"eternity incubates a smooth petal, Me As A Goddess 4."
“Me as a Goddess” are self-portraits in the shape of approximately 16-foot monumental necklaces. In their reference to body ornaments they tweak and twit concepts about personal and social identity, fetishism and devotion.
“Me as a Goddess” is a series. Each piece is an encounter between words and nonverbal elements, things picked up and gathered on a daily basis within an ordinary itinerary, then assembled in the spirit of a physical diary. The title, a one-sentence poem made out of “found” words, provides each piece with the thread of a story; it does not describe the piece.
This project is a two-act play. Act One, engineering the sculpture; Act Two, pirating existing public commemorative sculptures. When the ornament and the ornamented are brought together, the enigma of the story initially set up for each ornament unravels, borrowing the recollection of public history as well as the artist’s personal memory. The necklace without a wearer, with its large scale, reveals the concealed presence of the divinity. An uncanny Goddess can alter her manifestation; now she disappears, now she is dog, bear, soldier or maiden.
"eternity incubates a smooth petal, Me As A Goddess 4", 2009
Prescription plastic jars, rosebush wood and thorns, LDC light, plastic toys.
Installation on "Balto/Dedicated to the indomitable spirit of the sled dogs that relayed antitoxin six hundred miles over rough ice across treacherous waters through arctic blizzards from Nenana to the relief of Stricken Nome in Winter of 1925. Endurance Fidelity Intelligence," in Central Park NYC. Sculptor Frederick George Richard Roth.