Objects hold more power than we give them credit for. A gold ring encircling the designated finger for this piece of jewelry symbolizes a lifelong commitment to a loved one, toting a clutch in the shape of a pigeon is a signifier of being a fashion girly with cash to blow, and a worn-out pair of Chuck Taylors sitting by a doorway indicate that the feet they adorn never stops moving, each scuff of grime marks an energetic moment in time.
In Katelyn Eichwald exhibition titled Talisman at Fortnight Institute, the walls of the gallery are lined with vignettes of personal items that hold immeasurable magical weight. Sheer gloves resembling shed skin, a single Calder-esque earring casts a spiral shadow on its wearer’s neck, and a brilliant red (so red that it may conjure images of sacrifice to certain viewers) gemstone pendant set in its gold crown vies for attention with the cleavage it hangs above are a few items in a two-dimensional display.
The origin of the word talisman derives from the ancient Greek telesma, meaning “completion, religious rite, payment,” or “I complete, I perform a rite.” Every culture throughout history has its sacred talismans that are inextricably woven into its beliefs that can be tied to a religion or exist within the secular realms of the culture. The objects hold supernatural properties and are placed upon a communal pedestal for their abilities to protect from harm and attract good luck. Not only do the objects harness power in their shapes but the materials they are made from (stone, metal, wood, etc.) bring a special layer of security. These physical artifacts of culture also can connect individuals to “spiritual energies, fostering a sense of comfort and empowerment in the face of life's uncertainties.”
Objects are indelibly important and necessary to our lives, we bonded items in a way that some transform into talismans of ourselves. We all collect various items, either to build a thematic collection or we stumble upon things that speak to us in a special language, like a siren song only you can hear emanating from it, drawing us in to take a closer look and admire its beauty. The various little things we pick up on life’s path visually narrate where we’ve been and illuminate our tastes. Over the holidays, I had a group of friends over for Christmas dinner and to see my new apartment. A few of them remarked just how much my little slice of life in the city felt like me. Hearing “It’s so you!” about my living space emphasized to me just how much our material collections can signify who we are to those we care about either near or far away. When traveling, the main question of consideration is who the person is and what item from a particular destination will fit them. Not necessarily having to do with a wearable size, but one that will fit with an immeasurable spirit. When we imbue objects with connotations of those we love, they provide comfort and protection via a signifier of their essence. I have a collection of items from the people in my life who left this world far too soon and when I hold these solid extensions of their spirits, they make me feel closer to them despite our physical break.
Each of the paintings in this exhibition aims to “transform into amuletic conduits” based on the object’s prior relationship with the viewer. Additionally, placed just below the works are rectangular brass plates inscribed with the title of the painting that describe “the mystical properties or curses bestowed upon each wearer” and could make the viewer wonder “do they depict objects meant for protection and good luck, or do they serve as relics, evoking a sinister spiritual incantation?”
Eichwald provides a bit of history of each of the items in her painting for gallery visitors to ruminate on with their own connotations and personal histories. Omniscience depicts the back of someone’s head, gently wrapped in a big pink bow yet the provided excerpt reads like a taste of a mystery novel: “She hasn't yet found the limit of what she knows. She reaches out wearily in the dark, thinking maybe she's finally done, maybe now she can rest. But there's always something there.” Impenetrability is comprised of a silver ring hooked into the lower lip in a pair of labbre accompanied by a metaphorical narrative of of difficulties of parting structures that protect private spaces: “There's a moat with sharpened stakes hidden under the muck, Then the first wall, six feet thick, and the second within that. A three-story gatehouse with arrow slits and holes to drop hot liquid, Then the iron portcullis, and the wooden gate behind that. Then the lips, parted slightly, and the pink tongue.” Rage being associated with a well-suited man absolutely checks out, especially if you, like me, had film stills from Mary Harron’s adaptation of Bret Easton Ellis’ novel “American Psycho” flash in your mind, but I personally cannot imagine Patrick Bateman turning on his stove for any reason: “He put a pot of water on the stove for pasta, forgot about it, and left. By the time he got home, the water had evaporated and the flare had made a shiny dark circle in the bottom of the pot, like a black eye.” However, a battle in the kitchen often presents itself at peak during peak entertaining events.
Every object has a story to tell. When they enter our possession we keep their histories alive and in return, they enrich our orbit with boundless gratitude. Respect goes both ways. Handle with caution.
Required Reading:
With ‘Gems’ From Black Collections, the Harlem Renaissance Reappears - I cannot wait to see this exhibition. Currently researching the work of Laura Wheeler Waring, I love her portraits and how she depicts the garments her subjects wear (the dress in “Girl in a Pink Dress” is dreamy, love the bouquet cascading down her shoulder!). It is also INSANE of the representative from the Woodmere Art Museum to suggest to her great-niece to burn her works, like excuse me that is PURE EVIL! Protect Laura Wheeler Waring’s legacy, work, and archives at all costs!!!
How 9 Black Collectors Are Changing the Art World, Starting at Home
Tweencore. What the 13-and-under set is shopping for. - Shout out to my fellow Sanrio Stans!
A Beautiful Mind - I love Solange so, so much. Also, a friendly reminder that Play Time will be performed by the NYCB again this spring.
How Claire’s Left the ‘90s to Reach a New Generation of Youth