Description
“Gravity” anticipates a shift in how art objects are perceived and experienced. Conceived ahead of its time, it functions as an interactive artwork rather than a static composition. The piece operates at the intersection of painting, relief sculpture, wearable art (earrings), and installation – forming a structured system rather than a singular object.
Executed on plywood, the work incorporates the natural grain of the wood as an active structural force. The surface was developed through a layered process in which hot glue extended the material’s organic lines into a three-dimensional relief. Metallic pigments – silver, gold, and copper – were then applied and selectively heat-treated, producing mineral density and tonal variation reminiscent of geological strata shaped by pressure and erosion.
A hand-sculpted clay mask emerges from this textured field. Fired and manually finished, it appears to rise from within the surface, dissolving the boundary between plane and volume.
Feather compositions introduce chromatic intensity and vertical movement against the restrained metallic ground. Functioning as detachable earrings, they transform the work into a dynamic configuration. When worn, the center of gravity shifts to the body; when returned, the object regains its ceremonial stillness without loss of integrity.
Presented during Jewellery Milano Fashion Week (October 2024), “Gravity” challenges conventional distinctions between artwork and adornment.
It is not a fixed image.
It is a system structured around circulation.
Artist’s Note
The work developed from the artist’s nine-year practice of creating feather jewelry. Upon realizing that some clients stored the earrings in drawers instead of wearing them, she confronted a contradiction: if feathers symbolize freedom, why are they contained?
“Gravity” emerged as a structural response.
Jewelry would no longer exist separately from the artwork, nor remain permanently attached to it. Instead, it would circulate – moving between wall and body without diminishing the coherence of the whole.
The wooden panel remained in the studio until its natural grain suggested direction. The artist followed and extended its movement using hot glue, building relief forms that echo geological processes. Metallic pigments and controlled heat intensified the mineral character of the surface.
The clay mask was conceived not as a portrait, but as a state – inward, centered, composed. It anchors the system.
The title refers to shifting centers of attraction.
Gravity resides in the object – until it transfers to the body – and then returns.
This is not decoration.
It is a structure of movement, exchange, and return.
Margaret Olympia Rozcosh
Art Gallery Gosha Bu