these small constructions,fabrications, are not only meant to be worn on the body,but they're also about the body. the body is a topic or atheme in my work, but it's also the context in which it's read. i use familiar jewelrymaterials whether that's silver, gold, pearls, torender unfamiliar forms, these microbiological forms. when i was coming of age,hiv/aids had a huge impact on my life and people around me.
and, as a result,i worked through some of that through my work. following that, mymother got sick with cancer. i was a caregiverfor her and i was faced with a lot of medical informationand medical imaging that i was reading and dealing with. that came out of my work toowith the memento mori series, more focused oncancer than hiv/aids. so, this is an etchedplate with a pattern in it.
this a piece of brassto protect it underneath and a piece of sterling silverat the top, and i'm going to put it through the rolling mill. so, that on this silversurface, we end up with this mitotic cell - two cellssplitting - but it's sort of superimposed into a moretraditional floral pattern. this is my first jewelry courseback at art school in the 1980s. it's kind of interesting howlego is also built up of these cells, and you can mix andmatch, and put them together.
not unlike the 3d printedforms i am doing now. it kind of lookslike little flowers, they originated from thecapsid, which is the membrane that coats around the virus. and just by nature of therebeing lots of them, it kind of goes back to replication, growthand the multiplying of elements, which is exactlywhat happens with our cell regenerationor virus replication. it's a cluster ofviral component that
doesn't quite have a name yet. representations ofthe invisible body, they kind of reflect our humanity inan age of biotechnological advancement and remarkableexpansion and medicine.
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