Esmé Saccuccimorano

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1.Video Documentation of Bells (Selection) 2020

Pictured, clockwise from top left: “Bell for Locating Home,” “Bell for Initiating a Scale Shift,” Memorial Bell for all the Rabbits I’ve Killed or Watched Die, No.2,” “Bells for Resisting the Urge for Dramatic Reaction,” “Memorial Bell for all the Rabbits I’ve Killed or Watched Die, No.1,” “Bell for Finding Luciano Martin Servetto,” “Bell for the Nighttime.” Digital video, sound, movement.

 

2. Bell Series, install view

2020

Pictured, clockwise from left: “Bell for Initiating a Scale Shift,” “Bell for the weight of a baby (a pregnancy) carried between two people/Bell for maintaining bodily integrity within someone else’s mind,” “Black & Blue Bell,” “Bell for Locating Home,” “Bell for the Nighttime,” “Bell for Initiating a Scale Shift.”Variable dimensions Earthenware, stained porcelain, white slip, underglaze pencil, glaze, gold luster, canvas, Bic pen, photo-sublimation on found curtain, found object, paper, sound.

 

3.Bell Series, install view

2020

Pictured, clockwise from left: “Bell for Confidence in the Quickness of Life,” “Memorial Bell for all the Rabbits I’ve Killed or Watched Die, No.2,” “Bell for Finding Luciano Martin Servetto,” “Pink Surprise Bell,” “Memorial Bell for all the Rabbits I’ve Killed or Watched Die, No.1”Variable dimensions Earthenware, stained porcelain, white slip, black slip, underglaze pencil, gold luster, canvas, Bic pen, photo-sublimation on found curtain, sheep’s wool, vintage underwear, thread, sound.

 

4. Bell Series, install view

2020

Pictured, from left: “Pink Surprise Bell,” “Bell for Finding Luciano Martin Servetto.”Variable dimensions Graphite on paper, plastic pear, earthenware, stained porcelain, white slip, glaze, gold luster, canvas, Bic pen, photo-sublimation on found curtain, sound.

 

5. COVID-19 Recipe Pillows (stands)

2020

12”x12” Bic pen on canvas, polyfill.

 

6. Memorial Bell for all the Rabbits I’ve Killed or Watched Die, No.1 & No.2”

2019

“...No.1” (right): 22”x11”x3” “...No.2” (left): 29”x9”x4” Earthenware, white slip, black slip, underglaze pencil, glaze, sound.

 

7. Bell Series, install view, and Spanish, Catalan, English (excerpts)

2020

Variable dimensions Copper plate etching on Sekishu paper, earthenware, stained porcelain, white slip, black slip, underglaze pencil, gold luster, canvas, Bic pen, photo-sublimation on found curtain, sheep’s wool, vintage underwear, thread, sound.

 

8. Bell for Initiating a Scale Shift, w/ Stand

2019

Bell: 5.5”x5.5”x5” Stand: 9”x19”x6” Earthenware, stained porcelain, white slip, glaze, gold luster

 

9. Bell series, install view

2020

Pictured, from left: “Bell for Initiating a Scale Shift,” “Bell for the weight of a baby (a pregnancy) carried between two people/Bell for maintaining bodily integrity within someone else’s mind,” “Bell for Locating Home,” “Bells for Resisting the Urge for Dramatic Reaction, “Bell...Home,” “Bell for the Nighttime.”“Bell...people/Bell...mind”: 20”x25”x11” “Bell...Home”: 11”x8.5”x5” “Bells...Reaction”: 3”x3”x3”“Bell...Nighttime”: 3.5”x3”x3” Earthenware, stained porcelain, white slip, black slip, underglaze pencil, gold luster, canvas, Bic pen, photo-sublimation on found curtain, paper, plastic pear, sound.

 

10. Litho Panel, proof and Bell for Initiating a Scale Shift, detail, and Bell Writing (Excerpt)

2019-2020

“Litho”: 8.5”x11.5” Two-layer stone lithography on Chinese paper, earthenware, white lip, glaze, gold luster. Digital illustration.

This work is an exploration of function, placebo, and faith. It is medicinal storytelling; it is memorial and remembering; it is as utilitarian as a pile of brooms. It is homage to chemical signals sent between oak and pine; it is a nod to the symphonic arrangement performed by the peepers, mourning doves, and cicadas as they settle into frequencies designed for security and survival; it is a thesis on the participatory nature of meaning.

 

Each bell is accompanied by a written narrative explaining its function. Informed by my personal visual lexicon, the bells’ forms and surfaces point towards these narratives—shapes and symbols readable by those privy to this vocabulary.

 

“Bell for Locating Home” is adorned with an arrow and lasso, along with a drawing of my Aunt Olga Potorti’s rocking chair cushion and the stenciled word ‘lotus’—icons of locating and directing, and lodestones for the feeling of familial belonging. Playing this bell, soaking in its sound, is a pill prescribed to make one feel at home no matter where they are in the world. It is a conversation about transience and sense of place.

 

Rabbits drawn on both iterations of “Bell for All the Rabbits I’ve Killed or Watched Die” reach beyond the literal animal. The Rabbit is the first animal I ever killed accidentally, the first animal I helped kill on purpose, the first animal that taught me how to skin and tan a hide. The rabbit is a conversation about friends dying, it is a conversation about cancer and car crashes and falling backward, and about how some surprises can make you nauseas. It is also a conversation about running fast and having babies and breathing deeply and keeping one’s eyes wide open. The playing of these bells can communicate to others about one’s grief for friends who left this world within months of each other; or the lurch in your stomach as you drives over the small bump of a bunny in the road; or the elation of feeling a small foot kick beneath a palm.

 

Floating across a shining gold field, lines of white slip on “Bell for Instigating a Scale Shift” are an allegory for the unknown forces moving around us. This bell is for reminding you of your relative scale, and nourishing your physicality. It can shrink you down, reminding you how huge pine trees are next to you. In can enlarge you, reminding you how minute red clover is.

 

The written accompaniment to these bells says more than I know how to say here.