If still life aims to elevate the simple, I work to confront deception. Are the representations of vases/lids painted on slabs their own objects? Or do they only serve as imposters to the traditional forms? This serves to play with the platonic ideal of an object.
I combine pieces of historic and iconic vessels to "frankenstein" together a sort of unidentifiable but vaguely familiar form. This acts as a sort of place holder for the "historic and revered" vessel. The flat slab lids are rendered useless and dysfunctional. They now act as a prop - just a representation of a thing pretending to be the thing - the way a wooden cut out of a tree in a stage play is easily understood by the audience as not a real tree, but we suspend reality when viewing and allow ourselves to believe it has taken the place of what we know a tree to be.
The removal or flattening of objects and information from my works also exists to acknowledge the lack of female representation in art history. The works are classically and antiquely identifiable in combination with the overtly feminine forms. The objects’ functions are removed and their purpose reduced to merely viewership, similar to women’s role in art history as one of muse rather than artist.
Sage Antonella Rucci (b. 1996) is originally from Columbus, OH and currently completing her Masters of Fine Arts in Ceramics at Cranbrook Academy in Bloomfield Hills, MI. She earned her BFA from Denison University in Granville, OH in 2018.