One of the more idiosyncratic objects to emerge from Studio Stuffsmith in recent memory.
To the Invisible Girl presents, with Grimm determination, a single leather boot
from the Victorian era, and from there the viewer burrows into the narrative from the sole.
No less than four visages peer out from within and behind. To the Invisible Girl
seems to take the Old Lady Who Lived In A Shoe at its word.
The piece is personally notable one of the first to extensively utilize my recent
foray into the world of kumihimo, or Japanese braiding.
It's also the first of my neckwear to incorporate one of my fused glass ambrotypes.
To the Invisible Girl.
2011
Pendant: 6 x 4.5 x 2" (15 x 11.5 x 5cm)
Braid/chain: 26" (65cm)
Victorian leather child's boot, 19th-century brass drawer pull, antique linen and rayon, bronze Celtic money rings, waxed linen thread, fork tines, brass, copper, steel, antique bobbin lace, 1860's tintype, glass fused with 1840's daguerreotype portrait, eucalyptus acorn cap, 19th-century steel-point engraving, sea urchin spines, velvet, 19th-century magazine photograph and book-liner fabric, labradorite, peridot, resin, Victorian fountain-pen nib, lens, choko nut, copper tacks, spiral-shank nails, 16th-century paper, soil.
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