of message takes priority whether politically, allegorically, or satirically driven. Societal events, celebrations, and challenges evolve with each passing year, and the body of work sums up our modern world with layered narratives and fresh concepts.
"In “The Spinster &The Carpenter”, I unleash my dirty little secrets in this tell all confessional, while seeing each lesson as an opportunity to cut myself a break, and learn forgiveness for myself and others. In each piece I finally face the regrets in my life & hold myself accountable for the choices that I alone made, caused and learned from as an independent woman, even when married. I atone for these choices, and take a deep hard look at myself while doing so, while finding non-religious redemption along the way as I become a stronger person.
A spinster lives in all of us, because we make choices on our own and should hold ourselves accountable for the consequences and regrets we face. The pieces reflect coming to terms with ourselves, our deeds, and the actions we’ve taken, that hurt us and our loved ones the most when the chickens come home to roost. A carpenter lives in all of as too, because we learn from those choices and rebuild ourselves internally. A necessary step for self fulfillment, like laying a new foundation from the ground up. This is how we elevate ourselves to a higher state of being."
Each piece is shown with magnifying glasses and its own professional display which frames and finishes the ring, offering the wearer the option to enjoy it as a ring as well as a standalone sculpture in its display when not worn. A hand blown glass cloche dome, black acrylic base, and armature, underneath the base, a circular aluminum plate is engraved with the piece’s title, medium, weight, artist signature and year. In addition, the signed, fingerprinted, numbered, and dated documentation for provenance (including piece specifics, exhibitions list, etc.), completes each ring as a fully realized work of art, from conception to execution.